115:. A recommended minimum fee schedule for payment is provided by Canadian Artists Representation (CARFAC), a non-profit artists' advocacy group founded in 1968 that serves as the national voice of Canada's professional visual artists. CAR first suggested fee schedules to Canadian galleries in 1968; by 1971 they came more widely into use as a result of a threatened boycott of galleries by CAR members, and in 1988 the payment of an Exhibition Right for the public exhibition of artistic production became part of Canadian federal copyright law with an amendment to the Canadian Copyright Act (R.S., 1985, c. C-42) recognizing artists as the primary producers of culture and giving artists legal entitlement to exhibition and other fees.
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internationally. The early artist-run centres in Canada were critical of the commodification of traditional art forms exhibited in mainstream galleries and institutions which did not show emerging and experimental works, interdisciplinary practices or the works of marginalized artists. In the 1990s there were over 100 artist-run centres across Canada. Today there are at least 60 artist-run centres with continuous operating funding.
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The centres were created originally in response to a lack of opportunity to present contemporary work, especially in the 1960s and 1970s experimental art practices such as performance, installation, conceptual art and video in Canada and with the desire to network with other artists nationally and
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Canadian and international artists, often in combination with critical writing and other public events such as lectures, performances, screenings, etc. The centres have tended to focus on emerging artists and artists working outside the commercial gallery system.
38:) are galleries and art spaces developed by artists in Canada since the 1960s. The artist-run centre is the common term of use for artist-initiated and managed organizations in Canada. Most centres follow the
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Artist-run centres advocate an artist-centric approach, promoting artists' self-determination of what to present and how to present it. This approach has widely influenced the contemporary art scene.
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Canadian artist-run centres are committed to the principle of paying artists for the exhibition or presentation of their work. Indeed, centres are required to do so if they receive funding from the
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model, do not charge admission fees, pay artists for their contributions (exhibitions, presentations, performances) are non-commercial and de-emphasize the selling of artwork.
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which has a specific program of two-year operating support for artist-run centres. Most centres also receive funding from the
Provincial governments, most of which have an
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to financially assist individual artists and arts organizations. Centres may also receive funding from their local municipal or city governments.
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Artist-run centres create opportunities for artists to present their work. Centres typically accept submissions openly and make selections by a
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Durand, Guy Sioui. "L'art comme alternative: réseaux et pratiques d'art parallèle au Québec 1976-1996." Québec: Éditions
Intervention, 1997.
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Bonin, Vincent, ed. "Documentary
Protocols/Protocoles Documentaires (1967–1975)." Montreal: Galerie Leonard et Bina Ellen Gallery, 2010.
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Bronson, AA, ed. "From Sea to
Shining Sea: Chronology of Artist-Initiated Activities in Canada 1939–1987." Toronto: Power Plant, 1987.
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Artist-Run
Centres and Collectives Conference / La Conférence des collectifs et des centres d'artistes autogérés (ARCA) (Canada)
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Gilbert, Bastien et al. "Decentre: Concerning Artist-Run
Culture / À propos de centres d'artistes." Toronto: YYZ, 2008.
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Tuer, Dot. "Mining the Media
Archive: Essays on Art, Technology, and Cultural Resistance." Toronto: YYZ Books, 2005.
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Similar artist-run organizations have been developed worldwide. In the US, they are commonly identified by the term
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O’Brian, Melanie, ed. "Vancouver Art & Economies." Vancouver: Arsenal Pulp Press and
Artspeak, 2007.
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Robertson, Clive. "Policy matters: Administrations of art and culture." TORONTO: YYZ Books, 2006.
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Bronson, AA "The
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Bronson, AA "The Humiliation of the Bureaucrat: Artist-Run Centres as Museums by Artists."
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2nd Edition. Stan Douglas ed. Or Gallery, Talon Books, Vancouver 2011. pp. 29–51.
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Vancouver: Fillip Editions and the Pacific Association of Artist Run Centres, 2012.
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Wallace, Keith "A Particular History of Artist-Run Centres in Vancouver."
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decentre - concerning artist-run culture | a propos de centres d'artistes
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Canadian Artists' Representation / le Front des artistes canadiens
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Le Regroupement des centres d'artistes autogérés du Québec (RCAAQ)
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Atlantis: The Association of Artist-Run Centres from the Atlantic
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Professional Native Indian Artists Inc. (Indian Group of Seven)
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146:. AA Bronson and Peggy Gale, eds. Art Metropole, Toronto 1983.
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Each artist-run centre has a unique program, but most present
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although some centres also use curators to select projects.
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The primary source of funding for artist-run centres is the
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Artist Run Centres & Collectives of Ontario (ARCCO)
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The Pacific Association of Artist Run Centres (PAARC)
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