Letter from Lynne Heller
To be honest, I found it hard at first to get a handle on exactly what Adelheid was asking - “what kind of support had I been given to exhibit my work?” Most of my exhibiting experience has been in Canada for 15 years in extremely varied circumstances. But this letter is about my latest show – a good experience from start to end!
From a Canadian perspective support for the arts has been eroding along the American, ‘private enterprise rules’ sort of philosophy for a number of years. But when I compare my experience to my friends’ in the US, I guess we are still in better shape – there is public support here that seems to astound Americans. For starters there is a system of small public galleries throughout Canada. The ones I know best are the Ontario galleries, particularly in the more populated south. They are sometimes associated with the public library in town. Rich towns typically have better galleries but some places inexplicably have developed very sophisticated exhibiting venues. They are generally supported by government grants and municipal support. They sometimes have to fundraise or run workshops etc. to raise other money but I don’t think too much of their time is taken up this way.
Simcoe is a little town in southwest Ontario. It used to have a thriving tobacco industry but now the government is encouraging the tobacco farmers to switch to ginseng (somehow doesn’t have the same punch). They have had an arts centre for years, a large old house that was donated specifically to be a visual arts centre, The Norfolk Arts Centre. They have a permanent collection, several small galleries and room for workshops and classes. I was invited to show there by a curator who knew my work from previous shows.
Concern #1: How am I going to get the money together to make this thing happen.
When you know you have an upcoming exhibition in Ontario step one is to apply for a grant from the Ontario Arts Council. This is done through what they call 3rd party recommenders, in my case the curator at the Textile Museum in Toronto reviewed my application and recommended me for a $500. grant. The gallery itself pays hanging fees for a show. Typically the venues try to follow a fee schedule set out by a national group called CARFAC, a visual artists’ union. The Norfolk went through some tumultuous times financially over the last few years and are now rebuilding their balance sheet. They were only able to offer a hanging fee of $600. I believe the CARFAC schedule suggests a fee of $1340. for a solo show. As well the gallery plans an artist’s talk at the time of the show opening. They pay the artist $125. along with a daily rate if you give a workshop.
Worry #2: How am I going to install the show.
Most of my shows that have appeared in public galleries in Canada have been installed by preparators. It is really a joy to work with someone who installs professionally. Generally I’m at the gallery for a few days directing the installation. The Norfolk’s installation is done by the curator on account of their financial crunch. She worked in tandem with me and another assistant. The show took four days to install. Whenever I was in Simcoe the gallery would supply me with lunch and transportation. When it came time to take the show down I spent another day in Simcoe. At other venues I have often not had to travel back to the gallery but rather the pieces have been shipped back to me.
Anxiety #3: Is anyone going to come to see the work.
For publicity the Norfolk offered a mail-out invitation, advertising through their newsletter and ads placed in community newspapers. It is a small community so my expectations were scaled down. But the night of the opening and artist’s talk surprised everyone with a full house. The thing I’ve noticed about smaller towns is there is a lot of support for what is going on because there aren’t quite the same distractions. People were fascinated, asked a lot of questions and best of all, hung around to really look at the work.
The curator wrote about the show as well. She and I had hoped for a full catalogue and we are still pursuing that as a possibility while trying to tour the show. Due to the financial crunch for now we have printed out the curator’s essay on a full colour folded brochure for people to pick up in the gallery.
The Simcoe experience was really warm-hearted, fun and generous. Typically, work is not offered for sale at the public gallery but one of the board members asked if she could purchase a piece. I asked the director if they wanted a percentage of the sale price but they said not to worry.
The gallery space is quirky, intimate, an old coach house from the original estate, but suited the show. I went quite a few times to see it and check out how the interactive work was progressing. It was hard to drag myself away from the gallery because of all the good feelings I had for the people there and the space. The guest book was full of comments and thoughts. The curator told me stories about how people were relating to the interactive work – a piece where people were encouraged to shred hateful documents like rejection letters, bills, tax assessments etc. into colourful confetti. (See www.lynneheller.com/shred)
I can’t really think of anything else the gallery or people of Simcoe could have done to make my exhibiting experience any better but in a parting surprise, the gallery purchased one of the pieces for their permanent collection—icing on the cake.
Lynne Heller
Toronto, ON
Canada