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Job: grunt gallery Program Director

Job Posting

Position: Program Director

Location: grunt gallery

Reporting to: Board of Directors

Term: Full-time, permanent 35 hours/week. Some evening and weekend work. Flexible schedule.

Start Date: July 15, 2023

Click here to access a PDF of this job description.

Audio recording of this job description coming soon.

About grunt gallery:

Formed in 1984, grunt gallery is an artist-run centre located in the Mount Pleasant neighbourhood of Vancouver, BC. grunt gallery has built its reputation on innovative programs that showcase current and past work by contemporary Canadian and international artists. Working with a wide range of collaborators, grunt gallery confidently supports interdisciplinary projects, performance, media works, publications, websites, artist talks, research residencies, mentorships, publicly-sited projects and socially-engaged initiatives alongside gallery-based exhibitions. grunt gallery continues to provide space for artistic agency, diverse perspectives, unruly practices and community connection. The gallery operates a wide variety of programming and initiatives, including those stemming from the Exhibitions, the Archive, Accessibility and Public Engagement, Events and Special Projects.

grunt has experienced significant growth over the last three years. Our programs have expanded and our staff team has grown at the same time as we continue to reflect on our role in community, and our commitment to anti-oppression work in the arts. Working at an increased scale and scope while prioritizing social justice, community engagement and creative access/accessibility initiatives, the organization seeks to create opportunity and impact in this region, in keeping with the priorities and guidance of the Musqueam, Squamish and Tsleil-Waututh host Nations.

We are looking for a Program Director who shares this sense of commitment, and who can embrace the complexities of working strategically in the public realm alongside the quieter work of relationship, self-reflection and collaborative leadership. We continue to do the work of articulating our emergent approach to arts-work, and we invite your vision into the organization at a key moment in our development. We understand new leadership may come from places we can’t predict, and we hope this opportunity can include those who, upon first glance, may not see themselves in a directorship role. We have a strong history of supporting Indigenous, Disabled/ Sick/ Mad, BIPOC and LGBTQIA2S+ artists and creative thinkers into leadership, and we offer investment in this imaginative potential.

The Program Director has a strong background in the visual arts community, with extensive knowledge of the local art community, and will work collaboratively to deliver the curatorial vision of the organization. The Program Director is highly motivated to build relationships with funders, foundations, donors, members, artists, and patrons.

The ideal candidate will be comfortable working with a talented and empowered staff team to ensure the core values of the organization are integrated at every level. The Program Director upholds the organization’s values and artistic vision and leads strategy for the organization. The Program Director is committed to anti-oppression and trauma-informed work, accessibility initiatives, fair treatment of artists and cultural workers, and supports and values emerging artists and emerging practices.

Required Competencies:

Creativity
Community
Collaboration
Commitment
Budget Development
Communication
Flexibility
Negotiation
Networking
Reliability
Grant Writing
Mentorship
Accessibility
Conceptual Thinking
Equity

Responsibilities:

  • Works in a co-directorship model with the Operations Director to provide artistic, strategic, operational and financial direction to the organization, ensuring the needs of the organization are met effectively and collaboratively.
  • Upholds the artistic vision of the organization and works closely with staff to determine the artistic and strategic direction of each department, build narratives for grant writing and seek funding to support a variety of projects.
  • Works collaboratively with the Curator, artists and partner organizations to determine and facilitate exhibition-based programming and special projects.
  • Responsible for long-term strategic planning of the organization.
  • Provides financial management and oversight, including budget forecasting and tracking, investment management, and long-term financial strategy.
  • Responsible for extensive grant writing for operations and special projects.
  • Responsible for developing key connections, partnerships and collaborations inside and outside the arts community in order to support and build the annual operations and programming plan.
  • Builds grunt’s community reputation via networking, development and community engagement.
  • Develops and maintains relationships with public and private funding sources, and has a strong interest in donor development and fundraising.
  • Reports directly to the Board of Directors and attends monthly board meetings to provide strategic, financial and programming updates.
  • Supports and leads the staff team, putting grunt’s shared values, mandate, and public image at the forefront.
  • Other duties as required.

