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The Polygon Gallery
Director’s Report
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Gallery Program 6 Exhibitions 8 Outreach 20 Donors 24 Capital Campaign 26 Annual Campaign 27 People 28 Treasurer’s Report
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Financial Statements
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Cover: Photographer unknown, The Library at Holland House, Kensington, London, after an Air Raid, 1940, gelatin silver print, private collection. Gallery School tour of a Handful of Dust: From the Cosmic to the Domestic. Photo: Anita Bonnarens.
Annual Report 2019
Installation view, Samuel Roy-Bois: Reward Friends, Punish Enemies. Photo: Akeem Nermo.
2019 DIRECTOR’S REPORT
I begin by acknowledging that The Polygon is located on the traditional, unceded territories of the Skwxwú7mesh and səl ̓ ilwətaɁɬ (TsleilWaututh) Nations, who have lived in what is now called North Vancouver for thousands of years. Addressing the successes of The Polygon in 2019 is, as I write this in June 2020, sharply influenced by the exceptional events of these past three months and the challenges, both unforeseen and necessary, now facing our organisation. We are working through this uncertainty, limited in our understanding of what will happen in the upcoming weeks and months, and actively negotiating what will likely be permanent and fundamental shifts in how public space is imagined and used. Within this evolving context, as we begin to bring the Gallery back to life and open again to the public, we are also engaged with the epochal—and one hopes transformative—upheavals of the Black Lives Matter movement. Together, these are systemic shifts that pose fundamental interruptions to social patterns, and specifically
interrogate The Polygon’s responsibilities to its publics and its role in reflecting the voices of artists and its communities. It is a time of deep reflection and change as we work to address these disruptions, and as we begin to emerge, The Polygon is striving to use this period as an inspiration and a reminder—to be creative, to be generous, to be welcoming, and to be bold in its response to our current world. I’m grateful for the work of a remarkable team at The Polygon. Staff have risen to the occasion of these past months with fortitude and incredible, positive energy. These characteristics define the work and accomplishments of 2019, the second full year of the Gallery’s operations in its new home. It’s especially gratifying that we succeeded in realizing an increasingly ambitious artistic and educational program over the year, fulfilling a fundamental goal of the vision for our new home. The year began with a Handful of Dust: from the Cosmic to the Domestic, curated by David
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Campany, one of the great contemporary writers and curators of photography. The exhibition assembled imagery spanning the last century beginning with an iconic photograph by legendary artist Man Ray. The exhibition crafted rich associations out of a plebeian subject in order to question, in Campany’s words “our relationship to dust as something we come from and return to, create constantly, and insistently try to avoid.” In the summer of 2019, we presented The Clock, American/Swiss artist Christian Marclay’s magnum opus, and one of the twenty-first century’s most celebrated and significant artworks. Taking over a decade to complete, The Clock is constructed of thousands of clips taken from the history of cinema to create a functioning, 24-hour timepiece. Audiences responded overwhelmingly, with over 10,000 visits through the summer, testament to The Clock’s symmetry of critical and popular appeal. We are grateful for the collaboration of the National Gallery of Canada in lending
Left: Jeff Mermelstein, Statue (‘Double Check’ by Seward Johnson), New York, 11 September 2001, 2001, chromogenic print, private collection. Right: Kids First Saturday. Photo: Anita Bonnarens.
The Clock, and for the opportunity to bring it to BC audiences for the first time. The Clock was coupled with work by Brooklyn-based Sara Cwynar, curated by Jenn Jackson, the first major show by this fast-rising artist in her hometown of Vancouver. In the autumn, the Gallery mounted a solo exhibition by Egyptian artist Wael Shawky, curated by Audain Chief Curator Helga Pakasaar, and the first use of the Freybe Family Gallery devoted to a single artist’s work. Shawky came to prominence with The Cabaret Crusades, a video cycle that imaginatively retold the history of the crusades through puppetry, and at The Polygon his acute investigations into the legacies of colonialism in the Arab world were displayed in a provocative installation centering on a new video work, Al Araba al Madfuna. Building on our audience’s enthusiasm and stated desire for more programming in the building, the Gallery mounted twelve exhibitions in 2019, with a number of offerings in our main floor gallery space. A highlight was Skwxwú7mesh Nation Basketball, portraits of the Skwxwú7mesh Nation’s U13 Girls basketball team by photojournalist Alana Paterson. Sincere thanks to Justine Sobell and Coach Wilson Williams of the Skwxwú7mesh Nation, to Kate Henderson at Capture Photography Festival, and the young women of the North Shore Indians team for their spirit in helping to realise this terrific exhibition.
installation was an immediate and popular addition to our main floor space, and we extend thanks to Christian Chan, Kate Bellringer, and Genevieve Michaels at BAF for their ongoing collaboration and support of this important commission. Other ongoing programs include The Lind Prize and Chester Fields, two pillars of our education program, both of which are curated with increasing ambition and skill by Assistant Curator Justin Ramsey. Gallery School—our third education pillar—was expanded in 2019 under the enthusiastic guidance of Nellie Lamb. My sincere thanks to the entire curatorial team headed by Helga Pakasaar: Diane Evans, Justin Ramsey, Nellie Lamb, and Akeem Nermo, as well as our keen installation crew under Head of Operations Paul Kuranko, including Dan Phillips and Nomi Stricker, for their efforts in making the Gallery program in 2019 a tremendous, polished success.
Other highlights from the main floor gallery included without a word, a resonant exhibition of photographs selected from the collection of Bill Wu; 10,000 Ships a popular display of the life-long photographic passion of “ship spotter” Rod Logan, facilitated by photo enthusiast Chris Wright; and Dog Days, a rich, playful exhibition featuring historic and contemporary photographs of our canine friends, organised by Gallery Manager Diane Evans.
None of this growth would be possible without the resources that the Gallery’s development team continues to build. The Polygon began 2019 with the goal of stabilisation after three years of exponential expansion. It’s inspirational to note that the Gallery’s yearly revenue has grown from $1,000,000 in 2016—the final full year as Presentation House Gallery—to $1.9M in 2017, to $3.2M in 2018, and $3.7M in 2019. This evolution is testament to a superlative team that hit the ground running in our new home, maximising its potential while continuing to build revenue streams based on a philosophy of generosity and personal engagement.
In 2019, The Polygon continued its meaningful partnership with the Burrard Arts Foundation (BAF) with the third co-commissioned public artwork in the 10-year series: Kelowna artist Samuel Roy Bois’ Reward Friends: Punish Enemies, a site-responsive intervention into the architectural space of The Polygon utilizing discarded timber from BC lumber mills. The
This great work was especially evident last year during the inaugural Mayor’s Gala on October 5th, a tremendously successful fundraising event in support of the Gallery’s children’s and family programs, for which a host of North Shore business and community members gathered in celebration. We’re indebted to the City of North Vancouver Mayor Linda Buchanan for her
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collaboration and friendship in making this such a warm and generous evening, and to all the sponsors and guests. We look forward to hosting the second Mayor’s Gala, as soon as we are able to gather again. In leading these efforts I’m grateful for my ongoing dialogue with, and the hard work of, Associate Director Jessica Bouchard, and to Andrea Jensen, Vanessa Sorenson, and Ahlia Moussa, for their excellent work. We’re very lucky for the fantastic efforts of Faye Bednarczyk in leading the success of our Venue Rentals program, and Asia Harvey, for the continued growth of our Polygon Shop, as well as the entire front-line team helmed by Rhonda Schultz, for ensuring our visitors continue to be treated so well. I also want to express big thanks to Financial Controller Molly O’Callaghan for her steadfast work in keeping us on a firm footing, and to the Board’s Finance Committee chaired by Kathleen Butt, who took over from Doug Allan in 2019. In 2019, Iain Mant, Chair of The Polygon’s Board of Directors for two years, passed the baton to Pauline Hadley-Beauregard, who ably stepped into the role. Iain led the Gallery in its transition into our new building, and through a gestational year as we began operations. Iain provided core leadership to the Board, and leaves a significant accomplishment and legacy for the Gallery in its newly minted Strategic Plan, which was passed in 2019 after much hard work. We are indebted to the members of the Strategic Planning committee, including Stan Douglas, Kevin Shoemaker, Pauline and Jessica Bouchard for their contributions and involvement. Through the process of Strategic Planning, we were privileged to see the conversation and dialogue between the Board and Staff of the Gallery grow and generate, which is perhaps its greatest accomplishment, and for which the Gallery will be stronger as it addresses the many challenges ahead. Reid Shier Executive Director
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86,386 ANNUAL ATTENDANCE 42,554 PROGRAMMING AND OUTREACH ATTENDANCE 729 MEMBERS 16,589 SOCIAL MEDIA FOLLOWERS 90 VENUE RENTALS
2019 Gallery Program
12 EXHIBITIONS
10,000 SHIPS A HANDFUL OF DUST SOMETHING IN MY EYE SKWXWÚ7MESH NATION BASKETBALL THE LIND PRIZE FOTOFILMIC18 DOG DAYS THE CLOCK SARA CWYNAR: GILDED AGE II SAMUEL ROY-BOIS: REWARD FRIENDS, PUNISH ENEMIES WITHOUT A WORD WAEL SHAWKY: AL ARABA AL MADFUNA
94 OUTREACH PROGRAMS 23 YOUTH PROGRAMS
7 OPENING RECEPTIONS 32 PUBLIC TOURS 3 CURATOR’S TOURS 20 EXHIBITION TOURS IN FRENCH, FARSI, SPANISH, AND MANDARIN 4 PHOTO STUDIO SESSIONS 9 SCREENINGS 9 TALKS AND LECTURES 3 VIDEO PORTRAITS 2 PERFORMANCES 5 WORKSHOPS AND SEMINARS
12 KIDS FIRST SATURDAYS (1,565 ATTENDEES) 2 SPRING BREAK ACTIVITIES (188 ATTENDEES) 6 WEEKS OF GALLERY SCHOOL (135 STUDENTS) 1 CHESTER FIELDS YOUTH PHOTOGRAPHY PROGRAM WITH 13 SCHOOLS 2 FESTIVAL BOOTHS
Installation view, Christian Marclay, The Clock, 2010. Photo: Akeem Nermo.
