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Petition Tag - art
1. Get Art Competitions Back in the Olympics! 
From 1912 to 1948, art competitions divided into five categories (sculpture, music, architecture, painting, and literature) made up a portion of the Olympics. Medals were awarded for works inspired by sports.
Unfortunately, artists were thought to be professionals, while athletes were required to be amateurs, so they(the art competitions) were removed from the competition.
2. Support Second Saturday Hanalei
If you have ever attended a Second Saturday Hanalei (SSH) event and enjoyed yourself, please sign our petition to ensure its survival. It has been running successfully for over two years, having grown, evolved and adjusted accordingly to take into account any concerns by retail tenants of Hanalei.
Second Saturday Hanalei is a volunteer-run, art-focused community event. It’s purpose is to build a healthy community, in part by strengthening the connection to traditional Hawaiian values and implementing them wherever possible in contemporary life.
SSH provides a dedicated space and time for the community to gather together, watch movies, listen to local musicians and view local artists and their work. The event has become a dependable gathering for the north shore’s residents and visitors; our fun night to meet and socialize and for the art community to showcase, share and promote their work in a family-oriented environment.
Apparently now Second Saturday Hanalei cannot be held in the Hanalei Center, the grassy are where SSH erects the movie screen and we gather to view and mix amongst ourselves. This location is the best infrastructure for the event. It is a safe and centralized spot that is safe for pedestrians and children and can be seen from all around Hanalei. The coordinators are committed to handling and addressing any problems or issues the Center has faced as a result of SSH.
3. Save Fine Arts Programs in Hartland Schools
Hartland Consolidated Schools has unassigned all fine arts teachers at the elementary level and plans to have one music teacher and one art teacher cover two elementary buildings.
As a result students at the K-4 level will only receive one semester of art and one semester of music per school year.
4. Extend Second Saturday Art Walk Hours
Regarding street artists and vendors at the Second Saturday art walk. These hard working artists make most of their money on this night - and used to make most of it between the hours of 8 and 10 pm.
With the art walk closing at 8 pm - it has greatly impacted many people. The customers coming in through the art walk are also disappointed that they don't get done with dinner in time to come out and buy.
During the Summer, many people will not come out until the later hours due to heat, thus impacting artists even more.
5. Keep the Art
The school board and administration at Hobson Public School in Hobson, MT (http://www.hobson.k12.mt.us/joomla) is calling for the need to eliminate art programs in the high school curriculum.
They feel that the art program is an excuse for students to avoid doing actual work. However art has proven to be therapeutic and involve deeper trains of creative thought, and encouraging creativity in students is one of the reasons that keeps them coming to school. Art programs have proven to reduce stress levels in students as well as give them an outlet for necessary creative thought.
Many schools in cities across the country have eliminated art programs and faced the consequences of higher drop out rates. Since art has therapeutic effects such as eliminating anxiety and lifting depression, as well as rejuvenating the mind and body; Montana (who has the highest teen suicide rate in the nation) should utilize the effects art programs have on teenage minds.
6. Stop Dog-killer from Creating Sculpture for NY Public Library
Artist Tom Otterness has been commissioned by an unnamed donor to sculpt bronze lions at the Battery Park Branch of New York Public Library for $750,000. In 1977, Otterness was involved in another art project. He bought a shelter dog, chained it to a fence, shot it to death and filmed the murder in a movie he called 'Shot Dog Film.'
This crime has tainted any work he shows, publicly, and it would be a disgrace for the NY Public Library to let this project proceed.
7. Healing Through The Map Project
The Map workshops are facilitated by Wisdom in Your Life Enterprises and provide a set of practical tools for improving self-care. The Map focuses on helping participants to be more aware and manage their mental and emotional state so that they can better take care of themselves and others around them.
The workshops are hands-on and suitable for Elders, health professionals and community members. Through art, music, stories, pictures, dance and acting participants learn how to become strong in themselves, their culture and their family.
8. Let it be Understood that the Film and Video Room is a STUDIO
Within the campus of Wimbledon College of Art, there is only one studio which is at all suitable for use as a film studio.
In recent years the college has seen a vast increase in the number of students wishing to create moving image work both on the specialised Print and Time-Based Media pathway as well as in Painting, Sculpture and the school of Theatre. However, this studio is constantly being given over to staff for meetings, presentations, tutorials and other such activities which are far more flexible in their mobility.
It is not necessary for these activities to take place in this studio and there are a range of far more suitable spaces in the college (e.g. the MEETINGS room). Time and time again students are being ousted from the 'specialist' film studio and having their projects ruined for the sake of staff-led activities.
This must change.
9. Save Le Corbusier's Chandigarh
The Indian city of Chandigarh is one of the world’s greatest architectural treasures. Described by its architect Le Corbusier as “my crowning work”, it is an exceptionally ambitious and successful experiment in urban planning that has enriched the lives of the many people who have lived and worked there.
Le Corbusier worked on the design, planning and construction of Chandigarh with his cousin Pierre Jeanneret and a team of international architects from 1950 until his death in 1965. The result is the first planned city in India with beautiful green spaces and some of the 20th century’s finest buildings.
