Anishinaabe art will be on full display on Team Canada uniforms at next year’s Winter Olympic and Paralympic Games in Beijing.
Red Lake, Ont., two-spirit artist Patrick Hunter, whose family is from Keeseekoowenin First Nation northwest of Brandon, Man., is excited his designs will reach a larger audience.
“It feels pretty insane that they’re going to be seen on this world stage by millions of people,” Hunter says.
“I just want there to be a lot more visibility for Indigenous people in Canada, and what a great stage to put that on.”
Hunter hopes the uniforms will facilitate connections between Indigenous and non-Indigenous communities in the country.
“I feel like a lot of times that connection is sort of missing… That’s sort of the goal behind this whole project for me, was to create conversations around First Nations culture… put it in the spotlight a little bit,” he says.
The featured designs include seven trees to represent the seven grandfather teachings of the Anishinaabe culture, four eagle feathers which represent an honoured gift for the four team members, and four sacred medicines meant to symbolize positive energy for the players. The physical design of the shirt was created by Winnipeg artist Kevin Hurrie.
The artist is no stranger to the sport world, and recently made headlines with his artwork adorning NHL goalie Marc-Andre Fleury’s mask, as well as digital artwork for the Chicago NHL team’s land acknowledgement in its home arena.
Indigenous art, business collide as ‘natural fit’
The official uniform partner for Curling Canada, Dynasty Curling, is a Métis-owned apparel company based in Winnipeg. Owner Colin Hodgson says that since Hunter was a previous classmate of his fiancé, the connection seemed to develop naturally.
“We wanted to make sure we incorporated Canadian culture,” says Hodgson, who is also playing for Team McEwen at the Canadian Olympic Trials in Saskatoon.
“We reached out [to Patrick] and he was excited for the project and to incorporate Indigenous culture into our uniforms, and to show support from the Indigenous community to our Canadian athletes going to the games,” Hodgson says, noting Hunter’s custom design of the Maple Leaf was particularly special.
“There are a few Métis players, and it’s just something very important to us right from the get-go. It was a perfect fit, I would say,” Hodgson says.
“We actually manufacture our apparel in Winnipeg. It’s very important to have a Canadian company manufacturing in Canada, for Canadian athletes.”
He notes the uniforms were also designed with Hurrie, who has the niche job of sublimating the fabric and the designs.
Curling Canada says the collaboration for the uniforms is a way to accomplish another of the TRC’s calls to action No. 83.
“We have a lot of Canadian values and we wanted to continue to show that,” says Nolan Thiessen, executive director of marketing and plan experience.
“I think this is a really neat story to work with a really talented artist, to use our platform to showcase their skills and maybe create awareness in other communities that haven’t thought about curling before.”
Thiessen says call to action No. 92 was recently addressed with the opening ceremony of the Canadian Olympic Curling Trials in Saskatoon, with the first-ever grand entrance led by the Saskatoon Tribal Council, in partnership with Tourism Saskatoon.
“We wanted to show that we’re an inclusive sport… all pieces of Canada, right? That’s one of the big things with us, as a national sport organization — we want everybody to feel like they have a home at Curling Canada, and this has been an awesome opportunity to do that.”
Thiessen says the uniforms will be presented this Sunday to the winning teams who will represent Canada at the 2022 Beijing Games from February 4-20.
Public art, vibrant cities subject of Thursday Windsor art gallery panel – Windsor Star
How does public art express the spirit of Windsor — and how does it help create a more interesting, vibrant city?
The Art Gallery of Windsor invites the community to think about these questions, and others, during a panel discussion Thursday on the role of art in public spaces.
“Public art impacts everyone. I don’t think there is any such thing as starting the conversation too early in the process,” said Valerie Dawn, one of Thursday’s panelists for Drawing the Line: Creative Spaces and Places, hosted by the Art Gallery of Windsor.
