On behalf of the Canadian Artists Representation—le Front des artistes canadiens, along with our seven provincial affiliates and our partner in Quebec, RAAV, le Regroupement des artistes en arts visuels du Québec, I want to thank everybody for having us here today.
I want to begin my presentation with three quotes. The first is from the APTN article that announced the death of Annie Pootoogook, the Inuit artist who drowned in the Ottawa River, several kilometres from here:
Pootoogook used to compose her ink and crayon drawings that once raised her to international acclaim in the contemporary art world before she was swallowed by the darkness in the alleys and riverbanks of the capital city that have also obscured her last moments on earth.
Pootoogook was selling drawings on the streets, four blocks away from the National Gallery of Canada where her work hangs on the walls. She was 46.
This next quote is Daphne Odjig, an indigenous artist from the Odawa Nation:
it was not until later in life that I have achieved a semblance of success, and at 92 years of age [I am] surviving on a small pension and returns on dwindling investments
It's worth noting that Daphne Odjig's art now is rapidly resold all over the world. In 2012, the 12 pieces that were sold at auction would have given her over $7,000 of income had the artist's resale right existed.
The third quote is from Peter Taptuna, the minister of economic development and transportation for the Government of Nunavut. He's now the premier:
Inuit artists have brought their vision of the world to an international audience and built an economic sector that creates jobs and contributes tens of millions of dollars every year to Nunavut’s economy.... Today, we add our voice to support artist's resale right and encourage Canada to address this critical piece of legislation.
It is critically incumbent upon the members of this government, settler artists, and all peoples in Canada and across the world who enjoy indigenous arts to, once and for all, erase the false distinctions between indigenous artworks, their lives, and their lands. This point was made in spades, again and again, by the Inuk artist Billy Gauthier this past week, whose hunger strike brought about nation-to-nation negotiations for his land in Labrador. He consistently spoke of the intersectionality between the health of his body, his land, and his art.
What is ARR, the artist's resale right? It's very simple. It's a 5% royalty of all public sales of art, not private, and it gets kicked back to the artists themselves in recognition of the fact that the value of their work has increased the value of the art throughout their careers.
The artist's resale right works to protect and empower all artists, but particularly, it raises the most vulnerable of them out of poverty, and mostly indigenous artists. In Australia, two years after implementing the ARR, statistics were taken and it was found that over 65% of the artists receiving royalties were aboriginal or Torres Strait Islanders and that they had received 38% of all royalties collected. That's hugely disproportionate to the demographics in Australia.
In Canada, indigenous art is not an insignificant industry on first nations reserves, in Inuit communities, and in Métis settlements. Just ask the woman sitting next to me how many people in Rankin Inlet make their living from art. Ask the fewer than 2,500 members of the Haida Nation, whose art is ubiquitous in Canada, around the world, and gracing the bicep of our Prime Minister. Then ask yourselves to critically assess the industry that has arisen that brings so much indigenous art to the professional art market, where the work is highly valued. These middlemen, who call themselves art dealers, go onto reserves in the north, buy up tremendous amounts of art at wholesale prices, and resell the work immediately on international art markets where they get double, triple, or quadruple the amount of money they originally paid for it. None of this money goes back to the artists themselves.
No artist currently has the right to protect himself or herself from middlemen who prey on remoteness or poverty in order to make a quick buck. There is only one way to ensure that artists profit equitably from the value of their labour, and that is by implementing the artist's resale right.
Why have I brought the ARR to the finance committee and not the heritage committee today? There are three reasons. One is that the ARR has tax implications. The sale of art is considered a capital gain and is therefore only 50% taxable, but the ARR takes 5% of this and turns it into artists' income, which is 100% taxable.
Ladies and gentlemen, I will be the only person here begging you not to give us money but rather for us to give you money. This will add money into the treasury, and it will cost the government nothing to do it.
The second reason is the ARR is proven to reduce poverty. It is an income generator for artists, who are some of the poorest labourers in Canada. The average visual artist pulls in $18,000 a year, while the value of their labour creates profits for governments and the communities around them all the time.