Required Skills and Education:

  • Passionate about collaborative leadership, organizational development, artistic visioning, strategic planning, partnership building and networking within the visual arts community.
  • Excellent understanding and experience of working within the visual arts community and with artists.
  • Familiar and comfortable navigating local, national and international art communities.
  • Excellent understanding of artist-run centres and non-profit policies and requirements.
  • Ability to uphold and drive grunt’s vision.
  • Post-secondary education in an arts related field or a combination of relevant education and work experience must be demonstrated.
  • Proven ability to develop, maintain and work within departmental and operational budgets with demonstrated cost-savings experience.
  • Proven track record of successful grant writing.
  • Shared organizational values.
  • Experience working in community and embodying the role of ‘storyteller:’ able to synthesize complex ideas and rich histories for broad audiences.
  • A collaborative and attentive leader who is able to lift up and support a talented and empowered staff team.
  • An understanding that grunt is a “people-centered” work environment that respects a variety of working styles that uphold and align with grunt’s values, and thrives on communication to allow for creative autonomy and decision making amongst staff.
  • A working intercultural skill-set to effectively work with diverse groups of people including staff, board, artists and community members, and a history of engagement with Indigenous and LGBTQIA2S+ people.
  • Commitment to accessibility initiatives beyond an accommodation mindset.
  • Exceptional communication and coordination skills to ensure all aspects of complex projects are carefully planned and can be effectively understood by collaborators.

  • Must be highly organized, detail oriented, committed to quality and able to work independently with minimal supervision.
  • Ability to work flexible hours.

Remuneration: $70,000 per year with additional benefits:

  • Following a 90-day probationary period, enrollment in employee benefits program
  • Annual travel/research budget
  • Annual professional development budget
  • Hybrid office/work-from-home model
  • Three weeks paid vacation
  • Additional paid days off during office-wide closures (one week in August; two weeks in December)
  • Ten sicks day annually

How To Apply:

Please forward your cover letter and C.V. to: meagan@grunt.ca

Preferred file format is PDF.

Please email meagan@grunt.ca should you require any accommodations for this application process or to discuss your access needs.

Application Deadline: Friday May 19, 2023 @ 5:00 pm PDT

grunt gallery welcomes, encourages, and is actively seeking applications from members of equity deserving communities such as (but not limited to) people from racialized communities, Indigenous peoples, persons with Disabilities, women, gender-diverse and LGTBQIA2S+ people, and others with the skills and knowledge to productively engage with diverse communities.

It is our hope that this position will encourage working artists, or creatives with an on-going practice, to consider this role. We hope to develop a working relationship wherein artists can exist both as artists and arts workers, and will be in conversation with the successful applicant on what grunt can do to support their on-going career.

grunt gallery is located on the unceded and ancestral territories of the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and səlilwətaɬ/selilwitulh (Tsleil-Waututh) Nations of the Coast Salish peoples.

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Hillary Wood Memorial

You are invited to grunt gallery’s memorial for Hillary Wood (December 25, 1948 – March 2, 2023), a dear friend, founding member, and beloved presence in the Vancouver arts community. All are welcome.  

The memorial will take place at grunt gallery located at 350 East 2nd Ave, Unit 116 in Vancouver (street parking available) on Sunday April 30th, 2023, from 1pm – 4pm. Remarks at 1:30pm, open to all. Drinks and light refreshments provided.

There will be a virtual gathering option as well. Please click here to join via Zoom, and enter the passcode 156732 for access.

grunt will prepare a slideshow presentation with images of Hillary and her artwork. If you have any digital images you would like to contribute please email them to Dan Pon, dan@grunt.ca. If you have any hard copy images you would like digitized and included please email Dan to make arrangements as soon as possible. You are also welcome to send quotes, memories, or other written tributes which will be included as text slides to the email above.

Masks are encouraged and provided on request.

 

Image: Hillary Wood with Joe Haag, Aiyyana Maracle, Edmund Melynchuk, Kempton Dexter, Barbara Seamon, Polly Bak, Phillip Beeman, and Glenn Alteen, For the Life of Art March/Arts Awareness Day, 1993. Photo by Pat Beaton.

