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HomeMy WebLinkAboutDSD-2022-299 - 2022 Artist in Residence AppointmentStaff Report Development Services Department www.kitchener.ca REPORT TO: Finance and Corporate Services Committee DATE OF MEETING: August 8, 2022 SUBMITTED BY: Cory Bluhm, Executive Director, Economic Development 519-741- 2200 ext. 7065 PREPARED BY: Karoline Varin, Program Administrator, Arts & Creative Industries, 519-741-2200 ext. 7912 WARD(S) INVOLVED: All DATE OF REPORT: July 14, 2022 REPORT NO.: DSD -2022-299 SUBJECT: 2022 Artist in Residence Appointment RECOMMENDATION: That Bangishimo Johnston be appointed as the 2022 City of Kitchener Artist in Residence as recommended by Public Art Working Group and Arts and Culture Advisory Committee: and further That the Mayor and Clerk be authorized to execute an agreement, satisfactory to the City Solicitor, with Bangishimo Johnston, outlining the obligations of the Artist in Residence appointment. REPORT HIGHLIGHTS: • The purpose of this report is to appoint the 2022 Artist in Residence. • The key finding of this report is that Bangishimo Johnston has been selected by the Public Art Working Group (PAWL) and recommended by the Arts and Culture Advisory Committee (ACAC) as the 2022 Artist in Residence. • The financial implication is artist honorarium from existing Arts and Creative Industries budgets. • Community engagement included consultation with PAWL, ACAC and Textile Magazine. • This report supports the delivery of core services. BACKGROUND: Established in 1995 as the first municipal program of its kind, the City of Kitchener Artist -in - Residence program aims to engage the community in the production of contemporary art that reflects community identities and supports the development of local artists. The program delivers on the understanding that meaningful engagement in the arts, and growth of the creative sector contributes positively to the dynamism, authenticity, attractiveness, and overall competitiveness of the City of Kitchener. *** This information is available in accessible formats upon request. *** Please call 519-741-2345 or TTY 1-866-969-9994 for assistance. Page 44 of 350 Link: Learn more about the City of Kitchener's Artist in Residence program. The annual program continues to emphasize a high level of community engagement such as workshops and events, exhibitions, collaboration with City and community events, programs and facilities, and participation on Public Art Working Group (PAWL), a subcommittee of the Arts and Culture Advisory Committee (ACAC). The artist -in -residence is provided with an honorarium as compensation for their residency project. The program is open to artists working in a variety of disciplines including visual arts, performing arts, dance, design, digital and media arts, folk and traditional arts, literature and spoken word, music, multidisciplinary works, opera, theatre, and musical theatre. To encourage proposals from artists from equity -deserving communities, over the years staff developed the program description and language to expand the eligibility criteria. While these efforts have resulted in some expansion of both the disciplines and backgrounds of the selected artists, staff and PAWG continue to prioritize the evolution of the program to address persistent barriers for local artists from equity -deserving communities. To broaden access to the program, PAWG recommended a partnership with Textile Magazine to offer the selected artist a mentorship opportunity and reach out into communities historically underrepresented in the program. Textile Magazine is a local publication founded on the goal of merging community work with writing and other artistic practices and publication. Textile Magazine has expertise providing local artists with a nurturing environment to support their artistic practice, a focus on centering the voices of artists who have been marginalized and showcasing diverse perspectives. REPORT: The annual call for proposals was advertised in the spring of 2022. Twelve proposals were submitted by the competition close at the end of May 2022. PAWG members assessed the entries based on: • Artist works in the literary arts and other art discipline; • Applicant is a regional artist or has a connection to Waterloo Region; • Artist proposal shows a balance of practice development, collaboration and some form of meaningful exchange with the community; • Demonstrated commitment to their craft; • A clear plan of how to adapt the proposal to a virtual delivery if needed; • Strength/professionalism of submission; • Feasibility of the proposed program; • Community engagement strategy; and, • Applicant would benefit from the mentorship relationship with Textile Magazine. After reviewing the submissions and meeting as a jury twice to discuss, PAWG reached consensus on June 28, 2022. PAWG selected Bangishimo Johnston as the recommended 2022 City of Kitchener Artist in