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2 Art Gallery Shows to See Right Now – The New York Times

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Through Oct. 24. Tanya Bonakdar, 521 West 21st Street, Manhattan; 212-414-4144, tanyabonakdargallery.com.

When the Museum of Modern Art inaugurated its latest expansion almost exactly a year ago — in another era — Rivane Neuenschwander’s installation “Work of Days” was among the most subtle and serene of the celebratory exhibitions. It consisted of a room tiled entirely with squares of white paper embedded with little specks — dust, hair and what not — the stuff continually floating to earth all around us, every second of every day. It was a perfect summation of this Brazilian artist’s modesty, and her love of the random, the collaborative and the ephemeral.

But things have changed for the worse since the onset of the coronavirus pandemic and its frequent mishandling, especially in Brazil and the United States. Ms. Neuenschwander, like many people, is experiencing a certain rage. As a result, she has made some of the most furiously beautiful — and nonephemeral — works of her career: most notably the five violent, gorgeously colored tapestries and five small paintings on wood that are part of her series “Tropics: Damned, Orgasmic and Devoted.” They form the centerpiece of her unsettling exhibition at Tanya Bonakdar.

Credit…Rivane Neuenschwander and Tonya Bonakdar Gallery

Inspired by erotic Japanese woodcuts, these works feature piles of garments and entangled, vividly hybrid creatures whose parts are variously human, insect, reptile, plant or imaginary. Blood flows amid scenes of mutual, possibly ritualistic, destruction whose victims are apparently female but whose conflict reflects the state of the world. There are several visual echoes, including Goya’s “The Disasters of War” and the elegantly perverse beings of Leonora Carrington’s Surrealist paintings. (Contributing to the intensity: the creative textures of the tapestries’ red areas, improvised by their weavers.)

The tapestries are introduced by two dozen small gouache drawings of monsters in black and red, based on children’s renderings of their most pressing fears — including snakes, volcanoes war, horror films — culled from workshops conducted by the artist. A more characteristically conceptual piece involving soldiers’ postcards home comments on the senselessness of war. And finally, “Fear of,” a small textile combining appliqué, embroidery and paint whose sewn-on letters spell out some of the present’s daily terrors like fear of virus, fear of war, culminating in fear of the end of the world. This vividly vehement thing — populated by some of the monsters from the small gouaches — was made by Ms. Neuenschwander as she sheltered in place this summer. It is wonderful: small but concentrated, with a robust, unfussy handiwork that is rare in her art. It highlights a propensity that could be allowed to shine more often.
ROBERTA SMITH


Through Nov. 7. Ryan Lee, 515 West 26th Street, Manhattan; 212-397-0742, ryanleegallery.com.

Credit…Estate of Emma Amos and Ryan Lee Gallery

Part of what I’ve found difficult to handle about this year has been the constant uncertainty. Between the pandemic, national politics and climate change, much of life is in dizzying flux. Ryan Lee’s Emma Amos exhibition “Falling Figures” captures this feeling better than any other art I’ve seen since March. And most of the work was made between 1988 and 1992.

Ms. Amos, who died in May at 83, was a doggedly inventive artist. She used figurative painting, textiles and print media — sometimes all three in one piece — to represent the complexity of her identity as an African-American woman and to push back on the ways that Black life has been treated in white Western art. One of her motifs was the theme of the current show: figures falling or flying through abstract space, which is often painted with expressionistic jags and bright swaths of color.

Credit…Estate of Emma Amos and Ryan Lee Gallery

The characters in these works seem caught in physical and existential states of suspension. Many have their mouths open in expressions that suggest wonder as much as alarm — or, in the case of the artist’s self-portrait in “The Overseer” (circa 1992), a scream of righteous rage. Sometimes their bodies seem to float upward more than down, like the ghostly white figures in “Thurgood and Thelonious, Some Names to Name Your Children” (1989), who appear caught in a cosmic swirl. Rarely alone, they often look at or reach out for others — in “Will You Forget Me” (1991), the artist grips a portrait of her mother — suggesting that falling is not a solitary but a social experience.

Patterned pieces of hand-woven and African fabric appear in every piece, appended as clothing and used for framing; they add stability and exuberance. Although she never loses sight of the startling fear of tumbling into the unknown, Ms. Amos also contends that it offers a possibility worth celebrating: that of breaking free. JILLIAN STEINHAUER

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Calgary community takes art to the streets as COVID-19 shutters galleries – The Globe and Mail

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Residents in the Calgary community of Sunnyside have taken to getting their garages and fences painted with murals, brightening up the community.

