Discover over 500 artists at Vancouver's Eastside Culture Crawl - Vancouver Courier - Canadanewsmedia
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Discover over 500 artists at Vancouver's Eastside Culture Crawl – Vancouver Courier

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Art aficionados, rejoice!

Vancouver’s 23rd annual Eastside Culture Crawl takes place across Vancouver’s Eastside community this fall from Nov. 14 to 17.

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Encompassing the region bounded by Columbia Street, First Avenue, Victoria Drive and the waterfront, the Eastside Arts District is home to the highest concentration of visual artists, designers and craft makers in Canada.

The festival offers a chance for visitors to discover over 500 visual artists in their art studios, collaborative work spaces, garages, and homes. You’ll discover painters, jewellers, sculptors, furniture makers, weavers, potters, printmakers, photographers, glassblowers and more. While there are multiple studios for the event, the central area is bounded by Columbia Street, First Avenue, Victoria Drive and the waterfront.

“Each year, we welcome visitors to discover the creativity and richness of the Eastside Arts District. For our 23rd annual Crawl, we are also imparting an urgent message through our new Displacement Exhibition, that this vibrant community needs more support,” says Esther Rausenberg, executive director of the Eastside Culture Crawl.

“As Vancouver’s artists continue to face immense hardships such as renovictions, rising rents and dwindling studio availability, it’s imperative we come together to protect creative spaces and celebrate the integrity of this incredible, industrious community and recognize the positive impact artists have on our society.”

Last year, the festival saw record-breaking 45,000 attendees. This season, the Crawl is encouraging a deeper connection with artists through a brand-new curated series of free artist talks and conversations taking place at various studios in advance of the Crawl, from Nov. 4 to 9.

Displacement: Eastside Culture Crawl Special Exhibit

It takes place at various venues from Oct. 29 to Nov. 24, and features a juried exhibition of works by Metro Vancouver visual artists who have faced the challenges of eviction or have found ways to survive displacement.

Arts Factory (281 Industrial Ave.)

Nov. 2–10 | Opening Reception: Nov. 2, 8:30 – 10 p.m.

Firehall Arts Centre (280 East Cordova St.)

Oct. 29 – Nov. 24 | Opening Reception: Nov. 6, 5 – 7 p.m.

The Cultch (1895 Venables St.)

Oct. 29 – Nov. 24 | Opening Reception: Nov. 6, 6 – 8 p.m.

Alternative Creations Gallery (1659 Venables St.)

Oct. 29 – Nov. 17 | Opening Reception: Nov. 6, 6 – 8 p.m.

Take Flight

3rd Annual Benefit and Culture Crawl Festival Launch

Nov. 2 | Arts Factory (281 Industrial Ave.)

6 – 8:30 p.m. — Cocktails and Canapes

8:30 – 10 p.m. — No Host Bar

Tickets: $75 | Art Roulette $375

Talking Art

Nov. 4 – 8 at 7 p.m. | Nov. 9 at 2 p.m.

A curated series of intimate and entertaining talks by 2019 Culture Crawl artists, designers, and craftspeople, at various studios.

Moving Art: Culture Crawl’s Sixth Annual Projection of Film & Video

Nov. 14 – 17 | Noon to 11 p.m. daily | Strange Fellows Brewing (1345 Clark Dr.)

A showing of evocative, art-based, contemporary silent films.

Closing Night Film with Marina Roy

Nov. 22 at 7 p.m. | The Arts Factory (281 Industrial Ave.)

ECCS and Cineworks present an evening of films with cross-disciplinary artist and UBC Associate Professor Marina Roy.

Click here for original article.

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Fibre arts festival offers creative outlet to dye for – The London Free Press

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Beth Whitney talks about the “magic” of dyeing.

While some might agree it’s magic when they see the colours she creates, it’s really art.

Whitney hand-dyes wool fleece and colour-blends and spins the fibre into yarn that she uses for rug hooking and knitting. She’ll be demonstrating the skill at the eighth annual Fibre Art Festival and Sale at Covent Garden Market Friday through Sunday.