Exhibitions
Installation view, Wael Shawky: Al Araba, Al Madfuna. Photo: SITE photography.
JANUARY 19, 2019 — MARCH 31, 2019
FEBRUARY 8, 2019 — APRIL 28, 2019
This exhibition featured a truly unique photographic archive created over the past three decades by local “ship-spotter” and photographer Rod Logan (b. 1942, Vancouver, Canada). Since the early 1980s, he has been documenting the comings and goings of every manner of ship, tug, barge, and boat entering and leaving Vancouver’s Burrard Inlet, printing each roll of film at one-hour photo shops and carefully annotating the date, time, and name of the depicted ship and vessel on the back of each print. To date, Logan has produced well over 10,000 individual pictures of maritime vessels.
CURATED BY DAVID CAMPANY
10,000 SHIPS
Logan’s photographs were taken from a variety of locations, including the Lion’s Gate and Second Narrows Bridges, as well as the inlet’s shoreline. Taken together, the sheer quantity of images painted an indelible picture of the nautical life of Vancouver’s harbour. Sponsored by Port of Vancouver.
A HANDFUL OF DUST: FROM THE COSMIC TO THE DOMESTIC a Handful of Dust offered a rare opportunity to view a remarkable diversity of photographs from the last 100 years, focusing on the theme of dust, unified in a visual journey through the unlikeliest imagery. Curator and critic David Campany proposed a speculative history of the past century, beginning with an iconic photograph by legendary artist Man Ray, of a dust-covered sheet of glass belonging to Marcel Duchamp. Positing dust as a key motif of the past century, Campany traced connections between this photograph and numerous others, ranging from aerial reconnaissance and the American dustbowl to the wars in Iraq. The exhibition probed our relationship to dust as something we come from and return to, create constantly, and insistently try to avoid. a Handful of Dust featured a range of photographic works by
renowned artists John Divola, Marcel Duchamp, Walker Evans, Gerhard Richter, Sophie Ristelhueber, Xavier Ribas, Jeff Wall, and many others, alongside anonymous press photos, postcards, magazine spreads, and movies. David Campany is one of the most acclaimed photography experts of our time whose fresh perspectives on the history of the medium have had a profound impact on art and scholarship. He has received the ICP Infinity Award, the Kraszna-Krausz Book Award, the Alice Award, a Deutscher Fotobuchpreis, and the Royal Photographic Society’s award for his writing. Generously supported by Phil Lind, as well as Nancy Harrison and Paul Buitenhuis, through their membership in The Polygon’s Exhibition Circle.
Above: Installation view, a Handful of Dust: from the Cosmic to the Domestic. Photo: Anita Bonnarens.
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Opposite: Detail, 10,000 Ships. Photo: Justin Ramsey.
APRIL 6, 2019 — APRIL 21, 2019
CHESTER FIELDS 2019: SOMETHING IN MY EYE Chester Fields is The Polygon Gallery’s teen outreach program. Every year, the Gallery invites teens from across the Lower Mainland to create an original work of photographic art in response to a unique theme. Inspired by the past exhibition a Handful of Dust, the 2019 theme, Something In My Eye, challenged artists to think about the space between the camera and its subject, and to experiment with ways of interrupting or changing the lens’s ability to view and capture its photographic subject. Submissions were juried by Peppa Martin, curator and director of Truth and Beauty Gallery; Ian McGuffie, award-winning photographer and head of digital photography at VanArts; and Birthe Piontek, acclaimed artist and faculty member at Emily Carr University of Art + Design.
Opposite (top): Opening reception of Skwxwú7mesh Nation Basketball. Photo: Amy Romer. Opposite (bottom): Installation view, Ran Zhou, The Classroom, 2019. Photo: SITE Photography. Below: Opening reception of Chester Fields: Something In My Eye. Photo: Anita Bonnarens.
APRIL 13, 2019 — MAY 12, 2019
SKWXWÚ7MESH NATION BASKETBALL: PHOTOGRAPHS BY ALANA PATERSON Over the past few years, BC-based photojournalist Alana Paterson became deeply invested in gender inequality and women’s civil liberties. For her recent project, Skwxwú7mesh Nation Basketball (2018), Paterson was invited to shoot the young women’s division of the Junior All Native Basketball Tournament (JANT), held at the Chief Joe Mathias Centre in North Vancouver. During this time, she worked closely with the North Shore Indians junior basketball team, and continued to photograph them over the course of a year, primarily on their home court on unceded Skwxwú7mesh lands. The project portrayed the sense of strength, perseverance, and passion for which Indigenous “Warrior Women” are renowned. Images from Paterson’s series were on view at the Stadium-Chinatown Skytrain Station in Vancouver as part of Capture Photography Festival, until 2020. Alana Paterson is a North Vancouver-based photographer. Her photojournalism has appeared in The New York Times, The Globe and Mail, and the Toronto Star. Paterson was named one of Magenta Foundation’s top emerging photographers in 2018. Skwxkwú7mesh Nation Basketball marked her first solo exhibition. Produced in collaboration with Capture Photography Festival, supported by a London Drugs printing grant.
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MAY 17, 2019 — JUNE 9, 2019
THE LIND PRIZE 2019 Established in 2016, the Philip B. Lind Emerging Artist Prize is awarded annually to an emerging BC-based artist working in mediums of film, photography, or video. While in past years, the Lind Prize was limited to BFA or MFA students, the 2019 competition expanded its scope. For the first time, nominees were accepted from outside academic institutions. A jury consisting of writer and art collector Claudia Beck, Nanaimo Art Gallery curator Jesse Birch, and BC artist Liz Magor chose 11 finalists from an outstanding selection of over 50 nominated portfolios. The shortlisted artists were Claire Geddes Bailey, Evan Berg, Roxanne Charles, Garnet Dirksen, Jessica Johnson, Aaron Leon, Christian McGinty, Lilian Rose Smith, Ryan Stella, Weronika Stepien, and Ran Zhou. Jessica Johnson won the prize for her work Hazel Isle, a 14-minute documentary shot in Scotland. Johnson received a $5,000 prize towards producing a new project, which will be featured in an exhibition at The Polygon Gallery in 2021. The Philip B. Lind Emerging Artist Prize is made possible through a generous donation from Rogers Communications, in honour of Phil Lind’s commitment to the company and the communications industry over the course of 40 years. The Lind Prize is part of The Polygon Gallery’s Emerging Artist Mentorship Program, supported by RBC Foundation.