Residence. Bangishimo Johnston is an IndigiQueer Anishinaabe originally from Couchiching First Nations located on Treaty #3 territory. They are an artist/photographer, community organizer and advocate for creating space for Black, Indigenous, and racialized voices to be heard. They hold a Social Service Work diploma from Lambton College (2010), a Bachelor of Social Work Honors degree from King's University College at Western University (2013), a Master Page 45 of 350 of Social Work degree from Wilfrid Laurier University (2014), and a Photography diploma from Fanshawe College (2021). They worked at the Waterloo Indigenous Student Centre at St. Paul's University and co-founded the Land Back Camp in Kitchener. In their work, Bangishimo focuses on bodies of Black, Indigenous, and racialized people. They use their photography to educate others by sharing stories of decolonization, resistance, and resilience. Their residency project, "The Medicines We Carry" includes the production of a series of large-scale portraits that engage the local Indigenous, racialized, and Black communities in their production: models, makeup artists, hairdressers, and assistants. The portraits, through their visual imagery, will explore the ancestral connection to the land, and the medicines carried to maintain this connection. These works will be displayed in a public exhibition where visitors will be able to interact with the photographs through a QR code, linking to audio and text narration about the portrait process and the traditional medicines used. Further, Bangishimo plans to collaborate with Textile Magazine to hold a workshop for emerging photographers to offer guidance and share knowledge to support the growth of their practice. A component of the 2022 residency is the opportunity for Textile Magazine to provide mentorship to the selected artist. As an emerging artist and oral storyteller, Bangishimo anticipates that working with Textile Magazine will strengthen their skill as a literary storyteller. This opportunity will support the creation of the written component of the work and provide them with guidance with the overall narrative of the photography series. STRATEGIC PLAN ALIGNMENT: This report supports the delivery of core services. FINANCIAL IMPLICATIONS: The $10,000 artist honourarium and up to $2,500 allocation for expenses are supported by Arts/Creative Industry budgets. COMMUNITY ENGAGEMENT: INFORM — This report has been posted to the City's website with the agenda in advance of the council / committee meeting. CONSULT — In addition to consulting on the Artist -in -Residence call for entry, PAWG serves as the selection committee for the appointment, as a subcommittee of ACAC and as outlined in Terms of Reference. Guidelines for the jury process are outlined in Jury Procedures and provided to each member. A PAWG motion that ACAC support the selection of Bangishimo Johnston as the 2022 City of Kitchener Artist -in -Residence, was considered and supported by ACAC on July 19, 2022. Further, Textile Magazine also consulted on the call for entry and served on the jury. COLLABORATE — An important component of the Artist -in -Residence program is the requirement for meaningful public engagement. City staff works with the artist to identify interesting opportunities for public engagement and develop creative programming to suit these opportunities. Bangishimo Johnston is proposing to engage equity -seeking individuals directly in the production of the photographs. Further, they plan on engaging the broader Page 46 of 350 community through exhibitions, workshop, artist talk and the relationship with Textile Magazine. PREVIOUS REPORTS/AUTHORITIES: • DSD -2021-171 Partnership with Textile Magazine for the 2022 Artist in Residence Appointment APPROVED BY: Readman, Justin, General Manager of Development Services. ATTACHMENTS: Attachment A — Bangishimo Johnston's 2022 Artist in Residence proposal. Attachment B — PAWG Terms of Reference. Attachment C — Jury Procedures. Page 47 of 350 APPENDIX A 2022 Artist in Residence Proposal Bangishimo Johnston The Medicines We Carry My name is Bangishimo, and I am a IndigiQueer Anishinaabe originally from Couchiching First Nations located on Treaty #3 territory. I moved to Kitchener -Waterloo in August 2013 to attend Wilfrid Laurier University. I decided to stay because there was a strong grassroots and arts community here and I wanted to be a part of that. I have been an educator and advocate on the Residential School System, Intergenerational Trauma & Resilience, Community Organizing, Indigenous Rights Movements, and Decolonizing Travel. For the last eight years, photography has played a major role as a medium through which I continue my community work. I hold a Social Service Work diploma from Lambton College (2010), a Bachelor of Social Work Honors degree from King's University College at Western University (2013), a Master of Social Work degree from Wilfrid Laurier