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The practice of visual art is often regarded as an individual and autonomous form of labour. While the making of the art work might occur in isolation, its public exhibition will often bring artists together in negotiation with an art institution. This article analyses two such occasions: artists whose work is exhibited in the National Gallery of Canada, and those who were selected for inclusion in the 2014 Sydney Biennale. We argue that these case studies demonstrate the way in which visual artists, at a certain point in the value chain, acquire greater power to negotiate, frequently by invoking intellectual property and ancillary rights in their artwork. [ABSTRACT FROM AUTHOR]

The article discusses the National Gallery of Canada wherein curators and artists are in influential positions. Topics discussed include artist Geoffrey Farmer's "Blades Of Grass" exhibition which featured exceptional people-skills, the truth that making art cannot be understood is a post modern strategy, and art's complex differentiations being crucial for mental health.

The article reviews the exhibition "Gustave Doré (1832-1883): Master of Imagination" held at the Musée d’Orsay in Paris, France from February 18, 2014 to May 11, 2014, as well as at the National Gallery of Canada, Ottawa, Ontario from June 13, 2014 to September 14, 2014. Its accompanying catalog "Doré: Master of Imagination," edited by Philippe Kaenel, is reviewed as well.