The festival brings together members of the London District Weavers and Spinners, the group Simply Hooked and the Strathroy Pioneer Treadlers to demonstrate their craft talents and sell their creations.

There will be demonstrations and displays of weaving, felting, spinning, rug hooking, lace making, sashiko (Japanese stitching) and basketry.

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This year’s theme is Updating Traditions of the Past — “applying modern textile techniques to fibre skills from the past and showcasing their relevance in today’s world.”

Enter people like Whitney and pal Kate Gutteridge.

Before their unique works are created, the material — either sheep’s fleece or spun wool, fabric or silk — must be given colour. Whitney and Gutteridge have worked at it for years.


Textile artists Beth Whitney (left) and Kate Gutteridge with wool and silk that Kate dyed in London. (Derek Ruttan/The London Free Press)

Whitney has been involved in fibre arts most of her life. An aunt taught her to knit when she was eight, a craft she continued to hone through her adolescence and carried on after graduating from the University of Toronto with an English degree, working as a librarian and retiring six years ago.

It was when she came to London from Toronto to work at the London Public Library more than 30 years ago that she joined the local weavers and spinners group and began to explore all facets of the craft, including dyeing.

“We do it (dyeing) mostly to get colours you can’t buy in stores, blends and combinations that are unique,” explained Whitney.

For example, she might use dyes of orange and yellow, tie knots in yarn, dip it in one colour’s dye pot, untie the knots and dip it in the other colour pot “and now you’ve got a combination of two colours on one string of yarn.” It can be knit into a “unique and modern-looking” piece of clothing or item,” said Whitney.

Or, she explained, you can dye batches of fleece in different colours, then spin it and now you have multi-coloured yarn.

“These are very traditional arts and crafts,” said Whitney. “In the old days, if you needed a sweater for winter, you had to make it yourself. It was a very practical craft. Now, it’s much more satisfying as a creative outlet in this busy world of ours.”

Whitney agrees it’s easier just to go to a store and buy a sweater, but if you do it yourself, you’re not going to see anyone else wearing the same garment.

“Today, yes, we can go out and buy it,” she said. “But we like to take the time and do something creative and modern and then you’re not spending your time looking at a screen or doing the laundry.

“You can create things that are very unique, very different and very well made. I think there’s a deep-rooted need for us all to be creative. It’s very satisfying.”

jbelanger@postmedia.com

Twitter.com/JoeBatLFPress

If you go

What: Eighth annual Fibre Art Festival and Sale, by London District Weavers and Spinners, Simply Hooked and Strathroy Pioneer Treadlers

When: Friday, 10 a.m.-5 p.m., Saturday, 8:30 a.m.-4:30 p.m., Sunday, 11 a.m. -3 p.m.

Where: Covent Garden Market mezzanine, 130 King St.

Admission: Free

More information: Visit ldws.ca

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Heritage Woods grad in Arts Club premiere – The Tri-City News

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A Heritage Woods secondary school grad who made her Bard on the Beach debut this summer is back in Vancouver this winter for a premiere with the Arts Club Theatre Company.

Ghazal Azarbad, who starred as Viola in Shakespeare in Love and was in the ensemble for Taming of the Shrew, is cast as Salena — a “chipper border guard” — in It’s A Wonderful Christmas-ish Holiday Miracle.

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Directed by Chelsea Haberlin, the new Canadian comedy by Marcus Youssef opens next Thursday at the Goldcorp Stage at the BMO Theatre Centre; its run ends Dec. 22.

The production is an Arts Club Silver Commission project and is Youssef’s second, after 2013’s How Has My Love Affected You?

Christmas-ish also includes Glen Gordon, Jennifer Lines, Nicola Lipman, Matreya Scarrwener and Jovanni Sy.

For tickets, call 604-687-1644 or visit artsclub.com.

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Inuit art showcased at National Arts Centre exhibit – Nunatsiaq News

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“It’s great to see these big institutions make an effort to indigenize a space”

For the past three months, visitors to Ottawa’s National Arts Centre have been treated to the sight of Inuit art in the building’s waiting areas.