MAY 17, 2019 — JUNE 16, 2019
FOTOFILMIC18
FotoFilmic18 was the 6th edition of FotoFilmic’s annual touring exhibition juried by an international panel of photography curators and established artists. This group exhibition featured 30 emerging and midcareer analogue photographers representing 12 countries: Australia, Canada, Colombia, France, Germany, Greece, Guatemala, Ireland, Italy, Korea, Scotland, and the United States. After The Polygon Gallery, FotoFilmic18 toured SF Camerawork, San Francisco, and The Reference, Seoul. FotoFilmic is an arts organisation based on Bowen Island, dedicated to supporting analog photographic artists through exhibitions and publications, as well as seminars, public talks, and master workshops. FotoFilmic’s mandate consists of stimulating socio-critical dialogues on the future of material practices in contemporary photography.
JUNE 25, 2019 — SEPTEMBER 8, 2019
JULY 5, 2019 — SEPTEMBER 22, 2019
DOG DAYS
SARA CWYNAR: GILDED AGE II
Dog Days was a survey of the camera’s interactions with our canine companions. Today, dogs figure prominently in visual culture through Instagram feeds, viral videos, memes, and other media, yet our photographic obsession with dogs is as old as the camera itself. Dog Days featured contemporary works, classic images, video, and vintage photographs from several local archives and collections, considering how dogs have shaped, and are shaped by, human society. Together, these images revealed how dogs have remained an enduring metaphor and a potent symbol in human history, an integral part of everyday life, and a favourite subject of the camera.
Gilded Age II was a timely and provocative exhibition of early and new work by Brooklynbased Canadian artist Sara Cwynar. Cwynar’s process begins and ends with photography, from collecting and archiving visual materials to presenting them as dense collages that reference the staggering proliferation of images in today’s culture. Her sources range from cast-off library books to advertisements and e-com photo shoots. Theses works overlapped different periods and genres of material culture, confounding the hierarchies that shape our collective modes of knowing and seeing. Alongside collages, the exhibition presented works which reference the photography studio, in which highly staged subjects and discreet digital interventions reflect the visual language of advertising and social media. By satirising the allure of rapid economic progress, Cwynar reveals serious social and political fractures underlying the ease and convenience of a hyper‑networked information society. Sara Cwynar (b. 1985, Vancouver, BC) holds an MFA from Yale University, New Haven, CT and a Bachelor of Design from York University, Toronto, ON. She has exhibited internationally, and her artist book Kitsch Encyclopedia was published by Blonde Art Books in 2014. Cwynar is represented by Cooper Cole, Toronto, and Foxy Production, New York.
Above: Installation view, Dog Days. Photo: Akeem Nermo. Opposite: Sara Cwynar, 432 Photographs of Nefertiti (detail), 2015, digital pigment print; courtesy the artist, Cooper Cole, Toronto, and Foxy Production, New York.
GUEST CURATOR: JENN JACKSON
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JULY 5, 2019 — SEPTEMBER 22, 2019
THE CLOCK: CHRISTIAN MARCLAY Recognised as one of the most important contemporary artworks of our time, The Clock is an audiovisual tour-de-force. Presented in a custom-built cinema within the gallery, the work montages film and television footage from the last 70 years. The time represented in each clip is synchronised with actual time, allowing The Clock to function as a 24-hour timepiece, weaving together thousands of film fragments collaged into a minute-to-minute tapestry of modern life. The mesmerising experience of following various narratives, settings, and moods within the space of a few minutes makes time unravel in countless directions at once. Christian Marclay won the coveted Gold Lion Award at the Venice Biennale in 2011 for this now-famous artwork, recently presented at the Tate Modern, London. Christian Marclay was born in California, raised in Switzerland, and lives and works in London. A visual artist and composer, he has for 35 years explored the fusion of visual and audio cultures, transforming sound into physical form through performance, collage, sculpture, installation, photography, and video. He began his exploration into sound art through experimenting with phonograph records and turntables in 1979. Over the last two decades, Marclay has created provocative moving image installations and soundscapes by collaging found film and video footage. Marclay is represented by Fraenkel Gallery, San Francisco; Paula Cooper Gallery, NYC; and White Cube, London.
Organised by the National Gallery of Canada. Jointly owned by the National Gallery of Canada and the Museum of Fine Arts, Boston. Purchased in 2011 with the generous support of Jay Smith and Laura Rapp, and Carol and Morton Rapp, Toronto. Generously supported by Brigitte and Henning Freybe, Paula Palyga and David Demers, and Bruno Wall, through their membership in The Polygon’s Exhibition Circle. Additional support from the Swiss Arts Council Pro Helvetia.
Above (top): Installation view, Christian Marclay, The Clock, 2010. Photo: Akeem Nermo. Above (bottom): Christian Marclay, The Clock (still), 2010, single-channel video installation, duration: 24 hours, courtesy the artist. Photo: White Cube (Ben Westoby).
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Opposite: Installation views, Samuel Roy‑Bois: Reward Friends, Punish Enemies. Photo: SITE Photography.
JULY 05, 2019 — ONGOING
SAMUEL ROY-BOIS: REWARD FRIENDS, PUNISH ENEMIES Reward Friends, Punish Enemies is a siteresponsive installation—imagined as an intervention into the architectural space of The Polygon—that invokes histories of resource extraction and the forest industry on the North Shore. Venetian blinds made from horizontal slats of discarded cedar obstruct the vista of the Vancouver skyline, while fir-timber beams appear to penetrate The Polygon’s windows, extending from gallery’s interior into the plaza. Samuel Roy-Bois’ rustic, handcrafted aesthetic rubs against the steel-and-glass design of the gallery and the surrounding waterfront developments, upending distinctions between interior and exterior, private and public.
Samuel Roy-Bois (b. 1973, Québec City) is an internationally acclaimed artist living in Kelowna, BC. He works with a diverse range of media including photography, drawing, sculpture, performance, and installation to probe the socio-political dynamics of the built environment. He has exhibited at Carleton University Art Gallery, Ottawa; Contemporary Art Gallery, Vancouver; Kamloops Art Gallery; Musée d’art contemporain de Montréal; Musée National des Beaux Arts du Québec, Québec City; Southern Alberta Art Gallery, Lethbridge; Vancouver Art Gallery; and Point éphémère, Paris.
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Samuel Roy-Bois: Reward Friends, Punish Enemies is the third in a 10-year commissioning program of new public artworks installed at The Polygon Gallery, in collaboration with the Burrard Arts Foundation.
SEPTEMBER 20, 2019 — NOVEMBER 17, 2019
WITHOUT A WORD
without a word presented a selection of portrait photographs from the private collection of Bill Wu, the first display of this remarkable, yet unknown, Vancouver collection of photography. Representing an international cross-section of acclaimed twentieth-century artists including Berenice Abbott, Robert Doisneau, Walker Evans, Graciela Iturbide, and Mary Ellen Mark, the exhibition included some of modern photography’s most iconic and memorable portraits, with a specific focus on people caught in unguarded moments of contemplation and preoccupation. without a word spoke to a widely shared experience of having one’s picture taken without formal permission, and to the evocative power of stolen encounters that might reveal more about identity than might ever be found in a formally posed portrait.
OCTOBER 18, 2019 — JANUARY 12, 2020
WAEL SHAWKY: AL ARABA AL MADFUNA This exhibition brought the extraordinary and timely art of Wael Shawky to the West Coast for the first time. Shawky’s ambitious, multilayered film productions look at the ways in which history and mythologies are recorded, highlighting the fallibility of cultural memory, while offering critical perspectives on our current narratives of uncertainty and change. The last part of a trilogy of films, Al Araba Al Madfuna III was shot in Upper Egypt, near the village of Al Araba Al Madfuna. This work was inspired by Egyptian writer Mohamed Mostagab’s short story “Sunflower,” and by the artist’s travels in the region, where he observed local people digging tunnels underground in search of ancient treasures. In Shawky’s theatrical restaging, he employed amateur child actors and film shot in negative to emphasise the many contingencies of historical understanding.