University (2014), and a Photography diploma from Fanshawe College (2021). Through my work with Indigenous urban and rural communities for the past fifteen years, have developed skills in leadership, advocacy, and community building. As Events Coordinator for the Waterloo Indigenous Student Centre at St Paul's University College, I created space for Indigenous community members while creating new relationships with groups and organizations throughout Waterloo Region. This work contributed to the cities being more prepared and informed by Indigenous Communities to take actionable steps towards Reconciliation. It has also allowed me to become a voice for others and a leader within many spaces. My personal strength lies in community advocacy and education. As a community organizer, my work has allowed me to spend the last fifteen years speaking to classrooms and conferences around the globe and here in the Region of Waterloo. Through a decolonial lens, I've been sharing my personal journey of my battle with drug addiction, to embracing my queer Indigenous identity and becoming an advocate for change. Most recently, I co-founded Oise Kenhionhata:tie, known as Land Back Camp, a land reclamation camp for IndigiQueer Two Spirit, trans and non -binary youth. Starting in 2020, we successfully advocated for Kitchener and Waterloo to give local park space back to Indigenous Peoples, waive fees for their use of public space, and create paid positions to enable continued work towards the Truth and Reconciliation Commission's 94 Calls to Action. With each demand met, we continue to advocate throughout the region. We have been able to create space for land-based education such as a community garden, medicine walks, cultural ceremonies, weekly drum circles and community gatherings. We are now planning to set up camp again in the summer of 2022. 1 wish to emphasize how critical this land-based education is, and to bring social change into the classroom, empowering students to embody teachings throughout their lives. As an artist, my photography focuses on the bodies of Black, Indigenous and Racialized folx (BIR). This platform helps to educate others by sharing the subject's stories of Page 48 of 350 Decolonization, Resistance and Resilience. Through the "Nations and Voices" photo project, I spent a year visiting twelve countries and taking photos of the BIR folx I met along the way. While planning for this journey, I saw no representation of Indigenous peoples traveling the world. I wanted to change the narrative and encourage others to explore their creativity and follow their dreams. Upon my return home, I exhibited these photos in locations throughout Kitchener -Waterloo. My hope is to one day publish these photos into a coffee table book. Since then, I have been fortunate to have numerous photo installations throughout the region in partnership with DTK, CAFKA, KWAG and most recently at The Grand in Calgary, Alberta. In 2021, 1 was selected as the winner of the Briarpatch Writing in the Margins - Photography and received a full spread in the magazine. Most recently, I was voted Best Photographer 2021 for the Community Edition. I believe my strengths as a visual communicator who is passionate/dedicated to showcasing BIR stories would be a tremendous asset as the Artist in Residence for The City of Kitchener. Sept 2022 • Complete rough designs • Recruit remaining models • Recruit hairdresser, makeup artist and seamstress • Purchases materials and equipment • Scout studio space • Begin working with Baldwin Beads in creating headpieces Dec 2022 • Shoot portraits 1, 2, 3, and 4 • Continue working with Baldwin Beads on headpieces • Contact art gallery spaces • Begin editing process March 2023 • Shoot portraits 5, 6, 7 and 8 • Finish editing process by March 25th • Send to printers by April 1 st June 2023 • Launch Exhibit for Pride month and National Indigenous Peoples month Community Engagement City Hall: With the new square being built in front of Kitchener City Hall, my goal is to install my work in the rotunda of Kitchener City Hall. By having my work on display here, it would encourage the community to come inside City Hall, a space that hasn't been accessible since the pandemic as well during construction. Portraits: The community can interact with the installation by scanning the QR code located beside each picture. The code will take them to my website for an audio and text narration about the portrait process and the traditional medicines used. Each narration will include both audio and text for accessibility. Artist Talk: My goal is to host an artist talk inside the Rotunda, free to the public. The evening will start with traditional teachings by a Knowledge Keeper that will share about medicines used in each picture and the need for us to reclaim these teachings. This will be followed by a speakers panel that will include myself, Britney Baldwin of Baldwin Beads, Page 49 of 350 and a few of