Monday, July 28, 2008

Art Contest Call for Entries

Call for Entries for the TIFAA/ St. Lawrence Islands National Park art contest being held this September. The purpose is to capture and share stories of the Park and its visitors' experiences there. Entries to be received by September 12, 2008 at the Park office.

Winning pieces will be purchased by the Park for its permanent collection.

Please use Google for more details.

Wednesday, July 23, 2008

Exposures Project: Workshops and Exhibition of Kingston Photography

Exposures is a project that aims to cultivate photographic art practices in Kingston through a series of professional workshops, culminating in a curated exhibition of photographs by workshop participants presented at the Agnes Etherington Art Centre 14 November to 7 December, and recognition of achievement through special prizes.

We invite photographers living in the region to participate in an exchange of ideas and approaches, and to explore representation of the changing economy of this area. How do we see Kingston today? How have the city and the surrounding countryside changed, and how are they changing now? What overlooked aspects of the city’s character can be encountered and captured through the photographer’s lens?


Workshop Registration

The workshops are intended for experienced photographers and will be held at the Agnes Etherington Art Centre.

Please note that each workshop is limited to 20 participants: register early to avoid disappointment.


Saturday 23 August 1 – 4 pm

Jan Allen, Curator of Contemporary Art, will offer an overview of major figures, movements and strategies of representation of place in contemporary photography, followed by discussion. Participants in this workshop are invited to submit one photograph for use in the workshop by 6 August: a PC-compatible jpeg-format image, in a 1024 x 768 pixel file to [email protected]. Allen is an award-winning curator who has worked at the Agnes Etherington Art Centre since 1992.

Thursday 4 September 7 – 9 pm

Preston Schiedel, Kingston photographer and teacher, will discuss the technical and philosophical underpinnings of his photographic series of local subjects, exemplified in his stunning black and white series, Where the Waters Meet. Schiedel’s work will be featured in a group exhibition, Infra-Ordinary, on view at the Modern Fuel Artist-Run Centre, 2 August – 6 September.

Wednesday 1 October 4 – 6 pm

Edward Burtynsky, internationally renowned Canadian photographer, will discuss the goals and methods that shape his practice. His large-format photographs document the impact of human activity on the environment and deliver an encounter with the seldom seen mechanisms reshaping our material world. The exhibition Edward Burtynsky: Material World is on view at the Agnes Etherington Art Centre 28 June – 19 October.

14 November – 7 December

Workshop participants will be invited to submit digital folios of up to 10 works for consideration for the Exposures showcase exhibition of Kingston photography. Curator Jan Allen will draw on submitted work to develop a thematic show on the changing economy and environment of Kingston, its urban centre and the surrounding region. The exhibition will focus on recent work, dated 1990 or later.

Three prizes will be awarded by special jurors; winners will be announced at the opening reception, Friday 14 November 7 – 9 pm. The Exposures exhibition will also be presented on-line.

Exposures is supported by the Kingston Arts Council and the City of Kingston and is presented in conjunction with the exhibition Edward Burtynsky: Material World on view at the Art Centre, 28 June – 19 October. TD Bank Financial Group is the presenting sponsor of Edward Burtynsky: Material World.

For further information go to

Monday, July 21, 2008


Knock on Woods: A Roving International Residency

Here's your chance to do an International Artist Residency without suffering jetlag or airport taxes! (Unless, of course, you want to suffer them.)

Modern Fuel Artist-Run Centre is seeking participants for Rotterdam-based artist Yvette Poorter’s mobile residency program KNOCK ON WOODS. Knock on Woods International Residency and Dwelling for Intervals is a constructed space that dedicates itself to offering local and international artists a sense of rootedness and respite from a hectic and bewildering globalism. The residency is a para-site that consists of a rustic tent-cabin and a forest of tree-flags that can be and has been situated almost anywhere.

From the 9th to the 13th of September, Knock on Woods will be situated at the Artel in Kingston, Ontario. Artists are invited to do a residency with the para-site for a minimum of four and a maximum of 24 hours. Work produced during the residency will be exhibited in Modern Fuel’s State of Flux Gallery. Proposals are being accepted from now until 29 August 2008 for the Kingston site. Selected residents will be responsible for their own transportation, food and materials.

Availability is limited, so ACT NOW. DEADLINE: August 29, 2008. Proposals can sent to Yvette Poorter c/o Modern Fuel at [email protected] or send/bring hardcopy proposals to:

Yvette Poorter
c/o Modern Fuel
21A Queen St.
Kingston, ON
K7K 1A1

Artist Yvette Poorter will present a screening/talk at Modern Fuel on Saturday, September 13 at 7pm as a part of the opening reception for the exhibition Forest Station featuring the work of Poorter and installation artist David Ross from 13 September to 18 October 2008 at Modern Fuel.