“Prompting a conversation where we can be really open-ended and talk about impact on a broad scale, we’re coming into those conversations (about public art) with a lot more perspective.”
Dawn, principal architect for Glos Arch + Eng, will be joined by Shane Potvin, chair of the Ford City BIA, and Heather Grondin, vice-president of corporate affairs and external relations for the Windsor-Detroit Bridge Authority, in a panel discussion moderated by Windsor Star managing editor Craig Pearson.
The discussion will explore what public art brings to communities, where it should go and how the community can engage with public art.
“It expresses a sense that we care,” Dawn said. “Art gives us perspective and pause and a sense of connection. It’s important to any community. What kinds of art do we want and need, and what kind of art resonates with our community — that’s something I imagine we’ll dig into quite a bit more on Thursday.”
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Thursday’s discussion will be the second in a series of monthly community conversations hosted by the Art Gallery of Windsor meant to help facilitate meaningful dialogue between members of the community on a variety of topics.
“I hope having the conversation offers a lot of new perspectives by bringing different people from different sides of the conversation together,” Dawn said. “These are the conversations that tend to get people excited, and getting people excited is one really wonderful way to make things happen.”
Drawing the Line: Creative Spaces and Places , will happen via Zoom on Thursday, Dec. 2 from 7 to 8:15 p.m. Find the link to register at agw.ca . Attendees are encouraged to ask curious, engaging and respectful questions and can read the gallery’s code of conduct, found online, for more information.
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Looking at Surrealist Art in Our Own Surreal Age – The New York Times
When viewed as a vehicle for various forms of liberation, the movement remains highly resonant even a century after its heyday.
“SURREALISM” IS ONE of those buzzwords, like “curate” or “groundbreaking,” that has been rendered effectively meaningless through overuse. In his 1924 “Manifesto of Surrealism,” the writer André Breton defined the term most succinctly as an attempt to resolve “these two states, dream and reality, which are seemingly so contradictory,” though its true origins came earlier, with the rise of Dada, an artistic movement that emerged in Zurich in 1916, and which favored the absurd over the logical. It was the exact middle of World War I, and there was a sense among Dada’s proponents that linear thinking hadn’t gotten society anywhere good.
There has been much talk of late about our own surreal age. Certainly, there are parallels between the 1920s and now: The United States has just extricated itself, messily, from a war; nationalist fervor is part of the political mainstream; basic rights are being revoked; and some version of a pandemic that has killed millions lingers from one month to the next. And if Surrealism is, at its core, a kind of glitch in the status quo, a moment in which reality itself becomes vaguely unrecognizable, then yes, time is seeming pretty melty, and the days rather dreamlike.
It can’t, therefore, be a coincidence that nearly every major museum in New York City currently has an exhibition that, at least to some extent, embraces a melty or dreamlike aesthetic. “Living Abstraction,” a retrospective of the Swiss artist Sophie Taeuber-Arp, a key Dadaist, at the Museum of Modern Art (on view through March 12, 2022), emphasizes her influence across disciplines: She produced drawings, paintings, sculptures, textiles, marionettes, whimsical costumes (including asymmetrical patchwork pants that wouldn’t look out of place at Bode), beaded bags and necklaces, stained-glass windows, furniture and more. The night of the 1917 opening of Zurich’s Galerie Dada, the movement’s de facto headquarters, she danced to the writer Hugo Ball’s sound poems — absurdist compositions focusing on phonetic speech. (Ball later described her performance as having been “full of spikes and fish bones.”)
Art historians would take issue with the pigeonholing of Taeuber-Arp as a Surrealist. Whereas Dada endeavored to explore nonrational thought, Surrealism was interested in the subliminal, in the strangeness beneath the surface of the everyday (one of the most famous examples of a Surrealist artwork remains René Magritte’s 1929 “The Treachery of Images,” a painting of a pipe captioned with the phrase “Ceci n’est pas une pipe”). Also, Taeuber-Arp’s career preceded and outlived Zurich Dada, which fizzled out in the early 1920s, as those who’d sought refuge in the city during World War I went their separate ways, but she was an artist who looked inward as a means of arriving somewhere unfamiliar: “Only when we go into ourselves and attempt to be entirely true to ourselves will we succeed in making things of value, living things, and in this way help to develop a new style that is fitting for us,” she wrote in 1922.