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Annual General Meeting 2022

NOTICE OF ANNUAL GENERAL MEETING

Visible Art Society (dba grunt gallery)

 

DATE: Thursday September 29, 2022
TIME: 6:30pm
LOCATION: Online
Join Zoom Meeting: https://us06web.zoom.us/j/86067695351

Meeting ID: 860 6769 5351

ADDRESS: #116 – 350 East 2nd Avenue, Vancouver, BC, V5T 4R8, Mainspace Building

Please join us for a fast and fun Annual General Meeting of the Visible Art Society (dba grunt gallery) by Zoom.  We will be meeting for the following purposes:

  1. Presentation of the 2021 – 2022 audited financial statements
  2. Board of Directors’ report
  3. Program Director and Operations Director reports
  4. Election of the society’s officers

Click here to access the 2022 AGM package. 

As a member, you are invited to attend virtually and vote.  If you are not a member, please go to grunt.ca and sign up for our newsletter by 5:00pm on September 28, 2022. There is no cost to membership.

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Cree & D

After many trials and several travels in the great iron birds that skim across the skies and over the canopy towns in the realm of Ministik—wait, wherefore and what-now is Ministik? We’re thrilled to invite you into a new project written by Jessica and Ben Johns. Cree & D has been percolating in the background like the healing tonic of a strong, home-brewed yarrow kombucha. Written in the style of a Dungeons & Dragons campaign, this is a story of love, family, and of course adventure, as these aunties work to preserve the hard won and tenuous peace treaty between the six nations. There’s also Butterball, Auntie Darlene’s werepug familiar.

The first episode of Cree & D launched in August 2022! This campaign follows the story of three cuzzins—Auntie Vera, Auntie Darlene and Auntie Mac—as they search for Kokum Cardinal’s stolen staff and work to preserve the peace in the realm of Ministik. Listen on the player below or follow our channel on PodBean: click here!

Cree & D is produced by These Ones (formerly known as Together Apart) and supported by grunt gallery on the unceded territories of the Musqueam, Squamish and Tsleil-Waututh peoples. We record on Treaty 6 at FAVA studios. Art by Abbey Riddle. Music by Matthew Cardinal. Voices by Ben and Jessica with Emily Riddle and Matt Ward.

Image by Abbey Riddle.

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Ho Tak Kee: New Commissioned Work & Artist Talk

One part fairy tale, one part cooking show and one part Cantonese school, Ho Tak Kee by Leung Yiksea 梁亦詩 and Karin Lee 李嘉慈 is an assembly of fragmented memories and imagined conversations of a local wonton house that was lost to fire one Christmas day. The Mount Pleasant Community Art Screen is located on the site of the former Ho Tak Kee Wonton House, and many elements of this project were inspired by conversations with the Ho Tak Kee family and artists in the area who frequented the eatery. This settler story is emblematic of many newcomer/family-run eateries. Click here for details about this new work on the MPCAS.

On Saturday May 28th, join us online for an artist talk with Leung Yiksea 梁亦詩 and Karin Lee 李嘉慈 in conversation with Vanessa Kwan regarding Ho Tak Kee, commissioned by grunt gallery for the Mount Pleasant Community Art Screen. For this presentation we will be screening the work online before the discussion, but if you have the opportunity, please go see the work on the screen at Kingsway and Broadway, as intended! Ho Tak Kee screens throughout the week—click here and scroll down for the MPCAS programming schedule—and will be screening for the full day on Saturdays and Sundays in May and every Sunday in June.

This event will be presented on Zoom, with auto-captioning and a live transcript by otter.ai.

Click here to join the event.