the models to share their experience with the process. Because we are still in a pandemic, my goal is to have the Artist Talk accessible to everyone. The event will be live streamed, or recorded, and will be shared on my social media platforms as well The City of Kitchener. Workshop: My goal is to host a 2 -hour workshop with Textile for aspiring young artists. The workshop will be free of charge and will be hosted outside in a public park or indoors in a city facility. The goal of this workshop is to educate young artists on how to find your narrative, working with art spaces and publications, how to promote yourself and tips for starting your own business. Snacks and drinks will be provided. If we are rained out, the event will take place at the Victoria Park Pavilion. Page 50 of 350 COUNCIL POLICY RESOLUTION POLICY NUMBER: 1-120 DATE: SEPTEMBER 21, 2009 POLICY TYPE: BOARD and COMMITTEE SUBJECT: PUBLIC ART WORKING GROUP — TERMS OF REFERENCE POLICY CONTENT: Mandate and Scope The Public Art Working Group (PAWL) is a permanent sub -committee of the Arts and Culture Advisory Committee. Working with staff, PAWG supports and advises on the City's public art policy and program, digital public art projections on the Berlin Tower, artist -in -residence program, Rotunda Gallery program to further the City's strategic directions (quality of life, downtown vitality, leadership, diversity, development, environment). PAWG's recommendations are brought to the Arts and Culture Advisory Committee for its support before proceeding to Community Services Committee and Council. Policy reference: 1-816 (Financial) Public Art Policy. 2. Committee Composition PAWG is a specialist working group. Its members include, but are not limited to, visual artists, curators, gallery administrators, art educators, architects, landscape architects, conservators, and urban planners/designers. 3. Appointments, Attendance, Quorum Members are recruited for their knowledge of and interest in the visual arts, particularly in the field of public art. Up to ten members may serve at any one time. The Arts and Culture Advisory Committee appoints one of its members to PAWL. A quorum of this committee is a simple majority. Members may serve for a term of two years, consistent with the term of the Arts and Culture Advisory Committee. The term ends on November 30, but may be extended at the direction of Council. Members may re -apply for additional terms. The maximum number of consecutive terms in service allowed is three (six years). KITCHENER Page 1 of 2 SEPTEMBER 2009 Page 51 of 350 POLICY NUMBER: 1-65 POLICY TYPE: BOARD & COMMITTEE SUBJECT: ARTS & CULTURE ADVISORY COMMITTEE - TERMS OF REFERENCE 3. Appointments, Attendance, Quorum, Cont'd Members missing two consecutive meetings without explanation or valid reasons will be contacted for a confirmation of commitment. Without a valid reason for the absences and firm commitment, the member will be asked to resign. A replacement will then be recruited. A chairperson will be elected annually from the membership. The vice -chair position may be filled on a rotating basis by any volunteering member, or as requested by the chairperson. 4. Meetings and Reporting Meetings are held monthly or at the call of the chairperson. Meetings are open to the public. Members of the public may register with staff as a guest, or as a delegation. The current artist -in -residence is expected to participate in PAWG meetings. Specific projects require the formation of juries. Membership on juries may be extended to community representatives and experts outside PAWG's membership. At least one PAWG member will serve on such juries. Minutes are recorded by staff or a committee member and distributed to members. PAWG's recommendations are brought to the Arts and Culture Advisory Committee for its support before proceeding to Community Services Committee and Council. 5. Responsibilities of the Public Art Working Group The Public Art Working Group, working with the Arts and Culture Co-ordinator is responsible for: (a) Recommending the selection of artists for the Public Art Program, the Rotunda Gallery Program, and the Artist -in -Residence Program. (b) Advice and consultation regarding the public art policy (1-816 Financial). (c) Advice and consultation regarding public art program development, guidelines, plans and policies. (e) Advice and consultation regarding the development of public art partnerships with other organizations. (f) Advocacy for the importance of municipal public art. KITCHENER Page 2 of 2 SEPTEMBER 2009 Page 52 of 350 City of Kitchener Arts/Culture Unit JURY PROCEDURES 1. Purpose of Juries Juries are primarily used to assess applications submitted by individual artists or artist teams to a specific competition deadline. The City of Kitchener requires juries for: 1) annual Rotunda Gallery exhibitions; 2) public art; and 3) annual Artist -in -Residence program. 