For more information on Knock on Woods, check out the website at:

Or contact:

Modern Fuel Artist-Run Centre
21A Queen St, Kingston, ON, K7K 1A1
(613) 548-4883
[email protected]

Saturday, July 19, 2008

Domino Theatre tries to preserve signatures

The writing's on the drywall: Theatre tries to preserve signatures

Kingston Whig Standard, July 19, 2008

The history of domino theatre is written on its walls. Now that Domino is vacating its home of 33 years, steps have been taken to preserve that history.

There have been 231 productions while Domino has been in residency at 370 King St. W. At the end of each production, cast and crew have signed a part of the wall in the Domino dressing room. If they were part of the sound and lighting crew, they signed the walls of the lighting booth.

Pieces of sets and props have also been hung from the ceiling and placed around the dressing room, which has become a jungle of memorabilia.

The building has been sold by the city to Queen's University and Domino will officially

vacate the premises Monday. For the next two seasons, Domino will put on its plays at the downtown Baby Grand and have set-building, storage and rehearsal space at 745 Development Dr.

A recent visit to 370 King St. W. saw the stage stripped and the audience seats gone, along with all the lighting and sound equipment. Andrew Roberts laboured on, carefully working to preserve the history of those walls.

"I want to see the storied past preserved and shared for future Domino audiences," says Roberts, a recent Domino recruit who has been designing and building sets for the last three years.

"I didn't want to see it bulldozed into a dumpster."

The job has proven to be fraught with difficulties. The walls, for example, did not want to be moved. They're basically just drywall, but Roberts says whoever put them in - a Domino volunteer when the group originally transformed a neglected building into a theatre - used three times too many fasteners and used fasteners that are nearly impossible to extricate.

Roberts worked for a couple of hours trying to remove a part of the wall that held the autographs from Hard Maple, written by the late Kingstonian Bill Harding, which was performed for the first time in 1976 in Domino's second season there. After almost prying the few square feet of drywall loose, Roberts wasn't sure he'd be able to save it.

Roberts was becoming resigned that, in the end, the walls could only be photographed. As it was, some of the names had been lost a few years earlier when the dressing room was redesigned. A sink now covers some of them and a wall was recovered, erasing more of them.

Signatures were often signed on unique items. The cast and crew of Harvey (performed last fall) autographed a large stuffed rabbit (since the main character contended his best friend was an invisible giant rabbit).

A pair of men's underpants were used for Frankie and Johnny in the Clair de Lune, a 2004 production, that was racy by Domino's standards since it opened with a nude bedroom scene.

There's a model airplane from last year's production of All My Sons (plane crashes played a pivotal part in the plot) and since many plays feature drinking on stage, there are a variety of liquor bottles. There's even a phony tombstone courtesy of the 1985 production of Journey Into Silence by the late MacArthur College of Education professor Andrew Orr.

If you look carefully, you will find the names of actors who have gone on to professional careers. One of Domino's first shows at the new location was A Delicate Balance performed in 1976. Its director was a youthful Mo Bock, now a stalwart at the Thousand Islands Playhouse in Gananoque.

His cast featured Carolyn Hetherington, who, in middle age, began a career as a professional and is returning to the Playhouse this fall to perform in the acclaimed play Half Life; and Norma Edwards, who also had a mid-life acting career, often appearing in popular commercials.

Jacob James, who spent several years at the Stratford Festival, seemed to be on stage continually in Kingston when he was a high school student, and was the lead character in a trio of Neil Simon autobiographical plays including Brighton Beach Memoirs in 1994.

Respected Canadian playwright Judith Thompson acted in a couple of Domino shows as a high school student, but she is not the Judy Thompson inscribed on the walls for a couple of shows in the '80s. (That Judy Thompson was a stage manager.)

Sitting in that dressing room when you were waiting to go on stage, the walls afforded a welcome distraction. I acted in seven plays and directed five others in a 12-year span between 1978 and 1990. Sometimes it seemed like the memories were bursting from the walls.

When visiting with Roberts, I noticed a door that held the autographs from my first show at Domino, Wait Until Dark, in 1978. In later years, someone, who apparently didn't like one of my Whig-Standard theatre reviews, wrote over my name "He is a poop."

Wait Until Dark is the story of a blind woman terrorized by three gangsters, and I played the good one, who, for his troubles, was stabbed in the back every night and had to fall down three stairs.