[Image description: a family-sized bowl of wor wontons topped with vibrant green bok choy is centred on a glass lazy susan, on a red-and-white gingham tablecloth. To the left of the bowl is a tray of condiments: soy sauce, chili oil and an diner-style ketchup bottle. To the right are four empty rice bowls and a ladle.]
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Call for Submissions: Mount Pleasant Community Art Screen

We are currently accepting submissions for the Mount Pleasant Community Art Screen, until February 7th, 2022! We welcome contributions from artists, collectives, curators and other community members, organizations and community festivals. Generally speaking, submitted works should be 10 minutes or less and could include (but are not limited to) still images, time-based media, animations, performance works, archival video, interactive pieces, GIFs, experimental video, and curatorial/screening proposals.

The curatorial vision for the Mount Pleasant Community Art Screen is centralized on the broader theme of PLACE. Initially, this focused on the literal geographical perimeters on the stolen, unceded territories of the Musqueam, Squamish and Tsleil-Waututh nations, as a part of one of so-called Vancouver’s earliest neighbourhoods. This theme has also evolved to encompass a continuing community and network of makers holding deep knowledge of the area’s histories, holding visions of the future, and holding ground as the landscape rapidly shifts in the Mount Pleasant neighbourhood. Topics have included identity, language, housing, city streets, food, neighbourhoods, landmarks, loss, memories, narratives of the past, and potential futures.

The MPCAS will continue to honour it’s initial framing of PLACE; as a community screen we are beholden to how we are on the land and how we wish to reflect the communities we envision this screen to be for. We also invite and encourage submissions which speak towards the ambiguity of place–of displacement, diaspora, digital and contested space, as well as artists whose work has been inextricably shaped by their time in the communities of this PLACE.

Click here for details and submission forms!

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Interview with Ben Bogart

Ben Bogart’s new work, A diffraction of past/stability and present/dynamism, will be featured on the Mount Pleasant Community Art Screen from December 17th—26th, 2021. This beautifully complex work will screen for 7.5 hours/day, you can read more about the project here. We will also be presenting Ben’s work in our gallery, with an artist talk in January, 2022. We’re excited to share this work with you, and wanted to introduce you to Ben’s practice — read on for a mini interview with Ben Bogart!

Please tell us a bit about yourself and your creative practice!

I’m a non-binary agender adisciplinary conceptual artist and as I write this I’m constantly distracted by hummingbirds coming to visit my new feeder and delighted watching their tongues as they flick them out of their beaks after each sip of nectar. For over two decades I’ve focused on computational processes as artistic material; I think of the use of computational processes as following from the instruction works of 1960s conceptual art onward. In my artistic practice I’ve engaged with methods including physical modelling, chaotic equations, feedback systems, evolutionary algorithms, computer vision, and machine learning. I’ve diffracted these methods through bodies of knowledge in computational creativity, cognitive neuroscience, psychology of creativity, and quantum physics, and see continuity between my artistic and scholarly practices. Through these disparate methods and disciplines, my work engages with fundamental questions regarding subjectivity, objectivity, knowledge, meaning, emergence, complexity, autonomy, creativity, and thought. In recent years I’ve been thinking through Karen Barad’s Agential Realism and the ways in which boundary-making is fundamental to natural-cultural (physical-conceptual) processes. I’ve come to realize that my professional practice has always troubled and reworked physical and conceptual boundaries.

How did you become engaged with the technology used in your piece for the MPCAS?

My dad worked with computers his entire professional life, from a thesis written using punch cards, through magnetic reel-to-reel tape, to hard disks. He is also a photographer and for nearly as long as I can remember photography and digital imaging were available to me, but I’m not sure I thought of myself as an artist then. It wasn’t until moving to Toronto in 1999 that I was exposed to the “Electronic Media Art” scene that gave me a precedent for thinking about computation and technology as artistic materials. One of the first people I met outside of university was Camille Turner at the Subtle Technologies Conference in 1999 and it was her who introduced me to Jim Ruxton and InterAccess. I owe so much to artists such as David Rokeby and Norman White for expanding my boundaries of artistic practice and imagining a role for technology in it.

