Draw More Income EP5: Samantha Walrod

A new episode of the podcast is here! Thanks for listening along VAA-CARFAC community!

On Draw More Income today, we bring you Samantha Walrod, being interviewed by Sara McKarney a few months ago. The two talk shop in the midst of a sudden concert and then a sudden apartment!

Samatha is a painter, receiving her BFA from ACAD and her MFA from the U of A

Read Samantha’s artist statement below:

“Samantha Walrod’s work is influenced by uncanny similarities and differences between imagined or reconstructed environments. The figurative elements in her recent body of work are constructed from images of the Canadian Wilderness. Her latest body of work is a response and a record of visits to Banff and Jasper National Parks:

When viewing wildlife from a vehicle, I feel a sense of awe and gratitude at the chance to witness the fleeting passage of a bear, coyote or elk coming into view and then disappearing back into the wilderness. This meeting between motorists and animals adversely affects wildlife, as witnessed in the traces of road kill on the road, and precautionary fencing placed along highways in Banff National Park, designed to keep animals off the road.

Our view of wild animals is multiple and fractured.

Images in Split Seconds, Soft Edges address these fractured viewpoints. Photographic images have been torn apart and put back together again in a slightly off kilter way. The photographic space is interrupted but remains intact. The act of photographing the animals reminds us of the many cultural lenses that mediate our understanding of them.

The act of collage brings to the surface more readily than photography its construction and artificiality. The edges of the ripped paper, the slight tonal differences in the photographs, and the addition of paint on top of the images all act as a filter or an interruption.

Engineers, ecologists and government agencies have responded to road kill and motorist safety in Banff National Park. Wilderness overpasses, underpasses and fences funnel animal traffic across the highway. These overpasses show a level of care from scientific and government communities, they make our society’s response to the issue of road kill more visible. The passes that I have painted and collaged are hard edged next to the organic lines of the surrounding trees and mountains. The painted bridges and highways cut through or interrupt the visual plane, much like highways do through the landscape. These hard edges talk about a difference in speed and movement between wilderness and car culture, reflecting a sense of unease that is present at these intersections.

I ask the viewer to contemplate their accountability in the existing situation. I am, and we are, directly involved and invested in the shifting boundary between nature and culture.”

Samantha has work up in Parts Gallery in Toronto (http://partsgallery.blogspot.ca/) and has an upcoming show at New Zones in Calgary. To view more of her work visit http://www.samanthawalrod.com.

Samantha Walrod, Wolf and Dots Road, Acrylic on Panel

Hill Strategies Arts Research Monitor June 2016

Arts Research Monitor  Recherches sur les arts

Vol. 15 No 3  June 2016 © Hill Strategies Research Inc., 2016 ISSN 1708-170X

Economic benefits of culture

In this issue: A detailed examination of various categories and subjects as well as key provincial and territorial statistics from Statistics Canada’s report on Provincial and Territorial Culture Indicators (2010 to 2014), which provides data on the direct economic and employment impacts of the arts, culture, and heritage.Provincial and Territorial Culture Indicators

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The Arts Research Monitor is funded by the Canada Council for the Arts and the Ontario Arts Council.

Masquerade & Paintslinger Competition: Spruce Grove, AB

Alluied Arts Council of Spruce GroveWanted!

The Allied Arts Council is looking for paintslingers to compete in our Live Art Competition at our Country Outlaws Masquerade and Dinner. With the support of your posse (aka your friends), the paintslinger will compete to create the best 20-minute painting. All the while having fun and raising funds for the Spruce Grove Art Gallery. The event takes place at Holy Trinity Catholic Church Hall, Spruce Grove, on October 28, 2016 at 6:30 pm. Practice sessions for painting will start early September.


New Residency Opportunity – Elmo’s House: Batan, Aklan, Philippines


New residency opportunity created and managed by CARFAC BC volunteer Kuh del Rosario.

Elmo’s House is located in the small seaside town of Batan, Aklan, Philippines. Elmo’s House provides an idyllic retreat for artists to stay for a minimum of two weeks up to two months. The house is right at the heart of a quiet fishing village, within walking distance to secluded beaches and lush mountains.

Elmo’s House is multi-level with six bedrooms and three washrooms. There are two open-air floors designated for studios, that have unobstructed views of the town as well as inspiring sunrise and sunsets. It is a large but simple house with all the necessities to foster a unique experience.