Looking at the door, I remember how the director, the late Valerie Hirschfield - who was later responsible for getting me to direct - kept insisting that I act tougher; and how Sandie Cond, playing the blind woman, was able to cry on demand. (She told me it was looking up at the stage lights that made her eyes water.)

Then there was the time that my fellow gangster, played by Carl Cogan, had to make a sandwich on stage but someone forgot to change the sandwich meat, which had turned green with mould.

Everyone who's been involved with a Domino show has a story or two like that. When you're involved with community theatre, it's part of the game to improvise when things go wrong. Being kicked out of their home has made Domino do the biggest improvisation of all.

And, yes, the tradition of signing walls will continue, says Domino chair Liz Schell.

"It'll probably be on Development Drive, until we find a new home," she says.

"We'll probably sign them on something that can be attached to the wall so we can take it with us."

Friday, July 11, 2008

The John Hobday Awards in Arts Management


The John Hobday Awards in Arts Management are made possible by a $1
million donation from The Samuel and Saidye Bronfman Family Foundation.

Annually, two $10,000 awards will be presented and will allow recipients
to enhance their own professional development by taking part in a
recognized program, seminar or workshop; or to pass their knowledge on
to the next generation as a mentor for another arts administrator
outside their own organization. The awards are intended for established
and mid-career arts managers.

The application forms and guidelines can be found on the Canada Council
for the Arts website at

Library and Archives Canada: a new contract is reached

Following consultations with CARFAC and RAAV, Library and Archives Canada has developed a new contract to ensure that fair practice is upheld in their dealings with artists. More, see:

Sunday, July 6, 2008

Call for artwork for Upping The Anti

Upping The Anti, a journal of theory and action, seeks artists to contribute to the upcoming and future issues of UTA. We seek artists whose work aligns with the anti-capitalist, anti-oppression, and anti-imperialist politics of the journal.

In particular, we seek work relevant to themes and issues covered in our upcoming issue, which will feature several pieces on Palestine and Palestine solidarity organizing. To see the type of artwork UTA has published in the past, please visit (each journal features a piece of artwork on the back cover, and a small piece of that work on the front cover).

Please send sketches, portfolios, and ideas to [email protected], with ARTWORK in the subject.

We look forward to hearing from you.
UPPING THE ANTI : A Journal of Theory and Action

If the articles in Upping The Anti inspire or enrage you, if they have been useful (or not) in your organizing work, or if you have something to contribute to an argument on our pages, please consider writing us a letter. We print letters up to 1,000 words and reserve to the right to edit for clarity, spelling, and grammar. Email letters to [email protected].

Wednesday, July 2, 2008

Copyright Bill Represents Status Quo for Visual and Media Artists

CARFAC Ontario - By Artists. For Artists.
June 26, 2008

(TORONTO) There is little visionary thinking behind Bill C-61 – An Act to Amend the Copyright Act of Canada in regards to the visual and media arts. The federal government will latch on to the fact that they have updated the rights of photographers so that they now align with other creators - CARFAC Ontario had actually suggested that this update be broadened to include printmakers and portrait artists.

“So much attention was paid to the needs of visual and media artists in the platform document that was collectively assembled by the Creators Copyright Coalition yet there is so little in this current bill that addresses those concerns,” said Julianna Yau, CARFAC Ontario Board Secretary.

As an example, jurisdictions like the State of California are embracing the resale right or “droit de suite” which gives visual and media artists a right to a percentage of the sale price that is paid to an artist when one of their works is resold by a gallery or other purchaser. North America has generally lagged behind the European Union which in 2001 issued a directive requiring member states to institute the “droit de suite” right in their copyright policies. In the United Kingdom alone the Designers and Artists Copyright Society (DACS) has collected £5.2 million (approximately $12million) in resale royalties for over 1500 artists since February 2006.

It is also disappointing that wording around the Exhibition Right was not strengthened to oblige publicly funded exhibitors to pay visual and media artists for all uses of their work. This is the sort of revision that will likely be allowable during the upcoming consultative process.

For more information about Bill C-61 visit:

For more information about the Creators Copyright Coalition’s Platform on the Revision of Copyright visit:

Download this Press Release in PDF Format:

CARFAC Ontario is the association of professional visual and media artists in Ontario. We have worked for 40 years to promote the material and moral welfare and rights of visual artists, including legal, economic, and physical health. We believe that artists, like professionals in other fields, should be paid for their work and share equitably in profits from their art practice. The work of CARFAC Ontario is to develop policies, publications and services that assist artists, galleries, curators, art patrons and anyone with an interest in creating a society that supports visual and media artists. Working, professional visual and media artists actively govern CARFAC Ontario. As artists, we understand the needs of artists and have developed services and programs to assist artists at every stage of their careers.