Wael Shawky (b. 1971, Alexandria, Egypt) studied at the University of Alexandria and the University of Pennsylvania in Philadelphia, and is the founder of MASS Alexandria, an artist residency program. His work has been exhibited widely, and he has participated in major international exhibitions including the Istanbul Biennial, Sharjah Biennial, and documenta (13). He is the recipient of the first Mario Merz Prize, and his film trilogy The Cabaret Crusades was listed as the 7th most important artwork produced in the 21st Century by The Guardian. This presentation is part of The Polygon Gallery’s exhibition series New Perspectives: revealing diverse perspectives, untold stories, and new voices in visual art. Presenting Sponsor: TD Bank Group Generously supported by the Munford Family Foundation.
Above: Robert Doisneau, Le Petit Balcon, 1953/1982, gelatin silver print, courtesy the collection of Bill Wu. Opposite (top): Installation view, Wael Shawky: Al Araba Al Madfuna. Photo: SITE photography.
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Opposite (bottom): Wael Shawky, Al Araba Al Madfuna III (still), 2016, courtesy the artist and Sfeir-Semler Gallery, Beirut/Hamburg.
Outreach
In 2019, The Polygon Gallery continued to augment its substantial offerings of public programs, tours, and education outreach, while expanding in exciting new directions. Crucially, The Polygon augmented its tour program with audio guides that introduce and raise critical insights about the exhibitions on view, and are available for free download. The Polygon also inaugurated a series of video portraits, short documentaries that give the public new insights into the Gallery’s artistic collaborators’ creative processes. Accessibility was a priority for The Polygon this past year. The Gallery partnered with VocalEye and Kickstart Disability, offering a tour designed to remove perceived barriers to experiencing art. The Polygon also expanded its language tours to include monthly exhibition tours in Spanish and Mandarin, alongside ongoing tours in French and Farsi. In addition, the organisation collaborated with the North Shore Multicultural Society to give new community members a meaningful and memorable first visit to The Polygon Gallery in their native languages.
For another consecutive year, participation in The Polygon’s emerging artist programs increased, with 50 artists nominated for the Philip B. Lind Emerging Artist Prize, and over 200 artwork submissions to the Chester Fields Teen Photography Program. The Polygon also worked with North Shorebased Blueridge Chamber Music Society on two highly successful collaborations: a rare staging of John Cage’s Musicircus in January, with musicians and sound artists from across the Lower Mainland staging impromptu, interactive concerts throughout the Gallery; and the finale of Blueridge’s summer music festival in August, with an audiovisual performance by Indigenous singer-songwriter Edzi’u, after which musicians played Morton Feldman’s monumental piece For Philip Guston. Over the summer, The Polygon was a central hub for culture in Metro Vancouver, with latenight Fridays coinciding with the Shipyards Night Market and the hugely popular 24-hour screenings of Christian Marclay’s The Clock.
Further livening the atmosphere were portrait sessions for dogs and their owners with acclaimed tintype photographer Geoffrey Wallang in conjunction with the exhibition Dog Days, alongside talks, tours, and presentations with a number of special guests. 2019 also saw strengthened partnership with FotoFilmic, as packed audiences attended three lectures and book signings by internationally renowned photographers. In the fall The Polygon screened the first two installments of the Cabaret Crusades trilogy by Egyptian artist Wael Shawky, in conjunction with his exhibition Al Araba Al Madfuna, with an introduction by film scholar Laura Marks. These films were listed by The Guardian as one of the most significant visual artworks of the 21st Century so far, and it was a pleasure bringing them to Metro Vancouver for the first time.
The Clock Collage Party. Photo: Akeem Nermo.
a Handful of Dust: Lecture with David Campany February 9
TALKS AND LECTURES John Divola: Artist Talk and Book Signing
April 17 a Handful of Dust: Lecture with David Campany February 9 Mona Kuhn: Artist Talk and Book Signing April 28 John Divola: Artist Talk and Book Signing April 17 The Lind Prize Confab May 22 Mona Kuhn: Artist Talk and Book Signing April 28 Danny Lyon: Artist Talk and Book Signing June 13 The Lind Prize Confab May 22 Alec Soth: Artist Talk and Book Signing “From Here to There: Searching for Narrative in Danny Lyon: Artist Talk and Book Signing Photography” June 13 July 26 Alec Soth: Artist Talk and Book Signing Sara Cwynar: In Discussion with Jenn Jackson “From Here to There: Searching for Narrative and Jonathan Shaughnessy in Photography” September 6 July 26 Joel Sternfeld: Artist Talk and Book Signing Sara Cwynar: In Discussion with Jenn Jackson “Old Autumn, It Was I” and Jonathan Shaughnessy September 13 September 6 Wael Shawky: In Conversation Joel Sternfeld: Artist Talk and Book Signing October 17 “Old Autumn, It Was I” September 13 Wael Shawky: In Conversation October 17
Kevin Schmidt: Reckless Samuel Roy-Bois: Reward Friends, Punish Enemies Wael Shawky: Al Araba Al Madfuna
FARSI |
VIDEO PORTRAITS
Kevin Schmidt: Reckless Samuel Roy-Bois: Reward Friends, Punish Enemies Curator’s Tour of a Handful of Dust: From the Wael Shawky: Al Araba Al Madfuna Cosmic to the Domestic with David Campany February 7
CURATOR TOURS
CURATOR TOURS
Introduction to Reward Friends, Punish Tour of a Handful of Dust: From the Cosmic to Enemies with Samuel Roy-Bois the Domestic with David Campany July 6 February 7 Curator’s Tour of Sara Cwynar: Gilded Age II Introduction to Reward Friends, Punish Enemies with Jenn Jackson with Samuel Roy-Bois August 17 July 6
FOREIGN LANGUAGE TOURS
Tour of Sara Cwynar: Gilded Age II with Jenn Jackson FRENCH | Visites en Français August 17 a Handful of Dust
FOREIGN LANGUAGE TOURS March 17 April 14 FRENCH | Visites en Français
FARSI | Prize 2019 The Lind June 9 a Handful of Dust March 31, April 28 The Clock/Sara Cwynar: Gilded Age II July 21 The Lind11Prize 2019 August June 9 September 22 The Age II WaelClock/Sara Shawky: AlCwynar: Araba AlGilded Madfuna July 21, August November 24 11, September 22 December 8 Wael Shawky: Al Araba Al Madfuna November December 8 en Español SPANISH |24, Visitas Guiadas SPANISH | Visitas Guiadas en Español The Clock/Sara Cwynar: Gilded Age II July 28 The Clock/Sara Cwynar: Gilded Age II August 18 July 28, August September 8 18, September 8 MANDARIN | 中文 中文（普通话）画廊讲解 （普通话）画廊讲解
The Lind Prize 2019 a Handful of Dust June 2 March 17, April 14 The Clock/Sara Cwynar: Gilded Age II The Lind Prize 2019 July 14 June 2 August 25 September 15 The Clock/Sara Cwynar: Gilded Age II July 14, August 25, September 15
a Handful of Dust Wael Al Araba Al Madfuna MarchShawky: 31 December April 28 1
Wael Shawky: Al Araba Al Madfuna November 24, 24 December 8 December 8
WEEKLY EXHIBITION TOURS Public tours generously supported by
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32 tours, free with Living. admission, guided over 300 PARC Retirement guests through exhibitions in 2019. Sponsored by PARC Retirement Living.
ACCESSIBILITY TOUR The Lind Prize In partnership with VocalEye and Kickstart Disability Art & Culture June 6
SCREENINGS 24-hour screenings of The Clock July 5–July 6 July 26–July 27 August 16–August 17 September 6–September 7 September 13–September 14 Exclusive Screenings of The Clock for Members July 25, August 22, September 11 Finale Screening: The Clock September 22 Cabaret Crusades: The Horror Show File; The Path to Cairo Introduction by Dr. Laura U. Marks December 10
PERFORMANCES Musicircus In partnership with Blueridge Chamber Music Society January 13 Breathe Out, Listen In: Music About Time Kime Ani, performed by Edzi’u Morton Feldman: For Philip Guston, performed by Paolo Bortolussi, flute; Manuel Laufer, piano; Daniel Tones, percussion In partnership with Blueridge Chamber Music Festival August 25
The Lind Prize 2020: Emerging Artist Seminar October 19 Part of the Emerging Artist Mentorship Program, supported by RBC Foundation
Kids First Saturdays January 5, February 2, March 2, April 6, May 4, June 1, July 6, August 3, September 7, October 5, November 2, December 7
Meet the Makers An intimate pop-up event to meet some of the talented makers behind a selection of local goods in The Polygon Shop, featuring: Grace Lee of Eikcam Ceramics; Morgan Mallett of Design + Conquer; Jennifer and Natalina of New Look Calendars; artist Nomi Stricker; Lisa Turner of Quake Studio; and Derrick Wong of DW Leatherworks December 14
Kids First Saturdays was generously supported by The Hamber Foundation and the North Shore Community Foundation.