Their work at Chandigarh is now imperilled by the removal of artifacts designed by Le Corbusier, Pierre Jeanneret and their team, including public property. Many of these artifacts, such as furniture, lighting, carvings, architectural drawings and models, have subsequently been sold by international art dealers and auction houses. A manhole cover from Chandigarh sold for over $24,000 at an auction in Paris in November 2010.
If the plundering of Chandigarh continues, Le Corbusier’s vision of the city will be destroyed. This article in The Guardian newspaper explains the gravity of the situation:
http://www.guardian.co.uk/artanddesign/2011/mar/07/chandigarh-le-corbusier-heritage-site?INTCMP=SRCH
A group of local architects and art historians led by Manmohan Nath Sharma, who was Le Corbusier’s first assistant and later chief architect of Chandigarh, is campaigning to preserve the city’s architectural integrity.
You can help their campaign by signing this petition to urge the Indian government to:
- lobby UNESCO to make Chandigarh a World Heritage Site
- impose tighter controls on the removal of public property from Chandigarh
Your support could help to Save Le Corbusier’s Chandigarh.
10. Save the London Lesbian and Gay Film Festival
2011 marks the 25th anniversary of the London Lesbian and Gay Film Festival. It is one of the largest and most successful film festivals in the UK, with annual attendances of 28,000, and one of the UK’s most significant LGBT cultural events.
During this time the festival has played a vital cultural role, bringing audiences together to debate and discuss an extraordinary diversity of important work. It provides a space and platform for emerging talent, for provocative and political films, for innovation. Very little of this filmmaking can be seen in the UK outside of the festival. The BFI is to be congratulated for 25 years of commitment.
However, this year’s festival will be a shadow of its former self, with a radically cut-down programme of 6 days, rather than 14 and a substantial reduction of the activities and facilities that have made it an internationally acclaimed event. Of particular concern is the loss of the annual tour of festival highlights that ensured that the festival was enjoyed by audiences across the UK.
With 15% cuts to funding as a result of the government’s spending review, the BFI is necessarily having to tighten its belt. As such it’s understandable that some cuts need to be made to its activities. However, we are deeply concerned that the substantial cuts WELL ABOVE 15% to the 2011 festival will hinder this year's success and are a move towards the BFI severing its responsibilities for the event. Few festivals thrive - or indeed survive - without the support and commitment of a major cultural body. If the BFI was to drop the LLGFF we fear for its future.
Furthermore, we understand that the BFI will reviewing the future of the festival in April after the 2011 event and we urge Amanda Nevill (amanda.nevill@bfi.org.uk) Greg Dyke (greg.dyke@bfi.org.uk) and Board of Governors at BFI, Ed Vaizey (vaizeye@parliament.uk) and Boris Johnson (mayor@london.gov.uk) to ensure that:
The BFI commits to organising and hosting the annual LLGFF as an integral part of its cultural programme.
The BFI commits to ensure that the festival reaches out to audiences across the UK through a tour of cinemas or by making films available through its online platforms.
The BFI explores ways to reduce expenditure while maintaining the integrity of the festival’s programme, and in particular safeguards such vital elements as length of programme, pay for the festival curators, some industry services, and a budget to help filmmakers attend the Festival to present their work.
The BFI explores new avenues for support from individual donors.
The BFI considers the impact on its own membership base (25% of BFI members book tickets for the LLGFF) if it was to drop the festival.
11. Save The Arts! (Music, Theatre, Dance, etc.)
Our petition is stating that we want funds to go the arts, not just the sports.
At our school, funds are being taken out of the arts programs (Band, Show Choir, Art Classes) and being put into sports.
12. LES ARTISTES CONTEMPORAINS PLASTICIENS SONT EN DANGER
La condition économique et sociale des artistes plasticiens en France est dramatique et n’ont même plus accès aux reliefs d’une société sans âme. Sans revenus ni soutien, la plupart d’entre eux sont au plus bas des minimums sociaux et n’en peuvent plus de se faire expulser, de ne plus pouvoir travailler, de vivre le ventre vide.
Aucune structure n’est capable de leur apporter la moindre aide car in-considérés au delà de tout respect. Les artistes subissent à la fois l’exclusion économique, la censure de fait de l’action culturelle, des médias et des politiques. Tous sont sortis de tous les rouages sociaux sans qu’aucune voix ni la moindre main se penche sur leur réalité.
Je me permets de rappeler que l’absurdité de cette situation est cruelle. Paris et les grandes villes de notre pays témoignent et se sont construits de leur présence. Les peintres et les sculpteurs ont offert à nos villes une belle part de leur identité, ont aidé à humaniser leur rayonnement international. Nous ne pouvons que les remercier et leur montrer notre attachement pour ce qu'ils ont donné. Musées et éditeurs, institutions et conservations, écoles, galeries, commerçants, quartiers et noms de rues témoignent et se nourrissent de cet héritage.
