Week One of a Five-Part Series on Self-Managed Arts Spaces
As artists across Canada rethink how they organize, traditional hierarchies in the arts sector are being challenged. From independent galleries to grassroots collectives, a growing number of artists are rejecting top-down leadership in favour of self-managed, non-hierarchical structures—models that emphasize shared decision-making, collective ownership, and creative autonomy.
For decades, arts institutions have been shaped by centralized leadership, funding dependencies, and bureaucratic structures that often limit access and innovation. But artist-led initiatives are proving there’s another way. Redistributing power and rethinking governance, these alternative models are fostering more sustainable and equitable creative communities.
Why Are Artists Moving Away from Hierarchies?
Many traditional arts organizations operate within rigid funding and governance systems, where decision-making is concentrated at the top. For emerging and underrepresented artists, this can mean limited opportunities, a lack of creative freedom, and an overreliance on institutional gatekeepers.
“Hierarchical models often reinforce systemic barriers in the arts,” says [Expert Name], a researcher in cultural policy. “In contrast, self-managed spaces allow artists to build communities where power is shared, and creativity isn’t dictated by funding structures or institutional mandates.”
Examples of Non-Hierarchical Arts in Action
Across Canada, artist-run centres, cooperatives, and informal collectives are proving that decentralized governance can work.
- Urban Shaman Contemporary Art Gallery (Winnipeg, Manitoba): Urban Shaman is an Aboriginal artist-run centre that fosters artistic expression at all levels, providing a platform for Indigenous artists to lead and grow. Rooted in the integrity of diverse Aboriginal cultures, it presents contemporary Indigenous art while cultivating new programming and innovative ways of showcasing talent. As one of Manitoba’s top recognized leaders for Indigenous arts, Urban Shaman is dedicated to supporting emerging, mid-career, and established artists through exhibitions, workshops, residencies, and curatorial initiatives. The centre is committed to advancing cultural discourse and facilitating education, artistic production, and appreciation of contemporary Aboriginal art.
- Arviat Film Society (Arviat, Nunavut): As a youth and artist-run organization, the Film Society, which ran from 2010-2021, focused on equipping youth and community members with transferable skills in film, media, and television through participatory action research. Described by Nunatsiaq News as one of Nunavut’s best media arts collectives, one of its key accomplishments, Arviat Television, launched in 2013 with Isuma TV’s Digital Indigenous Democracy Project, provides culturally relevant content in Inuktitut and English. The organization’s work is guided by three youth-identified goals: encouraging school retention and post-secondary education, fostering resilience and self-reliance, and expanding career opportunities through creative expression, media studies, and hands-on learning.
- International Galleries Alliance (IGA) is a non-profit professional alliance between art galleries. Through monthly meetings, research and an online Summit, IGA creates new possibilities for support, offering a space for its members to access and share information, enabling collegiate dialogue and providing opportunities for mutual learning. The alliance looks to empower its members to respond to evolving virtual and physical contexts, working together to nurture creative environments that challenge dominant models and cultivate a positively plural and diverse gallery world.
These spaces prioritize flexibility, inclusivity, and direct artist involvement in decision-making. Instead of rigid hierarchies, they often use consensus-based models, where major decisions are made collectively.
Challenges for the Arts & The Path Forward
While non-hierarchical structures offer many benefits, they come with challenges. Decision-making can be slower, conflicts may arise without a clear leader, and financial sustainability remains a key concern.
However, with the rise of digital networks, alternative funding models, and global conversations about decolonizing the arts, self-managed spaces are becoming more viable than ever.
Next week, we explore artist collectives and cooperatives—how they work, the struggles they face, and the impact they’re having on Canada’s arts and culture sector.
(This is Part 1 of a five-part series on self-managed arts structures. Read Part 2 next Monday.)