YOUTH Spring Break March 20–24
WORKSHOPS, SEMINARS, ART DEMONSTRATIONS
Chester Fields Youth Photography Program February–April
The Lind Prize 2019: Emerging Artist Seminar March 16
Shipyards Grand Opening July 20
Open House at Framer’s Choice June 15 Part of the Emerging Artist Mentorship Program, supported by RBC Foundation
World Maritime Day at Shipped Festival September 28
Dog Tintype Portrait Studio by Geoffrey Wallang July 21, July 28 Dog Portrait Studio by Shari Hatt August 11, August 20 The Clock Collage Party with Maegan Hill-Carroll September 22
AUDIO GUIDES Samuel Roy-Bois: Reward Friends, Punish Enemies Dog Days Christian Marclay: The Clock Sara Cwynar: Gilded Age II without a word Wael Shawky: Al Araba Al Madfuna
Gallery School February 25–March 1: Waverly Elementary March 4–8: Lynn Valley Elementary May 27–31: Bayfield Elementary November 19–22: Charles Dickens Annex November 25–29: Charles Dickens Annex December 2–6: Westview Elementary Gallery School was generously supported by Beech Foundation, Edith Lando Foundation, Opus Art Supplies, and Canada Gives—Taylor Taliesin Foundation. Opposite: Breathe Out, Listen In: Music About Time. Photo: Akeem Nermo.
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Above: Kids First Saturday. Photo: Akeem Nermo.
2019 Donors
Photo: Adam and Kev Photography.
CAPITAL CAMPAIGN DONORS The following people and organisations made significant investments in the construction and endowment of The Polygon Gallery.
LEAD SUPPORT Audain Foundation Polygon Homes Ltd. GOVERNMENT SUPPORT Government of Canada Province of British Columbia City of North Vancouver $1,000,000 + Dennis & Phyllis Washington Foundation Anonymous $750,000 + Chan Family Foundation TD Bank Group $500,000 + BMO Financial Group The Christopher Foundation Denna Homes
$100,000 + Tyke Babalos Jane Irwin and Ross Hill Phil Lind Iain Mant Stuart and Della McLaughlin The Munford Family Quay Property Management Rogers Communications Staburn Group Wesgroup Properties
THE FOUNDATION $25,000 + Rojeanne and Jim Allworth Bellringer Family Foundation Creocon Group Holdings Ltd. Rick Erickson and Donna Partridge Gordon Harris Dr. Paul Marks Nadir and Shabin Mohamed Elisa Nuyten and David Dime Michael Prout and Leonardo Lara Qualex-Landmark George Seslija Cheryl Stevens Fei Wong
$50,000 + Y. P. Heung Foundation Killy Foundation David Sprague and Elaine Williamson Terrence and Lisa Turner
$10,000 + Claudia Beck and Andrew Gruft Shawn and Jessica Bouchard Fred Herzog Bill Morneau & Nancy McCain Foundation Jay Smith and Laura Rapp
$250,000 + Paula Palyga and David Demers PARC Retirement Living Yosef Wosk, OBC
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2019 ANNUAL ARTISTIC PROGRAM SUPPORTERS Annual Donors help to bring creative ideas to life, supporting The Polygon as a vibrant hub of artistic activity. The Gallery is tremendously grateful for the generosity of this group of community partners and art philanthropists.
GOVERNMENT Canada Council for the Arts* Government of Canada* British Columbia Arts Council * Province of British Columbia* The City of North Vancouver and the District of North Vancouver through The North Vancouver Recreation & Culture Commission* Metro Vancouver COMMUNITY LEADERS BMO Financial Group* TD Bank Group* MAJOR PARTNERS Audain Foundation* The Christopher Foundation* Polygon Homes Ltd.* Port of Vancouver* Quay Property Management* INDIVIDUAL SUPPORT Exhibition Circle $10,000 + Claudia Beck and Andrew Gruft* Brigitte and Henning Freybe* Phil Lind Paula Palyga and David Demers* Bruno Wall Publication Circle $5,000 + Tyke Babalos* Jane Macdonald John and Helen O’Brian* John and Jennifer Webb Anonymous Artist Circle $1,000 + Byron Aceman and Caron Bernstein* David Aisenstat* Grant Arnold* Helen Babalos* Derek Barnett Helen Besharat Mary-Ann Booth Shawn and Jessica Bouchard* James and Janis Connolly Fraser and Suzanne Cooper Peter Cruikshank* Pauline and Bernie Hadley-Beauregard* (in honour of Michèle and Norman) Gordon Harris Dorothy Jantzen*
Christine Laptuta Peter and Janine Leitch Coleen and Howard Nemtin Goya Ngan and Jon Page Molly and Michael O’Callaghan* Daniel and Trudy Pekarsky* Alfonso Pezzente G. David Ramslie Carol and Kirk Robinson George Seslija Reid Shier and Zoe Lasham Kevin Shoemaker Cheryl Stevens* Terrence and Lisa Turner Gillian Wood Anonymous (3) ENDOWMENT LEGACY GIFTS Coleen and Howard Nemtin Beryl Woodrow and Larry Wolfson CORPORATE AND FOUNDATION SUPPORT $25,000+ Canada Gives—Taylor Taliesin Foundation RBC Foundation* $5,000+ Capilano University London Drugs North Shore Community Foundation* Swiss Arts Council Pro Helvetia $1,000+ Ballard Fine Art* Beech Foundation Brandever Edith Lando Charitable Foundation The Hamber Foundation Hemlock Printers* Naikoon Contracting Ltd. Poplar Grove Winery* Western Construction YWCA Tourism Essentials
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Corporate Members Beverli Barnes Custom Design COWI North America Deborah Nielsen Interior Design East India Carpets* ELEVATE Design Hapa Collaborative Hatfield Consultants Lawson Lundell LLP Local Practice Architecture + Design Opus Art Supplies * Consecutive contributions of 3+ years
MAYOR’S GALA Presenting Sponsor Quay Property Management Gold Sponsors A2Z Capital Babalos Family Cascadia Green Development Chard Development Concert Properties G3 Terminal Vancouver Neptune Terminals North Vancouver School District No. 44 Polygon Homes Seaspan International Ltd. Staburn Group TD Bank Group Wall Financial Corporation Western Stevedoring Supporters A&W Food Services of Canada and Franchisee Roger Milad Chan Family Foundation Culinary Capers JOEY Restaurant Group Thomas Haas Chocolates
PEOPLE
BOARD OF DIRECTORS Pauline Hadley-Beauregard, Chair Kevin Shoemaker, Vice-Chair Kathleen Butt, Treasurer Kevin Hisko, Secretary Lindsay Bailey Amir Bassiri Christian Chan Stan Douglas Carla George Nancy Elizabeth Harrison Terrence Turner Doug Allan, outgoing Iain Mant, outgoing EXECUTIVE COMMITTEE Kathleen Butt Pauline Hadley-Beauregard Kevin Hisko Kevin Shoemaker FINANCE COMMITTEE Kathleen Butt, Chair Christian Chan Pauline Hadley-Beauregard Nancy Elizabeth Harrison GOVERNANCE/NOMINATING COMMITTEE Terrence Turner, Chair Carla George Pauline Hadley-Beauregard
ADMINISTRATIVE STAFF Faye Bednarczyk Jessica Bouchard Diane Evans Asia Harvey Andrea Jensen Paul Kuranko Nellie Lamb Ahlia Moussa Akeem Nermo Molly O’Callaghan Helga Pakasaar Justin Ramsey Amy Romer Rhonda Schultz Reid Shier Vanessa Sorenson Nomi Stricker Jennifer Wheeler
GUEST SERVICES Jessie Bhander Claudia Chan Janis Connolly Melody Cooper Marilyne Desjardins Stephanie Gagne Jana Ghimire Petra Giffard Grace Le Caitlin Main Dara McDermott Dorsa Mojtabavi Alanna Reyse Garry Singh Jonathan Wells 2019 VOLUNTEERS AJ Asitanelioglu Olivia Bird Imu Chan Faye Cottrill Ghazal Fakhr Sissie He Khim Hipol Shehnaz Hozaima Prima Huang Richard Johnson Natasha Jones Parsa Fara Josteh Iris Kudo Brian Lau Kate McNeil-Stamper Theo Odufuwa Arielle Ratzlaff Eric Schultz Summer Sharma Olivia Solodko Daphne Stams Annika Steiro Guillermo Trejo Paige Walker Cora Whiting Erin Xi Xinyu Yang Bodwell High School students
EVENT LIASONS Krista Constantineau Michelle Lee Christine Miller Natasha Thom AV TECH Val McHugh FAMILY PROGRAMING Stéphane Bernard Pippa Lattey PREPARATION CREW Nick Farrell Kara Hansen Marisa Holmes Liljana Martin Daniel Phillips Sam Shoemaker Ryan Stella Benjamin Sullivan Tereza Tacic Theo Terry
Photo: Adam and Kev Photography.