In 2001, I made a work using an evolutionary algorithm inspired by Karl Sims—who made a lot of formative computational art in the 1990s. My ongoing use of the Self-Organizing Map—a simple artificial neural network that rearranges pixels according to colour used in the MPCAS piece—started in 2006. My inspiration for using machine learning in art was George Legrady’s Pockets Full of Memories from 2001 which also uses the Self-Organizing Map. It’s hard to demarcate where machine learning differs from other computational methods such as feedback loops, chaos mathematics, or physical models. In all of my engagements with technology I’m looking to develop processes that have the capacity to surprise me. This surprise could be due to my misunderstanding—or the complexity—of the process. I see machine learning as just another engagement with complexity resulting from a process built up from the interactions of many simple components. From this high-level perspective, there is no difference between a physical model made up of many small mass-spring-damper components and artificial neural networks. I provide this short ~20 year personal history because while the tech industry is very good at emphasizing novelty, it is imperative for artists using tech to see their relation with—and situate their work in—the ~70 year history of artists working with electronic and computational technologies.

What interests you about the Mount Pleasant Community Art Screen?

Having lived in East Van for a decade now I’ve spent a lot of time on the 10th and Ontario bike routes. Walking and cycling to go shopping at the old MEC store, or just to spend time on Main Street, I’ve seen a lot of changes in Mount Pleasant. I can hardly remember what used to be where The Independent now stands. How long will Kingsgate Mall stay around? What changes will we see in the next 10 years? My interest in public art is situated in a preoccupation with the ways an artwork can relate to its site—not only conceptually but also in terms of structure. My approach to public art involves using technologies that allow the structure of artworks to be created in dialogue with place. I see this as a natural extension of my interest in surprise and emergence where the site itself becomes a collaborator and the form of a work emerges from interactions between algorithms, the site, and my intention. Our city is changing so much and so quickly; there is so much potential for public art that literally (re)structures itself through these changes and reflects the city back to itself through an ongoing and evolving relationship. I hope there will be opportunities for even more ambitious multi-year permanent projects where artworks evolve ‘live’ as the city changes around them. Vancouver seems like an ideal place for this kind of work as we embark on large density projects to make staying here more viable.

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grunt gallery Accessibility Committee

The above video is an ASL translation of the text below.

Over time, grunt gallery has explored and supported a wide range of practices including exhibitions, performances, online projects, public art, residencies, media- and time-based works, talks and symposia, publications and community-engaged practices. Our wide range of programming has always included the creation and dissemination of audio/ visual materials and online experiences. With a mandate to support artists and inspire public dialogues, we are committed to doing the work to create an environment that allows for accessible conversation. This aim informs how we develop and build our archive, engage with audiences and look to the future of our organization.

In Spring 2020, we created an Accessibility Committee composed of grunt staff and contractors and chaired by our Exhibitions Manager (and Accessibility consultant) Kay Slater. This committee gathers to audit and review systems, procedures, and policies of grunt gallery to identify, think through, improve, and share the way we show up in our public programming, exhibitions, and for our community. Over the past year, we have drafted guidelines for hosting online and hybrid events, video captioning and transcription, and have begun re-drafting contracts. In Spring 2021, we launched a series of captioning, transcription and non-auditory access workshops offered to our communities for free. This ongoing series includes a mentorship opportunity to learn captioning alongside experienced and practicing access professionals with an invitation for mentees to co-facilitate their own non-auditory access workshops designed specifically for their own communities.

We are informed by anti-oppression practices, a commitment to learning and sharing our findings, and a belief in social justice through the arts. We understand these processes take time, resources and long-term commitment.

If you have questions regarding this work, or suggestions for how we can do it better, please contact us at access@grunt.ca

 

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Fire Flower Artist Talk: Phone Access

To access the Project Fire Flower Artist Talk via phone:

One tap mobile
+14388097799,,82174264205#,,,,*041337# Canada
+15873281099,,82174264205#,,,,*041337# Canada
Dial by your location
+1 438 809 7799 Canada
+1 587 328 1099 Canada
+1 647 374 4685 Canada
+1 647 558 0588 Canada
+1 778 907 2071 Canada
+1 204 272 7920 Canada
Meeting ID: 821 7426 4205
Passcode: 041337
Find your local number: https://us06web.zoom.us/u/kdGd8qavzI
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