Each artist will have their own private room. Depending on the parameters of the project, we will do our best to help realize the artists’ goals by utilizing the resources available. General housekeeping and basic meals will be provided, but artists are required to respect the space and observe basic courtesies.

2017 will be the first year of operation and will be an exciting opportunity for participants as ideas solidify and best practices are established. Visiting artists for this first year have a chance to help shape the structure and inform the future of this project.


4 Week Artist Residency – Residency 108: Clermont, NY

Residency 108 invites emerging & established artists, writers and thinkers of all disciplines to immerse themselves in their creative practice. We particularly welcome those who work with nature, ecology and the installation of temporary outdoor land-art works. The residency is free apart from cost of travel & material expenses which must be assumed by the individual.

Two four week-long residencies are offered each year, one for the month of October and one for the month of May. The program accommodates three artists at a time. Each resident is provided with a room, working facilities and a weekly stipend for food, participants are responsible for cooking their own meals. Each resident will be asked to present their work during the residency and weekly critiques are held as a group, sometimes with a visiting critic.

Deadline: July 31, 2016


Ongoing Call for Submissions – [email protected]: Sherwood Park, AB

Strathcona CountyStrathcona County Art [email protected] is now welcoming exhibition submissions from artists and curators.

Completed submissions may be submitted and will be accepted throughout the year. A gallery floor plan (179.7 KB) is available to help with your planning.

Deadline: Ongoing


Call to Canadian Artists – Nature’s Wild Backyard (RFQ): Edmonton, AB

Nature's Wild Backyard rendering

The Nature’s Wild Backyard public art competition, open to professional Artists residing in Canada, is held in accordance with the City of Edmonton policy “Percent for Art to Provide and Encourage Art in Public Areas” (C458C).

The Edmonton Arts Council, on behalf of the City of Edmonton, seeks an artist or artist team to create a two-dimensional visual art installation on the exterior west wall of the Urban Barn within the Urban Farm. This building is the first structure visitors will see when approaching this zone from the south west. The long back wall offers a large and highly visible canvas for an artist or artist team to install a two dimensional artwork. This artwork will enliven the structure while enticing and engaging visitors as they head to the Nature‘s Wild Backyard exhibits.

$91,600.00 CAD (maximum, all inclusive)

Deadline for Submissions: 
4:30 pm on Wednesday, July 27, 2016


Call to Artists – Jasper Place Leisure Centre Renewal Public Art Project: Edmonton, AB

Jasper Place Leisure Centre
The Jasper Place Leisure Centre Renewal public art competition, open to professional Artists residing in Alberta, is held in accordance with the City of Edmonton policy “Percent for Art to Provide and Encourage Art in Public Areas” (C458C).

$38,000.00 CAD (maximum, all inclusive)

Deadline for Submissions:
4:30 pm on Wednesday, July 20, 2016


News from TRUCK – Membership & AGM: Calgary, AB

TRUCK gallery logoMembership

Hello TRUCKers,

With our AGM fast approaching it is time once again to renew your TRUCK Membership:
TRUCK memberships are valid for one calendar year from the dte of our Annual General Meeting (AGM). Membership Dues may be paid by cash, cheque, or online at canadahelps.org. Cheques should be made payable to “the Second Story Art Society.” Please do not mail Cash. Our basic Memberships are as follows:

$10 Student / Underemployed (voting)
$20 Associate (voting)


June 10 News from Visual Arts Alberta – CARFAC “Final Word” full text

by Sara McKarney: Advocacy Director

As I start to write this, I am on my flight back from Montreal. A long weekend style trip of 2.5 days was not nearly enough to experience the city, but taking the trip to go to the CARFAC National Conference was completely worth it. This was my second conference, last year hopping on and Visual Arts Alberta – CARFAC convoy to Saskatoon for the conference themed on Contracts and Negotiations. This year was particularly exciting for us, as National picked up the Alberta-born theme of Draw More Income, which was the brain-child our board president, Sydney Lancaster, and Executive Director, Chris Carson.