Aujourd’hui, tous les fruits économiques liés à notre art sont dans les mains de la spéculation ou de l’organisation sans que le moindre regard soit porté à la création contemporaine. Les grandes sociétés s’organisent en fondation et captent le 3/1000 de leur chiffre d’affaire pour s’aménager une vitrine culturelle qui n’est qu’un outil spéculatif de détournement d’argent social. Les grands musées nationaux se nourrissent des dations et des donations pour déployer une machinerie de spectacle et de merchandising qui n’a comme seule véritable but que de faire de l’argent à leur seul profit. Des armées d’experts, de conservateurs, de décorateurs et autres conseillers hantent les couloirs de la république avec comme seule action de perdurer leur propre activité. Tout ce qui pourrait aider à la création et surtout à ses acteurs est capté, siphonné par une prédation institutionnelle qui ne cherche qu’à être vue sur la page de garde des médias.
Mais comment peut-on imaginer une société sans artistes, seraient-ils plus dangereux que la peste et le choléra réunit ? N’y a-t-il personne pour se lever et aider les artistes à se faire respecter ? Les sources de revenus naturels existent pourtant en dehors du seul commerce.
Le droit de représentation, loi s’il en est, (code de la propriété intellectuelle Chapitre II : Droits patrimoniaux art L 122-2) est bafoué par les sociétés, les galeries, les administrations, collectivités locales et associations opportunistes. Mais oui bien sûr, il est légitime de montrer ses œuvres, d’en obtenir un revenu et de le revendiquer sans faiblesse. Est il anormal pour un musicien, un comédien, un animateur de se faire rémunérer leur prestation.
L’art contemporain est totalement absent des grands médias et pourquoi donc ? Simplement que tout ce joli monde se refuse aux droits d’auteur et préfère s’en tenir aux artistes décédés depuis plus de 70ans. Vive l’art moderne et la liberté d’expression!
Le droit de suite (code de la propriété intellectuelle section 2 Article R122-2) est partiellement appliqué, pris en partie par le ministère de la culture, sous la bronca de marchands qui ne se sont jamais inquiété de la condition de l’artiste. Qu’en pense la caisse des dépôts et consignation qui cumule cet argent frais rarement réclamé par des moribonds.
Et le reste, la foison des sociétés d’auteurs, activistes juridiques et financiers sortis des grandes écoles de commerce, qui s’organisent pour capter la manne collective liées aux droits d’auteurs (copie privée, supports numériques vierges, répartition sur les flux numériques qui ne cessent de se multiplier.
Autant d’acteurs économiques et sociaux qui se fichent totalement de la condition de l’artiste, bien cachés derrière une professionnalité « culturelle » et quelques discours langue de bois. Les artistes n’ont que faire des beaux discours. Ils veulent simplement retrouver la dignité. Ils revendiquent le droit de vivre de leur art par une application systématique et universelle du droit de présentation. La recherche artistique nourrit la force vitale des humanistes et est la clef du respect de l’individu.
Les artistes ne veulent plus être pillé et soumis à l’inculture du seul commerce. Nous comptons sur vous pour diffuser très largement ce texte. Nous vous invitons à signer nombreux cette pétition afin de faire entendre haut et fort la voix des artistes contemporains et de leur amis.
Cette pétition est la disposition de tous ceux qui voudront bien se faire connaître auprès de l’administrateur du site www.wwpas.org
13. Tell the Smithsonian to Stop Censoring Gay Artists
On Nov. 30, 2010, the Smithsonian Institution (USA) removed "A Fire in My Belly," a work of video art by gay artist David Wojnarowicz from the National Portrait Gallery, caving in to a 2-day pressure campaign by anti-gay groups and politicians, who threatened the institution's public funding. (Watch censored video here.)
Ironically, the work was part of an exhibit highlighting the marginalization of gay people, called "Hide/Seek," the first such exhibit in a public museum in the United States. (See www.hideseek.org for more information.)
Museum Officials Caved In to False Charges, Censored Work
The "objectionable" content was 11 seconds of a 4-minute video; the brief imagery within the larger work consisted of a crucifix crawling with ants, an image of the late artist's feelings of abandonment and isolation as he was dying of AIDS in 1980s America.
Anti-gay forces knowingly mischaracterized the work as "an obvious attempt to offend Christians during the Christmas season," even though the exhibit opened in October 2010 and is scheduled to run through February 2011.
Protesters Banned From Museum
When free-speech protesters attempted to restore the art to the museum, they were SILENCED, DETAINED, and BANNED from all Smithsonian facilities. (Watch the protest video here, and read the news coverage here and here.)
Smithsonian Continues Long Tradition of Silencing Gay Americans
Just as gay- and AIDS-related art was censored by the U.S. government in the 1980s, it's still happening today. AND WE REFUSE TO BE MADE INVISIBLE AGAIN.
Tell the Smithsonian -- which is part of the U.S. government -- that there is room in America for ALL people and ALL points of view.
Tell the Smithsonian to stop censoring art!
14. Save Visual Art in Leicester
Petition against the plans to permanently close The City Gallery in Leicester and reduce all public contemporary art provision in the city.
