I see these large group shows as visual arts diplomacy. Large group exhibitions have the greatest potential to attract new audiences for art and design wherever they are staged. Because there is something for everyone, everyone has the potential to come away pleased. For everyone there is at least one piece to admire, respect, or "love."

Two such exhibitions are on in Vancouver this month. Both involve approximately two hundred artists. One is Artropolis 2003 (May 16-June 8) and the other is the Emily Carr Institute's Graduation Exhibition (May 11-25). The Artropolis exhibition is located in the CBC Television studios in Vancouver where you enter through the south side of the building off Robson Street. The Emily Carr Institute Grad Show fills both buildings on its campus on Granville Island.

In many communities throughout BC, wherever there is a regional college, chances are the college offers art classes and many, if not most of them, will have graduation exhibitions. So check out what's on in your community and use these large group exhibitions to do a little diplomacy. Get together a bunch of your friends who normally do not make the viewing of visual art a part of their leisure activities, and take them to the show.

Help them find the artwork that they like best. Casually help them to express what it is they like about their choice, and be respectful and encouraging of their perceptions. They will learn the courage of their own convictions from your support. They will learn that art is a stimulant and that the great reward that comes from viewing an exhibition is the discussion of the work over a coffee or meal, and you will be helping to grow the visual art audience in BC.

For further details about Artropolis, call 604-872-4307 or write to info@artropolis.bc.ca. For further information about the Emily Carr Institute Graduation Exhibition, call 604-844-3075 or write to ebouchar@eciad.ca.

An Anniversary: In the Spring of 1986 I left a job I had for seven years. It was the fifth job I had quit since graduating from UBC. I had worked for five employers; I was with two for two years, two for one year, and one for seven years. I wondered if I could ever keep a job. My parents' generation seemed to have one job, a "career," for their whole life. Working in the arts, I would learn, meant working for many different employers throughout one's professional life.

In April of 1986, Opus President David van Berckel, a neighbour and friend, told me he wanted to publish a regular newsletter for Opus and he wanted me to write it on a computer. I was entering the digital world and challenged to write about something I liked. I enthusiastically accepted David's offer.

I did not see myself as an advertising copy writer, however, so he told me that I could write about anything I wanted that pertained to the visual arts and that there would always be lots of room for information relevant to visual artists and designers.

On May 29th, 1986, the first Opus newsletter was published. It was two 8.5" by 14" sheets of paper, printed on both sides and folded together to yield an eight page newsletter 8.5" tall and 7" wide. It was the only one produced in that format. This edition of the Opus newsletter marks my 17th anniversary of writing it and this is its 175th edition.

Over the years, I can honestly say that I have received thousands of letters and notes from readers regarding the newsletter. Of late, of course, those comments continue in the relatively new medium of e-mail. Besides the letters, I have met hundreds of people when I have been "on tour" for Opus, at conferences, in Opus stores. I swear, every single card, letter, meeting and e-mail has been positive - except one. I received one very, very critical letter.

At seventeen years, writing the Opus Newsletter has been the longest "gig" of my life. It has brought to me innumerable instances of good will and become one of the nicest aspects of my professional life. I am grateful to all of you who have written to me, and to Opus for publishing the newsletter and for giving me the opportunity to be the newsletter's voice.

Correction: In December of 2002, I wrote about the effort the Canada Customs and Revenue Agency (CCRA) was putting into challenges to artists operating as independent contractors to orchestras, dance companies and theatre companies. The CCRA saw these artists on long-term contracts year after year, as employees. The CCRA was suddenly questioning the practice of arts producers who had, for decades, been hiring artists as contractors. The new view of the CCRA meant that arts producers would be financially responsible for new employee benefits - for many, an increase of up to 14% on salaries.

In the article, I mentioned Toni Onley's fight with the CCRA over GST regulations, and this was a mistake. Toni wrote to correct me. There was no GST in 1983 when his threat to burn his art led to changes in Canadian tax law. Toni's ordeal is hilariously/horrifically described in his 2002 autobiography, "Flying Colours," published by Harbour Publishing. His fight concerned interpretations of CCRA regulations that affected the right of professional visual artists to claim certain of their expenses as deductions. He won his fight with CCRA and all Canadian visual art professionals - and that is a key word, "professionals" - have benefited from his actions ever since.