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TREASURER’S REPORT 2019
I am pleased to present the annual financial report as Treasurer of the British Columbia Photography and Media Arts Society, which operates as The Polygon Gallery (“The Polygon”). My synopsis of The Polygon’s financial results for 2019 should be read in conjunction with the audited financial statements, which include an unqualified audit opinion, and provide a summary of The Polygon’s financial position as at December 31, 2019 and for the fiscal year then ended.
STATEMENT OF FINANCIAL POSITION The Polygon ended the year with a strong unrestricted cash balance of $259,414, in addition to $170,676 in restricted cash earmarked for the capital improvements and specific programming expenses. Accounts receivable was $180,193 at year end, primarily from donations and the venue rentals program, all of which were received shortly after year end. These short-term assets were offset by trade accounts payable and accrued liabilities of $160,218. The Polygon was grateful to receive $1,097,504 in anticipated pledge payments to the capital campaign during the year. Cash gifts to the capital campaign are reflected in the deferred capital contributions liability of $15,295,359. This balance is being recognised as revenue over the life of the building to offset the amortisation expense of the new building. As in prior years, promised gifts to the capital campaign are—under generally accepted accounting principles—not reflected in the financial statements. To bridge the timing difference between receipt of these pledged donations and construction completion, the Gallery has drawn on a financing facility, provided by TD Bank Group. The balance of
this loan at year end was $1,236,865, down from $2,279,150 at the end of 2018, which reflects principal repayments of $1,042,285 during 2019. The balance is to be repaid upon receipt of future pledges over the remaining life of the loan, which matures at the end of 2021. As of the date of this report, the balance stands at $1,013,363.
STATEMENT OF OPERATIONS The Polygon ended its 2019 fiscal year with a small excess of revenue over expenses of $1,980 compared to a deficiency of $171,057 in 2018. Revenue increased by 16.7% to $3,727,022 over last year. The Gallery was pleased that its growing artistic and community impact was recognised by all three levels of government in 2019, with increases in support from the Canada Council for the Arts, the BC Arts Council, the Province of British Columbia, and the City and District of North Vancouver through the North Vancouver Recreation and Culture Commission. The Gallery is grateful for the engagement of all its government partners, who as key community stakeholders provide ongoing and sustainable funding to the Gallery. In addition, The Polygon team has worked tirelessly to grow our earned revenue from venue rental, gift shop, and bookstore sales by 31.9% to $1,311,886 over 2018, representing over 35% of our total revenue. We also welcomed our new tenant, Nemesis Coffee, in December 2019, adding lease revenue and a vibrant new draw for visitors to The Polygon. Expenses increased by 10.7% to $3,725,042 from $3,364,702 in 2018. Excluding direct expenses related to increased earned revenue such as venue rental expenses and retail cost of goods sold, most expenses have held flat to 2018. The exception is programming expenses which have increased by 37.8% reflecting The Polygon’s commitment to bringing programming of greater diversity and richness
31
to its audiences. Thanks to the creativity of our Development team, led by Associate Director Jessica Bouchard, fundraising activities and events expenses decreased despite an increase in fundraising revenue. In 2019, we also made significant repayment to our loan, with interest expense significantly reduced from last year. At the beginning of 2020, as we looked forward to the year ahead, we were excited to build on the successes of 2019 with plans for expanded community engagement and more ambitious exhibition and outreach programs. These were facilitated by and coupled with goals to improve all aspect of our business, bridging curatorial growth with financial prudence. However, as at the date of this report, The Polygon—like every other cultural organisation in Canada and across the globe—has been forced to confront a new economic landscape due to the COVID 19 pandemic. After closing its doors to the public on March 17, 2020 , I am inspired by the creativity of The Polygon team, led by Director Reid Shier, to quickly pivot to digital programing such as The Polygon Podcast and Kids First Saturdays. I am especially grateful to our Financial Controller, Molly O’Callaghan, for her tireless effort to keep pace with the various Canada Emergency programs so we may re-open, partially, this June. I am confident that The Polygon team will emerge from this challenge stronger and more united than ever. This is my first year as Treasurer of The Polygon, and I extend many thanks to the dedication of the Board of Directors’ Finance Committee, which has been instrumental in overseeing the financial interests of The Polygon, and the entire Board of Directors for their inquisitive involvement with its financial operations. I am honoured to be part of such an inspirational organisation. Kathleen Butt, CPA, CA Treasurer
Opposite: Alana Paterson, Arionna Natrall, 2019, dye sublimation print on aluminum.
www.twmca.com
FINANCIAL STATEMENTS
THE BRITISH COLUMBIA PHOTOGRAPHY AND MEDIA ARTS SOCIETY
(dba The Polygon Gallery)
December 31, 2019
Limited Liability Partnership
INDEPENDENT AUDITOR'S REPORT
To the Members of
The British Columbia Photography and Media Arts Society (dba The Polygon Gallery) Opinion We have audited the financial statements of The British Columbia Photography and Media Arts Society (the Society), which comprise the statement of financial position as at December 31, 2019, and the statements of changes in net assets, operations and cash flows for the year then ended, and notes to the financial statements, including a summary of significant accounting policies. In our opinion, the accompanying financial statements present fairly, in all material respects, the financial position of the Society as at December 31, 2019, and the results of its operations and its cash flows for the year then ended in accordance with Canadian accounting standards for not-for-profit organizations. Basis for Opinion We conducted our audits in accordance with Canadian generally accepted auditing standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Statements section of our report. We are independent of the Society in accordance with the ethical requirements that are relevant to our audits of the financial statements in Canada, and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinion. Responsibilities of Management and Those Charged with Governance for the Financial Statements Management is responsible for the preparation and fair presentation of the financial statements in accordance with Canadian accounting standards for not-for-profit organizations, and for such internal control as management determines is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error. In preparing the financial statements, management is responsible for assessing the Society’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless management either intends to liquidate the Society or to cease operations, or has no realistic alternative but to do so. Those charged with governance are responsible for overseeing the Society’s financial reporting process. Auditor’s Responsibilities for the Audit of the Financial Statements Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with Canadian generally accepted auditing standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements. As part of an audit in accordance with Canadian generally accepted auditing standards, we exercise professional judgment and maintain professional skepticism throughout the audit. We also: Identify and assess the risks of material misstatement of the financial statements, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control. Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Society’s internal control. Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by management.