Leicester City Council has now drawn up it’s proposed budget for 2011/12 to 2013/14 (http://www.leicester.gov.uk/budget2011/) It has also submitted a new report to the Overview & Scrutiny Management Board (See proposal CS 05 on page 17 http://www.cabinet.leicester.gov.uk/mgConvert2PDF.aspx?ID=24432) meeting on the 3rd February prior to proposals being potentially approved by Cabinet on 21st February and Council on 23rd February.
These new plans are similar to those submitted back in early December 2010 and result in funding for the City Gallery (and therefore contemporary art in Leicester) reducing from the current 2010/11 amount of £311,000 to £69,000 by 2012/13 – a 78% cut.
Whilst some of the details have altered slightly from the plans submitted to the Overview & Scrutiny Management Board in late November 2010, the substance of these proposals remains the same. The cut is still massive and leaves Leicester without any dedicated space for contemporary arts. Leicester is due to be the first city in the country to cut is only contemporary art gallery.
Below details the petition drawn up on 30th November 2010 based on the published proposals to the Overview & Scrutiny Management Board (30th November 2010), since withdrawn (7th December) then resubmitted with slight alterations and no other options (27 January 2011).
Our objections all these plans stand as they were with two minor alterations:
Objection point 5 has been given more clarification in the new proposal ‘CS 05’ (reduction in FTE posts from 6.24 to 2) but still does not make clear cuts to other workers (i.e. Educational project leaders & helpers).
Objection point 6 is now a £69k budget rather than the £34k budget, still a radical cut and still resulting in reduced contemporary art offer and exhibition space in New Walk Museum.
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A report has been submitted to the Overview and Scrutiny Management Board, of Leicester City Council, prior the their meeting on 7th December with a recommendation to: “Integrate contemporary visual art services within the exhibition programme and overall offer at New Walk Museum and Art Gallery.”
These plans permanently close The City Gallery, provide a radically reduced (financially by 86.7%) contemporary visual art exhibition & education programme for Leicester and lose around £126,909 of inward investment from Arts Council England per year.
Details of previous plans submitted in December can be found here: http://www.cabinet.leicester.gov.uk/mgConvert2PDF.aspx?ID=23614
We object to these cuts to services and seek clarification as to why:
• The options do not include a continuation of the current provision of exhibitions by City Gallery staff based at New Walk Museum, nor do they include cheaper development options either in the Central Lending Library or in other council or privately owned buildings. They are only options for large capital costs or large reductions in service.
• Options to work with other arts and/or education organisations within the city to provide a dedicated space for the display and education in contemporary art do not seem to have been explored.
• There appears to have been no consultation with current, previous and potential users of The City Gallery, or with other arts/education organisations within the city to determine to need and therefore the loss to the city if provision was radically reduced or completely withdrawn.
• Arts Council funding of £126,909 for 2011/12 will not be available without a robust programme of exhibitions - these proposals do not constitute a robust programme. Also and the option to apply for funding from 2012 onwards has been discounted thus loosing a potential investment into Leicester’s visual arts of £463,471 over four years (based on ACE 15% reduction on 2010/11 City Gallery funding).
• Under ‘Legal Implications’ Section 5.2.2 it states that: “Possible redeployment and redundancy issues for affected staff are identified in the report.” But these are not clearly identified in the report. The current number of staff, (full-time, part-time and sessional staff) are not referred to in the report and therefore a judgment on the implications of the loss of some or all of these by the Councilors at the Overview and Scrutiny Management Board is not possible.
• The proposed Option 2 budget of £34,000 per annum for the integration of City Gallery services to: “cover the staffing costs of exhibition, learning and community engagement support at New Walk Museum and Gallery.” With: “All other costs […] would be found from New Walk Museum and Gallery’s existing budget.” Would result in a loss of exhibition space and budget for New Walk Museums traditional program of displays, as well as representing in a reduced contemporary art offer, education offer and community engagement.
This petition is to ask Leicester City Council to immediately re-think these proposals and:
• Continue with current City Gallery services maintaining the 2011/12 funding from Arts Council England whilst a plan is developed for a sustainable and permanent space for contemporary visual art provision in Leicester.
• Consult with current and past users of City Gallery services, other arts/education organisations and key potential funders to determine the need for these services and how these needs can best be met within potential resources.
• Consult with Arts Council England and apply to the ‘National portfolio funding programme’ for funding from 2012 onwards (by the advertised deadline of 22nd January 2011).
• Clearly identify the implications on staffing including numbers of permanent and sessional staff that will be moved out of the organisation or made redundant.
Whilst it is acknowledged that with large cuts to local council funding as well as Arts Council funding new ideas must be thought of, we feel that these plans to not provide adequate arts services to Leicester. We are therefore feel duty bound to request that the plans be revisited with a view to finding new ways to provide contemporary visual arts in Leicester.
15. Allow a Private Tattoo Studio at 4612 Baltimore Avenue
Tattoo artists Eric Eaton, Kevin Riley, and myself (Dave Fox) are partnering in a private, appointment-only tattoo studio at 4612 Baltimore Ave in Philadelphia.