AT THE METROPOLITAN Museum of Art, “Surrealism Beyond Borders” (through Jan. 30, 2022) aims to expand viewers’ understanding of the movement, which, though it was born in Paris, became a global phenomenon — with practitioners in Egypt, Japan, Mexico, the Philippines and elsewhere — one that aligned itself with new interpretations of and ideas about freedom that were concurrently being conceived around the world. The Cairo, Ill.-born artist, Beat poet and musician Ted Joans, despite being a generation younger than his friend Breton, found in Surrealism a framework for Black liberation. He discovered the aesthetic as a child, eventually buying a French dictionary to translate jettisoned issues of Surrealist journals like Minotaure that his aunt, who worked as a housekeeper, had gotten from her employers. Decades later, in 1963, one of the politically and psychologically charged collages from Joans’s “Alphabet Surreal” series — this one showing a Black man and a white woman sitting side by side, a salamander-like creature hovering above them, and various iterations of the letter “X,” the work’s title and a reference to Malcolm X — appeared in another major Surrealist journal, La Brèche. Even many of the works displayed at the Whitney Museum of American Art as one half of “Mind/Mirror,” a retrospective dedicated to Jasper Johns (through Feb. 13, 2022; also at the Philadelphia Museum of Art) have strong Surrealist leanings. In “The Bath” (1988), a Picasso painting within the painting (presumably hanging above Johns’s tub, which is also shown in the frame) is juxtaposed with a rendering of wood planks at the work’s left border. This can be seen as a reference, notes Whitney chief curator Scott Rothkopf, to Magritte’s frequent incorporation of wood grain into his own paintings.
So what is Surrealism’s legacy a century after its founding? Classic Surrealist works — such as “Téléphone-Homard” (1938), the Salvador Dalí sculpture that famously features a rendering of a bright orange lobster stretched across the handset of a rotary phone, or Dorothea Tanning’s 1943 painting “Eine Kleine Nachtmusik (A Little Night Music),” in which a young girl in a hotel corridor stares down a massive sunflower — may feel a bit old-fashioned, but the idea that the means of rebelling against the present are already within us, if only we can learn to pay attention, is, in 2021, highly resonant. When understood in this way, as referring to a form of protest and escape, “surreal” becomes so much more — and so much more interesting — than shorthand for “strange,” as it is commonly used today. As Stephanie D’Alessandro, a curator of the Met show, says, in an art context, anyway: “It’s about something that sparks us … that wakes us up from the haze of our daily habits.” It offers, she adds, whether for reasons political, social, sexual or artistic, “an opportunity to imagine something beyond the circumstances that someone has” and, as an idea, “it is there as an option, always.”
“What branches grow / out of this stony rubbish? Son of man, / You cannot say, or guess,” T.S. Eliot writes in “The Waste Land,” his 1922 masterpiece, another Surrealist touchstone. But what we can do is seek alternate, better ways of seeing, thinking and living. Perhaps this is partly what Taeuber-Arp meant when she wrote of her belief that “the wish to produce beautiful things — when that wish is true and profound — falls together with [one’s] striving for perfection.” She made work up until her death in 1943, during another world war, and her nimble, irrepressible creativity is a reminder that art making, especially in times of strife, is an inherently optimistic act. This optimism might be the most overlooked aspect of Surrealism, given its often calamitous origins, but why invest in new realities if not to move forward? Art is something you do, says Anne Umland, a co-curator of “Living Abstraction,” thinking: “ ‘I believe there will be a future. And even if there isn’t, I’ve made something today.’”
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