1
The British Columbia Photography and Media Arts Society
STATEMENT OF CHANGES IN NET ASSETS
Year ended December 31 New Building Invested in Fund Capital Assets $ $ 2018 NET ASSETS, BEGINNING OF YEAR Excess of expenses over revenues Amortization of deferred contributions Amortization of capital assets Capital assets additions Capital assets purchased with deferred contributions Deferred contributions used to repay construction loan Loan repayment Disposal of capital assets NET ASSETS, END OF YEAR 2017 NET ASSETS, BEGINNING OF YEAR Excess of revenues over expenses Amortization of deferred contributions Amortization of capital assets Additions (deductions) Capital assets purchased with construction loan Capital assets purchased with deferred contributions Disposal of capital assets Transfer to operations NET ASSETS, END OF YEAR
Unrestricted (deficit) $
Total $
[note 10] — — — — — — — — — — 89,170 — — — — — — — (89,170) —
6,595 — 358,337 (404,067) 164,252 (37,500) (817,168) 817,168 (3,904) 83,713
(124,027) (171,057) (358,337) 404,067 (164,252) 37,500 817,168 (817,168) 3,904 (372,202)
(117,432) (171,057) — — — — — — — (288,489)
23,464 — 103,122 (116,858) 16,171,709 (1,908,422) (14,262,671) (3,749) — 6,595
111,966 (342,032) (103,122) 116,858 (16,171,709) 1,908,422 14,262,671 3,749 89,170 (124,027)
224,600 (342,032) — — — — — — — (117,432)
See accompanying notes to the financial statements
43
The British Columbia Photography and Media Arts Society
STATEMENT OF CHANGES IN NET ASSETS
Year ended December 31 Invested in Capital Assets $
Unrestricted (deficit) $
Total $
2019 NET ASSETS, BEGINNING OF YEAR Excess of revenue over expenses Amortization of deferred contributions Amortization of capital assets Capital assets additions Deferred contributions used to repay construction loan Loan repayment NET ASSETS, END OF YEAR
83,713 — 385,848 (429,550) 128,674 (1,020,540) 1,020,540 168,685
(372,202) 1,980 (385,848) 429,550 (128,674) 1,020,540 (1,020,540) (455,194)
(288,489) 1,980 — — — — — (286,509)
2018 NET ASSETS, BEGINNING OF YEAR Excess of expenses over revenues Amortization of deferred contributions Amortization of capital assets Capital assets additions Capital assets purchased with deferred contributions Deferred contributions used to repay construction loan Loan repayment Disposal of capital assets NET ASSETS, END OF YEAR
6,595 — 358,337 (404,067) 164,252 (37,500) (817,168) 817,168 (3,904) 83,713
(124,027) (171,057) (358,337) 404,067 (164,252) 37,500 817,168 (817,168) 3,904 (372,202)
(117,432) (171,057) — — — — — — — (288,489)
See accompanying notes to the financial statements
4
The British Columbia Photography and Media Arts Society
STATEMENT OF OPERATIONS
Year ended December 31
2019 $ REVENUE Earned revenues Government grants [note 11] Donations and sponsorship Amortization of deferred contributions [note 8] Fundraising events Bank interest and endowment income [note 10] Other income EXPENSES Wages, employee benefits and subcontracts Gallery programming and publications Amortization of capital assets Building maintenance [note 14] Venue rentals expenses Retail cost of goods sold Fundraising activities and events Marketing and promotion Professional fees Interest on loan [note 9] Office and miscellaneous Telephone, internet and website Insurance Bank charges Travel Loss on disposal of assets
Excess of Revenue over Expenses
2018 $
1,311,886 1,013,836 575,967 462,811 278,000 64,731 19,791 3,727,022
994,384 798,914 616,596 466,278 272,900 27,897 16,676 3,193,645
1,513,211 438,286 429,550 340,579 247,790 159,169 155,512 110,775 75,569 75,474 72,794 56,737 26,408 15,072 8,116 — 3,725,042
1,427,295 318,106 404,067 340,030 185,728 119,654 187,726 69,110 25,646 106,996 76,784 53,857 24,409 14,664 6,726 3,904 3,364,702
1,980
(171,057)
See accompanying notes to the financial statements
5
The British Columbia Photography and Media Arts Society
STATEMENT OF CASH FLOWS
Year ended December 31
2019 $
2018 $
1,980
(171,057)
OPERATING ACTIVITIES Excess of revenue over expenses for the year Items not involving cash: Amortization expense Amortization of deferred contributions Loss on disposal of assets Change in non-cash working capital items: Accounts receivable Prepaid expenses Inventory Accounts payable and accrued liabilities Deferred revenue Cash provided by (used in) operating activities
429,550 (462,811) —
404,067 (466,278) 3,904
(99,946) (228,685) 11,413 (6,557) 104,047 (251,009)
508,629 (62,839) (7,574) (267,222) 67,325 8,955
INVESTING ACTIVITIES Purchase of capital assets Costs incurred towards new building Cash used in investing activities
(92,840) (35,834) (128,674)
(113,046) (51,206) (164,252)
FINANCING ACTIVITIES Security deposit investment refunded Construction loan repayment Capital contributions received Cash provided by (used in) financing activities Decrease in cash and cash equivalents during the year Cash and cash equivalents, beginning of year Cash and cash equivalents, end of year
— 115,000 (1,042,285) (1,310,850) 1,097,504 962,609 55,219 (233,241) (324,464) 754,554 430,090
(388,538) 1,143,092 754,554
See accompanying notes to the financial statements
6
The British Columbia Photography and Media Arts Society
December 31, 2019
1. PURPOSE OF THE SOCIETY The British Columbia Photography and Media Arts Society ("the Society") was established under the Societies Act of British Columbia. It is a registered charity for income tax purposes and is exempt from income taxes. The Society has the following purposes: a) To manage a gallery specializing in photography and media arts; b) To present a wide range of exhibitions and programs in photography and media arts; c) To encourage interest in and support for the work of photographic and media artists and activities of the gallery; d) To contribute to the development of cultural projects and activities in the North Vancouver community; e) To maintain the facility in the public interest; and f) To undertake initiatives to obtain funds and earn revenue in support of the stated purposes.
2. SIGNIFICANT ACCOUNTING POLICIES These financial statements have been prepared in accordance with Part III of the Chartered Professional Accountants of Canada Handbook – Accounting Standards for Not-for-Profit Organizations using the accounting policies outlined below. Use of Estimates In preparing the financial statements management has to make estimates and assumptions about future events that affect the reported amounts of assets and liabilities at the end of the reporting period. Management believes that the estimates used are reasonable and prudent; however, actual results could differ from those estimates. Significant areas requiring the use of estimates relate to the determination of the useful lives of assets subject to amortization expense and revenue, the recording of allowances for doubtful accounts, valuation of accrued liabilities, deferred revenue. Revenue Recognition The Society follows the deferral method of accounting for contributions, which include donations and bequests and grants. Grants and bequests are recognized when received or receivable if the amount to be received can be reasonably estimated and collection is reasonably assured. Other donations are recorded when received. Unrestricted contributions are recognized as revenue when received. Externally restricted contributions, except endowment contributions, are deferred when initially recorded in the accounts and recognized as revenue in the year in which the related expenses are recognized. 7
The British Columbia Photography and Media Arts Society
December 31, 2019
2. SIGNIFICANT ACCOUNTING POLICIES (CONT'D) Earned revenues are recorded as earned at the point of sale or when the service has been provided. Investment income, which consists of interest, dividends and income distributions from pooled funds is recorded in the statement of operations, except to the extent that it is externally restricted, in which case it is added to or deducted from restricted balances. Donated Services and Materials Donated services of volunteers and materials provided to the Society are not recorded as the fair value thereof is not determinable. Cash and Cash Equivalents Deposits with banks and financial institutions that are due within 270 days or upon demand are classified as cash. Inventory Inventory is comprised of merchandise for sale in the gallery gift shop, bookstore, and owned prints and artwork held for sale. The Society also carries liquor inventory as part of its venue rentals program. Inventory is stated at the lower of cost and net realizable value. Costs for inventories include all costs to bring them to their present location and condition. Net realizable value is defined as anticipated selling price less the costs to sell. Financial Instruments Financial instruments are initially measured at fair value. The Society subsequently measures its financial instruments, consisting of cash, accounts receivable and accounts payable and accrued liabilities, at amortized cost. In management’s opinion, the Society is not exposed to significant interest rate, currency exchange rate or credit risks arising from these financial instruments. The Society’s endowment investments, reported at fair value, are held in an irrevocable account managed by the Vancouver Foundation. Returns on the endowment are subject to market price risk. Capital Assets and Development Costs - Building Capital assets are stated at cost less accumulated amortization. Amortization is recorded over the estimated useful lives of the assets as follows: ▪ ▪ ▪ ▪
Building Computer equipment and software Furniture and equipment Leasehold improvements
50 years straight line 3 years straight line 10 years straight line 5 years straight line 8
The British Columbia Photography and Media Arts Society
December 31, 2019
2. SIGNIFICANT ACCOUNTING POLICIES (CONT'D) Development costs consist of materials, labour and overhead directly attributable to development activity and the construction of the new premises [note 5]. Capitalization of costs ceased on November 17, 2017 when the new premises were substantially complete and ready for productive use. The Society monitors the recoverability of its long lived assets based on factors such as current market value and future asset utilization and records impairment losses whenever events or changes in circumstances indicate that their carrying amounts may not be recoverable. To December 31, 2019, no impairment losses have been recorded. 3. CASH AND CASH EQUIVALENTS
Unrestricted cash Restricted cash - Community Gaming grants Restricted cash - restricted contributions
2019 $
2018 $
259,414 17,487 153,189 430,090
313,767 3,675 437,112 754,554
2019 $
2018 $
— 752 107,753 13,527 58,161 180,193
6,000 2,279 27,743 — 44,225 80,247
4. ACCOUNTS RECEIVABLE
Grants receivable Goods and services tax rebate Donations receivable Tenant lease inducements Other
9
The British Columbia Photography and Media Arts Society
December 31, 2019
5. CAPITAL ASSETS Cost $ 2019 Building - leaseholds [note 14] Computer equipment and software Furniture and equipment 2018 Building - leaseholds [note 14] Computer equipment and software Furniture and equipment Leasehold improvements
Accumulated Amortization $
Net Book Value $
15,703,883 215,086 574,518 16,493,487
665,610 130,860 162,260 958,730
15,038,273 84,226 412,258 15,534,757
15,668,050 168,511 528,252 8,163 16,372,976
351,891 69,613 107,676 8,163 537,343
15,316,159 98,898 420,576 — 15,835,633
The Society has posted $100,000 in Letters of Credit with the City of North Vancouver and Lonsdale Energy Corporation as performance security. The Letters of Credit are held by the beneficiaries and are secured by non-redeemable Guaranteed Investment Certificates held by a major Canadian bank earning nominal market rate interest.