We are all well-known artists with large, appointment-based clientele, over 15 years each in the industry, and we are seeking to open a quiet studio where we can tattoo in an artistic and focused environment without the distractions of a walk-in tattoo parlor.
16. Stop Closure of Seyhoun Gallery, Tehran
Please sign this petition to keep Seyhoun Art Gallery, the oldest art gallery in Iran from closure by landowners who want to turn it into a restaurant.
Seyhoun Gallery is a Tehran landmark and home to many Iranian artists. The proposed closure of this, the oldest of Art galleries in Iran, not only deprives both artists and their audience of being able to expose and see works of art but it also sends a message of hopelessness to the artistic and cultural community in Iran.
Throughout centuries Iranians, too weary of politics, have chosen art as a venue for the expression of thoughts and feelings. With our love of culture and respect for artistic endeavor we have preserved our identity and our psychological sanity in trying times. Seyhoun Gallery is a symbol of the perseverance of Iranian culture against the vacillations of history.
Please sign this petition to keep this noble and much loved venue from closing. Let’s keep art alive!"
17. Save the Altona Bayside Festival
The Altona Bayside Festival which has been run for 33 years is very important to Altona, Hobsons Bay City and Melbourne's western suburbs as an annual community activity and for promoting arts and culture, sports and recreation. It has become an icon of the area.
Operation Recreation Inc. which has been organizing the Festival has some problems and will no longer run a Festival in 2011.
AN OPEN LETTER TO THE HONG KONG ARTS DEVELOPMENT COUNCIL IN RESPONSE TO ITS “RE-INVITATION OF PROPOSAL” FOR HONG KONG’S PARTICIPATION IN THE 54TH VENICE BIENNALE NOVEMBER 1, 2010
On October 29, 2010 (Friday), I received a phone call, followed by an email (Appendix available on my facebook and by request - yangy817@gmail.com), from the Hong Kong Arts Development Council (thereafter HKADC) regarding its decision to re-invite proposals for Hong Kong’s participation in the 54th Venice Biennale. As an “original applicant”, I was encouraged to resubmit.
I am motivated to write this letter mainly for the following reasons and concerns:
1. the discrepancy in terms of the type and amount of information in the email and on the HKADC website regarding “re-invitation” (http://www.hkadc.org.hk/en/content/web.do?page=EventsVB2010B);
2. the artistic- and cultural-political implications of the re-invitation in terms of what projects it implicitly favors now;
3. the quality (transparency, accountability, fairness) of the long-term public environment in which art operates.
19. Halt the Redundancies of Staff at Gray’s
We the students of Gray’s School of Art were concerned to hear of proposed staff redundancies at our Art School.
Staff at Grays School of Art were called to a meeting with Prof. John Watson, the Dean of Design & Technology on Wednesday 6 October 2010 and told that the Art School had a budget deficit and needed to make savings of £500,000 and these savings would be met through staff redundancies. They were told they would all receive the option of voluntary redundancy.
We are concerned that other options for saving money and funding the Art School have not been fully explored. Redundancy on such a wide scale will severely damage the quality of teaching that the school has always managed to provide.
In Aug 2009 I was approached by the council to discuss the possibility of me moving from the studio I have worked in for 10 years, at this point they suggested they would offer help with the move.
In March 2010 with no further discussion the council served me an eviction notice as if i was an illegal squatter. When I contested it they set a court date and are now trying to charge me over £1000 for their legal fees.
I have lived and worked in Haringey for over 30 years, building up a reputation as an international artist. I welcome youngsters to gain experience and have completed several community projects in the local area, leading to large scale public sculptures.
I believe I have been treated unfairly and undervalued as a creative force within the community. Surely the school would benefit from having a local artist nearby?
I believe I have been treated unfairly and undervalued as a creative force within the community and ask for support.
21. Help Get Ms. Flynn To Teach For Windsor Park Collegiate's Art Course!
Ms. Flynn has been teaching us art for about three years. She has been a part time teacher, filling in for Mrs. Sigmar, but was layed off in Fall, due to the new school year. Instead of Ms. Flynn, who has many information and knowledge about this topic Art, has been layed off for a teacher who knows nothing about Art. She's a history teacher for christ sake!
Let someone who has an Anthropology for BA with a minor in Geography, an MA in archaeology, a good portion of fine arts degree and also B. Ed, be the Fine Arts teacher for us students at Windsor Park Collegiate!
22. Endeavour 2010: Section 8 and Captain Cook
Section 8/ Cook Square in the Cook's Yard / Borough of Tower Hamlets, London, is an innovative cultural integration project by Dynacorp Ltd.
The proposal consists of two parts: the first part is a multifunctional venue for dancing, music, exhibitions, rehearsals, charity work, and the second is a public square dedicated Captain James Cook, who lived in the place.
The project is a local, private initiative challenging stereotypes of contemporary: entertainment, cultural participation and urban design. “Smart Growth” and “24-hours City” concepts are essential parts of the proposal.