2. Selection of Jurors Jurors are selected from a pool of local qualified visual artists and arts professionals such as curators and educators. Program consultants/staff consult with the community to develop a list of potential jurors. While the composition of juries varies from project to project, a general guideline is that the following representatives be included according to the character of the program/project: • A member of the Public Art Working Group (PAWL) • The Ward Councillor • Two visual arts professionals • One representative of each project partner • Project architect • Citizen -at -large 3. Selection Process Complete applications are received and jury is selected. Applications are distributed to jury members for their review (confidential documents). Jury meets to review supporting material and select and/or rank the applicants who in its opinion best meet the goals of the competition. Strict confidentiality is a crucial part of the jury process and is observed by jurors, staff, and Council members with regard to applicants' names, the information they provide, and the jury's decisions. In the case of public art competitions and the Artist -in -Residence program, Council receives the decisions of a jury, supported by the Arts and Culture Advisory Committee and Public Art Working Group, and approves the selection. Applicants are advised of the results. 4. Responsibilities of the Jury The jury is responsible for selecting those applications of highest artistic merit in the current competition for awards. This process includes the following requirements: • Jurors will have the ability to evaluate the work of others, articulate opinions and debate in a group decision-making environment. • Jurors will read and consider in advance all material received (photocopies of applications and written support materials) so they can arrive at the meeting Page 53 of 350 prepared to fully consider each individual application. This includes reviewing and understanding the program guidelines. Jury members are expected to be open, articulate, and committed to making consensual decisions while considering each application individually. If consensus cannot be reached in particular cases, a majority opinion is reached. A jury may or may not choose to appoint a chair from its members to direct the proceedings. Alternatively, staff may facilitate the proceedings. Jurors are governed by Council's Code of Ethics and are expected to declare any conflict of interest and take appropriate action. 5. Role of Staff During the peer assessment process staff serves as a resource for the jury or panel and is responsible for the following activities: 1. Circulating all information and support documents and materials to jurors before the meeting. If the jury requests additional material or information, staff will provide it, if it is available. 2. Providing the jurors with whatever guidance they need for the proper completion of the assessment process, and for ensuring that the purpose of the program is clearly understood by jury members. 3. Facilitating the assessment process. Staff assists in discussions and direction, but abstains from expressing personal opinions and voting. If there is some reason staff cannot maintain neutrality with respect to an application, he or she leaves the room during discussion. 4. Advising the jury of budgetary considerations following the ranking of applications so that award decisions are based on available funds. 5. Recording the decisions of the jury; distributing the results to applicants and advisory committees. The letters advising the applicants of the decision include the number of applications and the total dollar amount awarded. Names of jurors will be released by staff at the request of the applicant. 6. Declined Applications The jury can decline an application because it does not meet the artistic merit or other advertised program criteria. The applications are ranked by the jury. Applicants sometimes ask for feedback on their applications. However, the peer assessment process is not designed as a source of feedback and critique to individual artists. Instead, the jury process exists to make fair awards to professional artists. Notes are generally not taken during a jury meeting and are not required to substantiate a jury's recommendations. Juries are asked to prepare a statement to support their selection. The jury statement is provided to other advisory committees involved in the process for their review and consideration. If a jury elects to make comments on a case-by-case basis, these comments must be provided as representative of the entire jury. Specific comments typically may involve problems with the application, such as weak or unclear proposals, insufficient information, or the low quality of supporting materials. The jury may also recommend that unsuccessful applicants seek assistance from their peers, and staff may offer consultation on future applications. September 2009 Page 54 of 350