Todd Korol/Todd Korol/The Globe and Mail

It has been a tough year for art around the world. Artists have not had a venue to hang their art. Galleries have locked the doors trying to ensure the safety of patrons and staff.

In the little community of Sunnyside in northwest Calgary, more than 20 new pieces of art have been added to the community’s collection. Their collection is free to anyone who walks down the alleyways – the canvases are the residences’ garage doors.

A poem is posted outside a home on a fence post in the community of Sunnyside, part of one of Canada’s largest art walks.

Todd Korol/Todd Korol/The Globe and Mail

What started out as a few homeowners painting murals on their garage doors has now grown into one of Canada’s largest outdoor art walks, featuring murals of polar bears, Olympic cross-country skiers, magpies and much more.

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“It’s snowballing now,” homeowner Christie Page says. “It’s become a place where people from outside the city come and look at our art. It’s a place you want to stop and visit. I feel it’s made our neighbourhood safer and better for businesses.”

A golden moose sculpture stands on a front porch in Sunnyside, on Nov. 21, 2020.

Todd Korol/Todd Korol/The Globe and Mail

Ms. Page has created an Instagram page for the art walk; she’s also added it as a location on Google Maps.

This past summer, the community received a grant to get more garages painted, helping struggling city artists in the process.

One of the garages of Sunnyside, part of one of Canada’s largest art walks.

Todd Korol/Todd Korol/The Globe and Mail

In these days of physical distancing, art fans can safely visit the neighbourhood and view the outdoor exhibition that has grown with sculptures, small outdoor art galleries and painted fences.

“You can hire an artist, or just get some paint and paint it yourself. Draw a stick man or a flower,” Ms. Page says.

“It all makes our neighbourhood better.”

Todd Korol/Todd Korol/The Globe and Mail

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Art Gabor initiated bantam football to give young athletes a chance – BayToday.ca

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In 1958, when Chippewa Secondary School opened and many NBCI & VS students transferred to the new high school a bitter rivalry was born. NBCI & VS became ACS – Algonquin Composite School.

The official reason they called it Composite is because the school offered arts and science, commercial and technical disciplines. The down-low chatter was that A.S.S. would be misinterpreted on banners, signs, and school uniforms and jackets. Anyway, shortly thereafter Mr. Art Gabor, formerly of NBCI &VS and now the head physical education teacher at the new school, came up with the brilliant idea to create a new level of football. The ‘bantam’ level was created but only three high schools initially participated for the Art Gabor Trophy. Chippewa, ACS, and Mattawa were the teams.

See relatedArt Gabor obituary

Of course, with a new school, the team had new equipment and uniforms and a beautiful practice field at the rear of the school. Our old school, ACS had old equipment, from the 40s I am sure, and not a regulation field to the side of the school bordered by the railway tracks, Bourke Playground, and houses on Jane Street.

If the junior or senior boys football teams were practicing on the school field the bantam team was relegated to the Bourke Playground.

I remember one practice where our full back, Brian Wiggins, came sweeping around the left end and I was playing defensive halfback. He went between me and the boards for the playground rink, so instead of tackling him, I body checked him into the boards. Both Frenchy Kennedy and Moe Drolet, who were the coaches for our team, started to laugh and asked me why I did that. I told them I figured that was the only way to stop Brian without me possibly getting slivers in my hands.

Maurice ‘Moe’ Drolet and Laurence ‘Frenchy’ Kennedy were senior football players in the technical program at ACS who took time out to coach us young and very inexperienced football wannabees.

There was no organized football until you got to high school and junior football went up to 16 years of age so you could be 13 and 5 foot 2 and 98 pounds, as I was in Grade 9, and be up against players 90 pounds heavier than you. So, by starting the bantam program, that increased the number of possible future junior and senior players who now knew the fundamentals of the game. Art Gabor was very forward-thinking in this respect.

Anyway, the 1961 ACS Bantam Football Team played two memorable games that I would appreciate you bearing with me for my remembrances of these two games.

The first game was against the Mattawa High School and the game was played in Mattawa. Mr. Norm Grant was the assigned teacher to accompany the team on the rented bus as Moe and Frenchy were students and could not be officially assigned the duty of responsibility for all team members.