The project stakeholders are local and international artists and activists, who dedicate their lives to modern arts, humanities and social evolution. The team is independent, able and willing to respond to the recent recession with passion and competence.
The petition addresses the Tower Hamlets Council, who is the most important decision maker in the development process. Without the Council and without public support we will not be able to give a chance to the ideas, works, and dreams of many people involved in this project.
You can make it happen.
Thank you,
Section 8/ Cook Square
23. Save The Stables Art Centre and Gallery
The Stables Art Centre and Gallery is a very successful small arts venue including exhibition space and meeting rooms. The building is a Grade 2 listed building and is situated in Gladstone Park, Dollis Hill, London NW2. The Arts Centre is administered by Brent Arts Council who obtain a grant from Brent Local Authority to cover the running costs. All other funds are raised separately to supprt the Art and Performance activities in and around the building.
This Grant has been removed suddenly and without warning. The infrastructure costs cannot be met and the building will close in the January 2011. We are campaigning for our grant to be reinstated forthwith.
24. Keep Rainbow Falls Unique!
On April 22, 2010 El Paso County accepted ownership of Rainbow Falls, more commonly known as Graffiti Falls. With the help of Tim Wolken, Director of the El Paso County Community Services, this area will now become an El Paso County recreational area.
Part of the Proposed Plan is to fix the eroding landscape, add pic-nic tables, and add a new historical sign. While these are all great, many are dismayed to hear that they also plan to cover up the artwork that has made this spot unique. It is this local art that has made this site incomparable to others.
This is a place for people to enjoy said scenery, and a creative outlet to the Natives in Manitou Springs. Now, this does not mean the gang tags and vulgarities, but the actual expressions which bring forth modern Pop Art.
25. Save SXSW
Due to the bad economy and rise in taxes it seems the government is trying to get rid of SXSW.
SXSW Music The SXSW Music and Media Conference showcases hundreds of musical acts from around the globe on over eighty stages in downtown Austin.
26. Save Sand Creek Schools Music and Art Programs
Due to recent budget cuts Sand creek Community Schools are reportedly cutting the music and art programs.
Although school funding is limited, these areas are integral components of our children's educational development.
27. Build a Legal Graffiti Wall in Charlottetown
Charlottetown, PEI is a small city with a growing graffiti scene full of talented artists. However, they have no way to express themselves or show their work legally without a legal graffiti wall.
When asked about building a wall in May 2009, Clifford Lee said he would never consider building a legal graffiti wall in the city. Our city officials need to understand that youth in Charlottetown need a wall to paint as an outlet, without the wall their creativity is stifled.
This petition is a message to Charlottetown's head officials: we artists have a lot of support in this city, it's not just us who want to see a legal wall! Many people in Charlottetown have seen how incredible graffiti can look if you give it a place to appear, and want to see what we can do. It's not expensive to build, and once it's done you will have a free art gallery that updates itself constantly.
Legal wall now!
28. Support to Istituto Superiore per la Conservazione e il Restauro
The Istituto Centrale per il Restauro (recently renamed Istituto Superiore per la Conservazione ed il Restauro) www.iscr.beniculturali.it was founded in 1939, based on a project developed by Giulio Carlo Argan and Cesare Brandi, to ensure that restoration and conservation activities would be carried out on a scientific basis – human and natural sciences – and to unify conservation methods applied to works of art and archaeological artefacts.
Cesare Brandi was its first director and the author of the first “Theory of Restoration”, a fundamental text for conservators throughout the world, now translated into numerous languages.
In the 70 years of its activity, the Instituto has played a major role in the international field of conservation and has influenced schools and conservation programs in many countries. The recent eviction and consequential precipitous transfer of the Institute to inadequate premises will compromise its role and existence, and will seriously damage the structure of Italian Cultural Heritage.
29. Support the New Gallery Lambton
Courtesy of the Sarnia Artists' Workshop, here are some questions and answers about the new home for Gallery Lambton:
This is info on the new Gallery 16 Questions answered
1. Why do we need a new art gallery? Isn't the space at Bayside Centre sufficient?
Over the past few years Gallery Lambton has experienced a growth in attendance by 75%. In its current Bayside Centre location however, Gallery Lambton is limited and has long suffered from many problems including: lack of visibility, limited and inadequate exhibition and programming space, issues surrounding climate control, insufficient & inadequate storage space and inadequate administration areas.
2. How many people use or visit the Gallery?
Currently, visitor attendance is approximately 20,000/year. This reflects a considerable increase in the past two years (20% each year), due to a renewed artistic vision which has resulted in an exhibition program that is more relevant to our community and more dynamic ancillary programming. After a surge in the first few years once the new Gallery is opened (where attendance could easily be double this number as a result of the novelty and curiosity effect) attendance is expected to settle into a new norm of approximately 25,000 visits annually. This is a conservative estimate based on attendance at public art galleries in similar communities.
3. Where is the new Gallery going to be located?
In the fall of 2009, the County of Lambton purchased the former Sak's Building and John Howard Society Building at the corner of Christina and Lochiel Streets in Downtown Sarnia for the new Gallery Lambton.