In Alberta, we reached out to a range of artists across the province, and similarly National did that but across the country. The main panel consisted of Moridja Kitenge, a mixed media painter and RAAV president in Montreal, Teresie Tungilik, an indigenous artist from Nunavut who acts as the Advisor for the Arts & Traditional Economy for the Government of Nunavut, Melissa Mongiat, the co-founder of a studio that works in interactive commissions for public spaces, and Collin Zipp, a new-media artist from Winnipeg who balance many arts jobs such as being the Director for PLATFORM centre for photographic and digital arts. The panel was interesting, with each artist talking about how they accessed different markets, or made income around their practice. Kitenge talked about altering his work to fit his audience as simply as changing the scale of it, as different markets demanded different things. The need to assert your worth and knowing what that price you work needs to be in order to make a profit was emphasized by Tungilik. Mongiat shared the process of the studio’s public art project of singing swings and the need to understand what the product they were selling truly was; the object itself, an experience or the increased foot-traffic the work brought. Zipp talked about how some of the different ways he makes work around his practice since his work has a very niche market, which was a tactic I am all too familiar with.

The most valuable part of the conference in my opinion was the presentation on Artists’ Resale Right (ARR). I understood the basis what CARFAC was advocating for, but being updated with where we are at with making it real and the array of benefits it would bring was immensely helpful. I was able to combine my notes with those of Sydney Lancaster, and now I want to share them with the membership. These notes act as talking point about ARR. Having our membership knowledgeable and confident in advocating for this important part of to making it become real. Please read through the notes, understand what ARR would do, and book some face time with your MP to talk about it. The staff and board of Visual Arts Alberta – CARFAC are always more than happy to talk more about this and make sure you have the information to speak confidently on the matter. The more the government hears about our concerns, the more likely we are to see progress.

Artist Resale Right

We already have majority support from all the parties in the House of Commons for this bill – we just need to get it on the agenda to actually get it both tabled and passed

How National suggests we talk about ARR:
• As a Royalty – a royalty is something you have a right to receive. If it is described as a fee or charge, it sounds like it is optional.

• What would it be – for work resold on the secondary market (auctions, resale from commercial galleries). We are aiming for 5% (not fixed number) of resale price to the creator of the work. ARR requires a small amendment the copyright act, attaching ARR to the artist’s copyright/moral right to the work rather than their economic rights. The artist has an indestructible relationship with the work even after the work is sold.

• This is a labour issue: ARR recognizes the increase in value of an artwork over time is due to the artist’s practice: the work an artist does during their career is a factor in the increase of value for that artist’s work. Artists are some of the poorest labourers in Canada and are part of the most economically vulnerable population. ARR would be acknowledging the value of their work, and help counteract the poverty level in the arts, as well assisting in providing some retirement income for these workers. The economic reality for many artists is that they do not have adequate income to properly fund their retirement. ARR would provide income for in their senior years and cost the government NOTHING, since the royalty would be gathered directly from people who are profiting from the resale of artwork, not from the Federal Government, who is already dealing with the problem of providing adequately for an aging population.

• ARR is an International Trade issue: the ARR exists already in 93 countries; without ARR in Canada, Canadian artists do not have reciprocal rights to derive income from the resale their work in other countries.

• This is also an important Indigenous issue – many developing countries have an artist resale right in place as a way to protect their indigenous populations from exploitation. ARR helps indigenous artists receive much-needed income from the situation in which international dealers buy indigenous work, and then resell it at inflated prices. The resale right allows for those vulnerable populations to have access to a portion of those profits, and serves to raise awareness within those populations regarding their rights as artists (like copyright).

• EASY to implement – ARR can be managed by infrastructure already in place with CARFAC and CARCC (artists and dealers would register with us, and both would go through CARFAC / CARCC to get the money to the artist. AS NON-PROFIT organizations, administration fees are kept to the absolute minimum (just like the current system in place with copyright payments).

Getting the issue tabled in parliament is EASY – there is general support across all parties for the ARR – but the challenge is to get a vote on an ARR bill. (Each sitting of the House can only pass so many bills, and the 2016 bills to be voted on have already been announced. ARR is not on the list. The goal is to have an ARR bill on the list for 2017. This is especially key since passing this bill COSTS the government NOTHING – all of the funds under discussion are within the context of the resale market, and not coming out of Government revenue. Face to face visits with your MP are one of the most effective ways to communicate the urgency of getting an ARR on the House agenda for voting.