Artist-run centres

Canadian artist-run centres (ARC or ARCs) are galleries and art spaces developed by artists in Canada since the 1960s. Artist-run centre is the common term of use for artist-initiated and managed organizations in Canada. Most centres follow the not-for-profit arts organization model, do not charge admission fees, pay artists for their contributions (exhibitions, presentations, performances) are non-commercial and de-emphasize the selling of artwork.

The centres were created originally in response to a lack of opportunity to present contemporary work in Canada and a desire to network with other artists nationally and internationally. In the 1990s there were over 100 artist-run centres across Canada. Today there are at least 60 artist-run centres with continuous operating funding.

Similar artist-run organizations have been developed worldwide. In the US, they are commonly identified by the term artist-run space and in Australia by the term artist-run initiative (ARI).

Each artist-run centre has a unique program, but most present contemporary art by Canadian and international artists, often in combination with critical writing and other public events such as lectures, performances, screenings, etc. The centres have tended to focus on emerging artists and artists working outside the commercial gallery system. Some centres have been developed to support creative production, particular in the areas of video, new media, photography and printmaking.

The primary source of funding for artist-run centres is the Canada Council which has a specific program of two-year operating support for artist-run centres. Most centres also receive funding from the Provincial governments, most of which have an arts council to financially assist individual artists and arts organizations. Centres may also receive funding from their local municipal or city governments. Centres sometimes will secure funding for specific projects from corporations that manage lottery earnings or public and private foundations. Centres have tended not to pursue individual sponsors or patrons, neither corporations nor individuals, in part because they are in a critical relationship with the traditional and established art system of museums which have the resources to pursue that type of support.

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