4. Isn't the Sak's Building in too bad of shape? Will it be new construction, or a renovation of the existing building?
Current plans call for the façade of the Saks building to be preserved. The interior of the Saks and the John Howard Building will be demolished and there will be new construction. The façade is just a 'skin'. The gallery will be a combination of three types of construction; historic restoration, new build and adaptive re-use on the second floor of the CIBC.
5. Is there enough space in that building for a new Gallery, and how is CIBC, the next door neighbor involved?
In total, the size of the new Gallery will be 17,400 square feet and this will meet all of the Gallery's needs. The CIBC has agreed to allow the County to use the second floor of their adjoining building for additional space.
6. Have you completed a study to ensure there is enough parking?
County Lambton staff consulted with the City of Sarnia staff. There are 510 free parking spaces and 24 free handicapped spaces available in the immediate vicinity of the new gallery. In surrounding parking lots there are an additional 673 regular and 12 handicapped parking spaces.
7. Why is it going to cost $9.2 million to build it, and why have some people claimed that the estimate keeps rising, from an original $6 million.
The County will not know the cost of building the new gallery until it reviews proposals from three proponents who are interested in the project. However, a report from two independent consulting firms over the past two years noted that a new gallery could cost anywhere between 6.4 and 10 million depending on the type of construction - new build or adaptive re-use.
The reason this estimate is more expensive than a traditional building is because an art gallery is a specialized building on top of which Gallery Lambton is a designated Category A Gallery. The Gallery has the privilege to collect and show significant works of art that have been identified by the Canadian Government as important pieces of Canadian Cultural property. In order to achieve this honor, the Gallery is required to meet a variety of strict building and operational standards which include high level environmental, lighting and security controls. In order to achieve these standards the facility will require highly specialized mechanical systems and the building envelope will require specialized treatment as well.
8. Shouldn't taxpayers' money be spent on more critical infrastructure or social programs in this difficult economy?
The funds that have been allocated for the project to date (3 million from the federal government and 2.6 from County Lambton) come at no additional cost to County Taxpayers. 1.1 million is part of the 3.3 million that came to the County through the "Investing in Ontario Infrastructure Grant". These funds have to be spent on Infrastructure. The County distributed that 3.3 million to Roads (680,000), to upgrading elevators in County social housing (470,000) and 1 million to preparing the site for the new social housing unit on London Road and 1.1 million to the new gallery. The other 1.5 million are funds that will be realized through lease hold savings over a 20 year period ….so again, these are dollars that are already designated to the gallery and cannot be allocated elsewhere.
The federal government's Economic Stimulus Program which has been set up to stimulate our difficult economy, recognizes Cultural Infrastructure as critical to the overall economic recovery of our country. The federal government in Ottawa awarded the County of Lambton $3 million in funding through the Department of Canadian Heritage's Canada Cultural Spaces Fund. This money is set aside specifically for cultural projects, such as the construction of a new art gallery.
Because this funding is part of the stimulus program, there are tight timelines connected to its spending. One third of the three million must be spent by March 31, 2010 the remainder by March 31, 2011, Therefore, the timing is right to move forward on this cultural project. Without this significant federal funding, the project just simply could not be completed. If this $3 million is not spent in Lambton County on this project, it will be spent elsewhere in Canada for a similar Cultural infrastructure project.
9. Why should a community even invest in 'cultural' projects?
First, investing in cultural projects provides cultural and social opportunities to residents living in Lambton County. This creates a healthy and balanced community. Secondly, investing in cultural projects provides an economic benefit.
Tourism will be a primary source of economic stimulation for Lambton County in the future. It is currently our 3rd largest industry. Located close to the waterfront, shops and restaurants, it will be a major draw in bringing cultural tourists and the accompanying economic benefits into the Lambton community.The Tourism Regional Economic Impact Model (TREIM),was used to assess the economic impacts of this project at both regional and provincial levels. It has shown that the new gallery will have a positive economic impact on Lambton County.
A projected 30 FTE positions will be generated during the construction phase and a projected 4 FTE positions will be created on a permanent basis by the time the new gallery is fully staffed.
Cultural infrastructure contributes to the enhanced level and type of quality of life in the community that in turn attracts the creative thinkers. These people invest in and start businesses, therefore generating jobs.
10. How does an art gallery help the local economy?
There could be many economic 'spin-offs' as a result of constructing a new art gallery. Here are just a few:
• Restaurants, bars & hotels (tourism & visiting artists)
• Surrounding shops and boutiques (tourism)
• Printing & design (catalogues, posters, invitations, etc)
• Shipping companies (art)
• Fees to artists, instructors, lecturers
• Internet technicians (pod casts, on line exhibitions etc)
• Videographers (pod casts, documentation etc)
• Caterers for openings, other receptions & functions
• Musicians for openings, other receptions & functions
11. What kind of exhibits will be in the new gallery? Will we see a big change from the current exhibits?
The gallery remains committed to offering a broad range of high level contemporary and historical, traditional and avant-garde exhibitions to the community. We are excited that the new space positions us to borrow work and exhibitions from some of Canada's leading art institutions, something we are currently unable to do.
