Canadian Heritage committee  I haven't had the experience of any interest in works being returned, but we have been collecting works since 1929 from communities across Canada and actively supporting Cape Dorset's work as well. There are many corporations that have reflected that as well outside of just RBC.

Canadian Heritage committee  There have been sculptures. Definitely, in the 1950s and 1960s, there were a number of important Inuit sculptures that were acquired by my predecessor, Beverly Parker. Since then, we've continued to acquire sculpture, but also a lot of drawings, printings and works on paper.

Canadian Heritage committee  It's more than 90%; it's 98%.

Canadian Heritage committee  I do feel that there is an increasing amount of support, especially around prizing. They understand that there is an audience that is going to go to events and is going to want to see the work that young artists are doing, and there is engagement. I do think, from what you're a

Canadian Heritage committee  From my perspective, it's more the understanding of what the actual impact is of the work that corporations do on what the primary market economy looks like. We acquire work, and we support artists that way, but there isn't really a broad understanding—at least in any research I'

Canadian Heritage committee  In terms of emerging artists, I think it's about making sure that they have the resources to understand that the Copyright Act affects them. A lot of young artists I speak to don't even know about CARFAC, which is an organization that is there to support them. A lot of artists

Canadian Heritage committee  In terms of the emerging artists program, that need to support young artists was established in 1999, due to quite a bit of research in the field. Given your story, though, I think there are a lot of similarities to what an emerging artist's experience is today. I have counterp

Canadian Heritage committee  The collection goes into a lot of conference centres. It goes into client-facing offices and some senior executive offices, but mostly in spaces that are shared. We're looking to do more to also install the work in employee-facing areas. We do a fair number of tours and talks f

Canadian Heritage committee  We do talks and tours. We also have an internal communication space that gives information about many of the pieces we acquire and what our mandate is. And if you were to walk into the offices, you'd also find a plaque with information about who the artist is, where they're from,

Canadian Heritage committee  I haven't in my time. We do donation of pieces to a major hospital network when the value of the work is below the cost to store and reframe it. But for the most part we do display it; 98% of the collection is on the walls. It's not stored. It really is out there in the world and

Canadian Heritage committee  Absolutely, I'd be happy to. Our curatorial department works with museums and galleries across Canada. I have a network of curators and experts who work across the country on exhibitions and programming. But our main point of contact in terms of acquisitions is with primary-mark

Canadian Heritage committee  About technology as it affects emerging artists tied to the program, there has definitely been an increase of communications around social media. There's an awareness of the different programs that go out and of the ability of artists to respond to that information. Outside of th

Canadian Heritage committee  Thank you and good morning. My name is Corrie Jackson, and I am a senior curator at RBC. I'm responsible for overseeing and managing the RBC art collection, including acquisitions and installations of artwork globally. The RBC art collection actively supports the work of living