Last November I wrote about the relationship between artists and their dealers and/or galleries. It provoked a lot of letters and emails relating personal experiences and sometimes offering valuable suggestions. In the December newsletter I shared some of those responses with you; this month's editorial brings the subject to a close. Thank you very much to the many of you who wrote to me—especially those who sent in the information that I have shared with readers of this newsletter. And my sympathies to all of you who wrote to tell me of problems with your dealers/galleries.

I am returning to the subject this month to write (again) about Canadian Artists' Representation/Front des artists canadiennes (CARFAC). Whereas many individual Canadian visual artists will achieve local, provincial, national and international success, Canadian visual artists as a whole will not advance professionally until they unite to form a loud, proud voice—a professional a development and advocacy association. We have the organization; it is CARFAC, but the association's membership is far short of what it should be.

Musicians and composers, dancers and choreographers, authors, actors, screen and play writers, designers, graphic artists, architects, etc,—all artists, have professional organizations defining criteria of professionalism and membership, advancing the profession and offering professional support to members in areas of self management such as marketing, taxation, copyrights, bookkeeping, and health.

Visual artists don't have an agency that defines membership. No one wants to set criteria attempting to define what constitutes "professional" visual artistry. Instead, CARFAC is an organization that serves anyone who self-identifies as a visual artist, and they serve those who join very, very well—especially through their Copyright Collective.

As editorial writer of this newsletter, I get a lot of correspondence from artists, and many of the letters concern problems and/or seek solutions. For a great number of my correspondents, CARFAC or its Copyright Collective have the answers to their problems or their needs. When I wrote the November and December newsletters in 2005, I went to the CARFAC website where, in the past, I had accessed model contracts for artists to use with their agents or galleries. I wanted to mention the site and their services but I couldn't find the sample contracts anywhere on the site.

Thankfully, Claudia Bos wrote to me and I am very glad she did. She wrote to tell me that you now have to be a CARFAC member in order to access their model contracts. But, she wrote, "There are downloadable contracts on the Ontario Carfac web-site (www.carfacontario.ca), but you have to sign in as a member first, as well as at the Saskatchewan website (www.carfac.sk.ca under "Advisory"). The website of Volunteer Lawyers and Accountants for the Arts (VLAA) in St. Louis USA offers contracts you can download at www.vlaa.org/publications.asp. I advise all artists to become members of CARFAC. There has to be some organization that establishes how many there are of us, voices what we need and allows us to join forces."

If you are serious about being a professional visual artist in Canada, there is no excuse not to join. It is not expensive and the support you get can be invaluable. CARFAC's sister organization, The Copyright Collective, is also an excellent source of practical support for CARFAC members. I can't tell you how many artists have looked to CARFAC for support when they find themselves in a legal quagmire, but don't wait until trouble arrives. Join CARFAC now and learn all you need to know to protect yourself from the kinds of problems that fill so many of the emails I have received from readers these past few months.

Making the contracts available only to CARFAC members is a smart move on the part of the organization. Their contracts are made for a Canadian context and they are written by the organization that sets exhibition fees for artists showing in public Canadian galleries and museums. CARFAC is its people. You cannot find a better place to start using a good contract. Some of your most thoughtful and dedicated peers are CARFAC members; they want to help you. Protect yourself; become a member.

* Many people wrote wanting names of offending galleries or about working together in BC to create a website whereon artists could post comments about galleries and dealers. I wouldn't want to establish such a website for fear of lawsuits for libel, but I am not a lawyer. My fears may be unfounded; still, I would want to know that anything posted is true. How would a website host be able to verify proposed postings?

* One writer wrote to say: "I would like to suggest Robert Genn's The Painters' Keys book and twice weekly letters. They are very informative. He is a successful artist who teaches artists marketing and he knows a lot about dealing with art dealers. Check it out." (www.robertgenn.com)

* The saddest story that came in is this one from a writer who wishes to remain anonymous: "The worst case I know personally happened about 30 years ago when a very gifted young man, only about a year out of high school, had a show of probably more than 25 paintings. My husband and I attended his show in the afternoon of the opening day and by the time we arrived many of his paintings were sold. Indeed, one that we especially liked was sold, so we bought a second choice. After the show was over [perhaps] two weeks later, we learned that the gallery owner had gone out of business and the young artist did not get his money. He, like most starting artists just didn't have funds to get legal advice."

She also wrote to say: "Another problem I have noticed with some galleries is their attitude to framing. First of all they insist on framing anything they show. In a way, I can almost understand that though it can be very awkward for an artist. The real problem exists when the gallery insists on putting a very expensive and elaborate frame on a piece and, in the case of watercolours, puts up to 4 mats on it—often with elaborate cuts. I have seen some framing that was so appallingly elaborate that it spoiled the painting and of course those costly messes raised the price of the work excessively so that the artist was very badly ripped off."

On the issue of framing:

1) Framing makes any work look much, much better.
2) Frame yourself; price to sell with or without the frame.
3) Work to dimensions that accommodate standard sized mats and frames. (Standard sizes are less expensive and often in stock.)
4) Frame with Opus Exhibition Frames and buy in bulk to get volume discounts; buy with friends to maximize volume discounts.

What would you expect me to say? When I worked at Opus, it used to amaze me how artists who could make a zillion artistic decisions about their work could not choose a mat colour and frame profile. My "default position" when framing has never changed: my first choice is always to try to mat my purchase or creation to a standard size, to use a completely neutral mat (warm white) and an Opus Exhibition Frame. If the buyer doesn't want the frame, it can be easily changed and reused. (Go to a more decorative frame when necessary.) The Opus Exhibition Frame was made for artists and galleries. The Wood Exhibition Frame meets Canadian conservation standards. Learn more about framing basics from Opus handouts available at any Opus location or at http://www.opusframing.com/library