12. How many pieces are in Gallery Lambton's collection and what is it worth? Will the permanent collection, including pieces from the Group of Seven, be on display constantly in the new building, since you will have more space?
Gallery Lambton has a collection of 1089 works of art. The collection is priceless to our community, especially to those original members of the Sarnia Women's Conservation Art Association who donated the first 16 pieces by Group of Seven artists and their contemporaries. However, in 2006 the collection was valued at $12.8 million. The collection will be re-appraised when it moves to the new Gallery.
There will be a designated gallery space to showcase work from our permanent collection at all times. No work from the permanent collection will be up permanently.
There are a number of reasons why it is not a good idea to permanently display pieces of the collection. Extended exposure to the elements including temperature, humidity, light and pollutants, even in a controlled environment, shortens the life span of the art. Second, there are over 1000 works in the collection that have been acquired for the people of Lambton County and for the country. These works were acquired because of their importance in the story of Canadian art and we are obligated to tell their story as well. Third, if work is always available, even work by the Group of Seven, it becomes ‘invisible’ over time.
13. How much will it cost to run and maintain this new gallery?
The County of Lambton provides an annual operating budget of $634,010 to Gallery Lambton. Based on financial analysis, the operating costs for the new gallery could increase by an estimated $202,000. These additional funds will come from a combination of revenue generating opportunities such as facility rental and framing services, an annual gifting fund and planned giving program to which local residents and corporations may subscribe, and government cultural grants and/or an increased municipal levy.
14. What is so special about Gallery Lambton that makes it different from art galleries in other locations?
The gallery's programming is based on the cultural dynamics of our community within the framework of the larger (provincial & national) arts community. Encompassing a wide range of art forms and art practices, from performance and video art to traditional media like painting, photography and contemporary ceramics, our programming builds audience and offers opportunities for artistic and curatorial development at both the local and national level. An exploratory attitude together with a desire and capacity to be immediately responsive to our community is what sets us apart.
By providing the opportunity for artists to develop new works specifically for our gallery (Peter von Tiesenhausen, Mark Laliberte, the emerging artist series etc.) our programming contributes to the field of visual art practice. Additionally, we have commissioned emerging curators to work with the gallery curator in the development of new exhibitions specifically for our gallery (Connecting to Collections 1&2, Black Holes). In this way Gallery Lambton is beginning to contribute to the academic research on Canadian art.
The programming is directly connected to the pulse of the community. By re-imagining how art can be presented and by exploring what constitutes visual art and culture, the gallery's programming challenges and extends the traditional narratives of visual art within our community through contemporary and historical programming. By having the flexibility to be responsive to the community, we are able to develop programming that resonates in the moment, for example the Connecting to Collections exhibitions in response to the confusion around the role of the public gallery as it relates to the way it works with their permanent collection.
15. Were members of the public involved in this process and who was involved in the decision making process?
Absolutely - members of the public were involved in the process. This project actually started long ago - in 2002. An advisory committee, made up of members from the general public, artistic, business and political community was put in place to support the gallery and in 2002, launched a strategic planning process focused on determining the level of commitment in the community for a public art gallery.
The strategic planning process determined that there was a high level of support and a clear desire to see the gallery re-claim a position of vitality in the region through the offering of a dynamic program of visual art and culture. There was unanimous recognition that, should the gallery re-claim this position, the gallery would need to relocate to a site that would offer increased access to the visual arts and where it could stand as a locus for a creative community re-vitalization.
Since 2007 the gallery has experienced a 75% increase in audience participation as well as a 57% increase in the number of exhibitions presented through the utilization of off-site locations and the front reception spaces.
With Lambton County Council's approval, Gallery Lambton commissioned a study, "Gallery Lambton Expansion Planning Study" to evaluate the potential for a new and improved Gallery in order to better meet the needs of County residents and future visitors. The study included a business plan, the basics of a fundraising plan and examined possible locations. It also solicited information from the public through interviews, focus groups and a public meeting. The needs of the gallery were also identified. This report was presented to Lambton County Council on February 18, 2009. At that time, Lambton County Council directed staff to undertake a Request for Proposal (RFP) process to determine potential sites for a new gallery.
16. How much money does the County of Lambton want to raise through community fundraising? Who is taking on that task?
Gallery Lambton has set a fundraising goal of $3.5 million.
A fundraising company by the name of Ketchum Canada is organizing the fundraising campaign and they have appointed a person to work exclusively on this project. The fundraiser is working with government officials, senior staff, and members of the community to develop the fundraising campaign.
30. Add the Arts to Core Curriculum
Schools that have removed the Arts from their curriculum due to being deemed "at risk" by the No Child Left Behind Act suffer even more. Studies have shown that graduation rates decrease with the elimination of the Arts.
That is why we should petition Arne Duncan, the U.S. Secretary of Education, to incorporate the Arts into those schools that have eliminated them from their curriculum.