6. ACCOUNTS PAYABLE AND ACCRUED LIABILITIES
Trade accounts payable Taxes payable - PST Accrued wages and benefits payable
2019 $
2018 $
115,016 3,876 41,326 160,218
115,399 4,539 46,837 166,775
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The British Columbia Photography and Media Arts Society
December 31, 2019
7. DEFERRED REVENUE Programs & Publications $ 2019 Opening balance, beginning of year Received or receivable as of year end: Community gaming grant Deposit on merchandise Donations and grants Facility rental deposits Endowment interest Gift cards sold Recognized to revenue during the year: Community gaming grant Donations and grants Facility rental deposits Endowment interest Gift cards used Closing balance, end of year 2018 Opening balance, beginning of year Received or receivable as of year end: Community gaming grant Donations and grants Facility rental deposits Endowment interest Gift cards sold Recognized to revenue during the year: Community gaming grant Donations and grants Facility rental deposits Endowment interest Gift cards used Closing balance, end of year
Operating $
Totals $
53,889
108,268
162,157
94,500 — 131,590 — 4,409 —
— 50,000 54,850 355,455 — 114
94,500 50,000 186,440 355,455 4,409 114
(80,698) (84,994) — (5,606) — 113,090
— (87,692) (327,093) — (788) 153,114
(80,698) (172,686) (327,093) (5,606) (788) 266,204
30,762
64,070
94,832
56,500 94,500 — 4,950 —
— 83,850 295,888 — 1,517
56,500 178,350 295,888 4,950 1,517
(62,340) (65,500) — (4,983) — 53,889
— (103,753) (233,025) — (279) 108,268
(62,340) (169,253) (233,025) (4,983) (279) 162,157
Deferred revenue represents funds restricted for specific programming or other stipulated use, the expenses for which have not yet been incurred. The amounts will be recognized as revenue in subsequent periods as the related expenditures are incurred.
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The British Columbia Photography and Media Arts Society
December 31, 2019
8. DEFERRED CONTRIBUTIONS - CAPITAL ASSETS
Opening balance, beginning of year Contributions from private donors and foundations Amortization of deferred contributions Closing balance, end of year
2019 $ 14,660,666 1,097,504 (462,811) 15,295,359
2018 $ 14,164,335 962,609 (466,278) 14,660,666
Deferred contributions - capital assets represents restricted funding which has been spent on capital assets (building and equipment) and capitalized and is then amortized into income over the useful life of those capital assets. The $462,811 [2018 - $466,278] amortization revenue includes $76,963 [2018 - $107,941] used to pay the loan interest. 9. CONSTRUCTION LOAN The Society has entered into an agreement with a Canadian chartered bank for a demand construction bridge loan to a maximum of $5 million with a term of 4 years and 9 months, secured by a guarantee from the City of North Vancouver. Interest only payments at the bank’s prime rate were required until December 31, 2017 at which time principal repayments through the end of the loan’s term commenced. During the year principal repayments were made of $1,042,285 which decreased the balance outstanding from $2,279,150 to $1,236,865 as at December 31, 2019. 10. ENDOWMENT During 2015 the Society established a permanent endowment, the Polygon Gallery Endowment Fund, to provide a base of sustainable income to ensure the Society’s future funding. Net assets of the endowment are irrevocably held by the Vancouver Foundation. As the Society has the right to receive only the investment distributions on the endowment funds, and has no right to the contributed principal, the endowment is not included as an asset on the Society’s statement of financial position.
Opening balance, at fair market value Capital contributions Investment income Distributions Unrealized market gain (loss) adjustment Ending balance, at fair market value [capital cost $1,748,940 (2018 -$918,928)]
2019 $ 901,964 830,012 61,543 (53,136) 73,336 1,813,719
2018 $ 399,575 547,872 25,221 (19,482) (51,222) 901,964
Investment income is recorded as revenue in the statement of operations when it is received or receivable. 12
The British Columbia Photography and Media Arts Society
December 31, 2019
11. GOVERNMENT GRANT REVENUES
Federal grants Canada Council - operating grant Canada Council - special purpose and other grant Canadian Museum Association - employment grant Service Canada - Canada Summer Jobs program Provincial grants BC Arts Council - operating grant BC Arts Council - special project grants BC Museums Association BC Community Gaming Municipal grants North Vancouver Recreation & Culture Commission City of North Vancouver - in kind permissive tax exemption [note 14] City of North Vancouver - operating contribution
2019 $
2018 $
255,000 76,750 9,273 7,241
200,000 43,500 11,021 7,241
118,200 34,986 8,293 80,698
98,500 51,653 — 62,340
175,000 123,394 125,000 1,013,836
175,000 149,659 — 798,914
12. RELATED PARTY TRANSACTIONS Contributions totaling $169,250 [2018 - $270,227] were received from directors, or organizations controlled by directors, which includes $25,000 [2018 - $5,000] to the endowment fund. These transactions were carried out in the normal course of operations and are recorded at the exchange value. This value corresponds to the consideration agreed to by the related parties.
13. DIRECTOR AND EMPLOYEE REMUNERATION During the year ended December 31, 2019, no remuneration was paid to Society directors and seven [2018 - six] employees collectively earned $775,164 [2018 - $680,200] in compensation.
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The British Columbia Photography and Media Arts Society
December 31, 2019
14. PREMISES LEASE AND NON-MONETARY TRANSACTIONS In 2018, the Society began paying basic rent of $1.00 per year for an initial term of fifty (50) years after which there are four optional renewal terms of five (5) years each. The Society’s new premises include commercial retail units (“CRUs”) to be leased at market rates. One of the CRUs was leased in 2019, for a term of ten years, at an amount equal to the fair market value. The Society will pay the City of North Vancouver “Shipyards Area Maintenance Rent” in the amount of $3.25 per year per square foot of floor space occupied by the CRUs to vary with the Consumer Price Index. The Society is responsible for all maintenance, repairs, property taxes and utilities costs related to its new premises. The Society has committed to ensuring active use of the site consistent with the general character of the Shipyards area. At the end of the term of the Ground Lease, ownership of the building will transfer to the City of North Vancouver. Included in the Statement of Operations is revenue of $123,394 [2018 - $149,659] and an offsetting expense (within building maintenance) for the value of premise costs provided by the City of North Vancouver. 15. SUBSEQUENT EVENT Subsequent to year end, the Society paid $62,251 to reduce the balance of the construction loan. As of the audit report date, the balance of the construction loan was $1,174,614.
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Installation view, Reckless by Kevin Schmidt. Photo: Anita Bonnarens.
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The Polygon Gallery 101 Carrie Cates Court North Vancouver, BC V7M 3J4 Canada thepolygon.ca 604 986 1351 Located on the traditional, unceded territories of the Skwxwú7mesh and səl ̓ ilwətaɁɬ (Tsleil-Waututh) Nations