These works, by Janet Kigusiuq from Baker Lake and Helen Kalvak from Ulukhaktok, formed part of Breaking Ground, an art installation that was part of the centre’s commitment to indigenize Canada’s art spaces. The installation recently wrapped up, after running from Sept. 12 to Friday, Nov. 8.

Breaking Ground also included the works of the Indigenous artists Freda Diesing and Rita Letendre. It started as part of the centre’s Indigenous arts festival, Mòshkamo.

The installation was a partnership between the centre and the Carleton University Art Gallery that was curated by Krista Ulujuk Zawadski and Danielle Printup. Zawadski, a curator for the Government of Nunavut and currently a PhD student at Carleton University, chose which of Kalvak and Kigusiuq’s artwork to feature in their exhibits.

When asked why she decided to join Breaking Ground, Zawadski said, “My motivation is always, there’s an opportunity to curate Inuit arts. So let’s do it. It’s not something that like I would ever think not to do, you know?”

Janet Kigusiuq’s artwork on display at the National Arts Centre in Ottawa. (Photo by Kahlan Miron)

Usually, when curating, Zawadski likes to focus on lesser known or emerging artists. However, Kalvak and Kigusiuq are both well-known in their field. The decision to feature these more popular artists partially came from needing to work with what the Carleton University gallery had available—but Zawadski chose the artists for other reasons as well.

“The central theme that we worked with was trailblazing women artists,” Zawadski said. “So we wanted to choose people that were women artists, first and foremost, but that were trailblazers in one way or another.”

Kigusiuq, the daughter of Jessie Oonark, has continued her family’s strong artistic tradition and became well-known for experimentation with mediums, doing drawings, sculpture and collages. Her artwork on display at the National Arts Centre was prints, depicting life on the land with pops of vibrant colour.

Kalvak, meanwhile, helped establish the Holman Eskimo Co-operative in Ulukhaktok and was appointed the Order of Canada in 1978. Her displayed artwork was more monochromatic, with single-colour figures suspended on a white backdrop.

Both artists were inducted into the Royal Canadian Academy of Arts, Kalvak in 1975 and Kigusiuq in 2002.

Zawadski felt it was important to use Kalvak to represent western Arctic art, which she says is often underrepresented in exhibitions. As for Kigusiuq, well, Zawadski also couldn’t resist the chance to work with her pieces. “I’m such a huge fan,” Zawadski said.

Zawadski highlighted the importance of lived experience in both women’s work. The details depicted in their art, even when based around myth and legend, draw on personal knowledge learned through living in the Arctic.

Zawadski says she was raised to recognize the importance of lived experience. It’s only been reinforced through her career: Zawadski’s seen art reviewers mistakenly explain that char die after spawning, and she’s read in papers about Inuit historically hunting reindeer in Canada.

“How do you write about these things, if you’ve never experienced it?” she said. “How do you create art that’s accurate, if you haven’t lived it?”

Lived experience became an important talking point in Zawadski’s tour of the Breaking Ground exhibits. Zawadski, along with Printup, led the public through a free tour of the displays on Sept. 20, giving background information on each artist. Zawadski also delved into Inuit history and culture, and used some of her own life experience to explain.

Helen Kalvak’s “Hungry Visitors,” recently featured at the National Arts Centre in Ottawa. (Photo by Kahlan Miron)

The tour was a cozy affair, which was helped by the Nunavut Sivuniksavut students in the crowd, who Zawadski knew through her teaching position at the school this year. Zawadski had invited students and teachers to the event, but didn’t expect to see so many familiar faces in the audience.

“It was a bit of a surprise that there were that many,” she said. “I was kind of expecting like one or six. So that was great. I was excited to see them there.”

Zawadski appreciated the opportunity to show Inuit youth what a curator does and how she operates within an exhibition. It’s valuable to show youth what different career paths exist, she said, “because you don’t know what you don’t know.”

Zawadski said she commends the National Arts Centre for hosting the exhibit.

“It’s great to see these big institutions make an effort to indigenize a space,” Zawadski said. “I think it’s so important. We give a lot of Indigenous artists, curators [and] art historians opportunity to flourish in that space. It’s not just something that’s out of reach for us anymore.”

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