We arrived in Mattawa and were not permitted to go into the school to dress. We changed on the bus and the game got underway. Algonquin ran up 56 points and Mattawa had not had a sniff at our goal line.

A lot of our players were playing both ways so I approached the two captains, Roger Bowness and Brian Wiggins, and suggested we let Mattawa score a touchdown. I do not believe they had scored any points that year to that point.

Everyone was in agreement except for my defensive secondary partner, who we shall call player X. He was one of our offensive half backs and he stated that the Mattawa players were trying to gouge his eyes, pulling the hair on his legs and the centre for Mattawa, who had a ‘steel’ helmet was trying to pile drive player X into the ground every time there was a pile-up.

Anyway, on the next play, we let the Mattawa ball carrier go through the line and as he made for the goal line, player X tackled him. On the next play, we had to tackle player X so Mattawa could score. They did and the game ended up 56-6.

After the game, the high school facilities were opened to us and there was even a small food and drink offering made available. This was a good life lesson in sportsmanship that team sports teach young players.

We could not beat Chippewa in the two regular-season games we played them. They had big Dusty Marshall at fullback, Gordie McGuinty was their quarterback and Bill Johnson was their swift back fielder.

We got into the final game for the Gabor Trophy, which we had won the year before, and we were bound and determined to beat Chippewa that day. We did not have a home field but Chippewa had won all of their games so the game was played at Chippewa on a very cold and windy afternoon in late October.

No one could score in that game and there was very little time left on the clock. The Chippewa team had the ball on our 20-yard line. Their kicker, Alan Gray, booted the ball past our goal line about 10 yards deep. Our player, Sid Price, caught the football and booted it back out into the playing field. I believe Alan Gray retrieved the ball and booted it back into the scoring area. Again, Sid Price fielded the ball and tried to run out of our end zone. He was tackled about two yards deep in the end zone and we lost the game 1-0.

Those were two very memorable games that went different ways but were enjoyable just the same.

The player for Mattawa with the steel helmet was well known in sporting circles in and around North Bay. His name was Corky Lessard and he played with only one arm – both football and fastball.

Player X will not be named but I will give you a big hint of who he is: He was a very fast-skating right winger for the North Bay Trappers Junior teams in the mid-60s and he scored eight goals on Espanola Eagles goalie, Paul Menard, one Sunday afternoon I believe in 1965.

Sadly, our two coaches, Maurice ‘Moe’ Drolet and Laurence ‘Frenchy’ Kennedy both passed away in vehicle accidents in their very young years. I will never forget them for their generosity of time and expertise in mentoring some young football players.

Our Captain in 1961 – a more than wonderful guy – also passed away at 16 years of age. Brian Wiggins was not with us too long but he was a joy to know and a very good guy in all respects.

Story originally posted in the A Bit of the Bay nostalgia Facebook Group, republished with permission from author Brian Darling.

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Former Vancouver Canucks goalie’s art featured in Kelowna Art Gallery exhibition

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Richard Brodeur used to make his living holding a goalie stick, but these days, the man formerly known as “King Richard” by Vancouver Canucks fans, is more likely to be found with a paintbrush in his hand.

“It’s always a challenge like [when] you play professional hockey, you have a challenge every day, every game and then I feel the same every time with a painting. It’s a challenge every time you face the canvas,” said Brodeur.

The new Okanagan resident is one of three artists featured at the Kelowna Art Gallery in an exhibit that reveals the story behind the artwork.

“I’ve been dealing with depression for over 30 years and I have had about 13 concussions when I played so that didn’t help,” said Brodeur. “You gotta find something that will get you out of it or help you anyway and that’s what my painting did.”

The Art Council of the Central Okanagan is striving to bring art to the community safely during the coronavirus pandemic.

“With what’s going on in the world there is really nothing we can do to control it but we can control our own environment,” said Kirsteen McCullouch, Arts Council of the Central Okanagan executive director.

“I think it’s really critical to bring joy and peace and harmony in a time of darkness and through art, we do that.”

Storytellers also feature Summerland artist Danielle Krysa and Vernon’s Jude Clarke. Clarke’s story is inspired by her environment.

“The lake made a huge impact on me, water is really a beautiful environment for me I was in the water, I was on the water, I was around the water and hiking in the hills all the time,” said Clarke.

As for Brodeur, his work is telling the story of his childhood, playing pick up hockey on outdoor rinks growing up in Quebec.

The exhibit will be open to the public until Jan. 31 at the Kelowna Art Gallery.

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