Art
Beaverbrook Art Gallery’s Tom Smart retires after long career in the arts
Tom Smart describes his humble beginnings in the art world as that of an art school dropout, a hippie, an actor, a scene painter, commercial artist and book illustrator.
“That’s kind of my bedrock — I was a rogue,” he said.
“I went back to school in English Lit, thinking through English Lit I could maybe start to understand … what creativity was, what artistic expression was, and is, and how I could find it in myself.”
And while for most of his career Smart surrounded himself with some of the greatest artists in the world as he led a number of major art institutions, including the Beaverbrook Art Gallery, he’s ready to get back to his roots.
“I wanted to paint more watercolours than I usually do, and I wanted to write … more about art and artists without getting bogged down in the administration of a big organization like the Beaverbrook,” Smart said, on Information Morning Fredericton, about his decision to retire.
“I just wanted to go back to what I really love and to really connect with the creative process.”
Smart had his last day on Friday as director of the Beaverbrook — a journey that began in 1989 when he took on his first job at the gallery as a curator.
He spent eight years there before moving to other galleries across Canada and the United States, including as CEO of the prestigious McMichael Canadian Collection, in Kleinburg, Ont., and at the Frick Art and Historical Center, in Pittsburgh, Pa.
He’s also written a number of books, including major works on Alex Colville, Mary Pratt and Miller Brittain.
In 2017, Smart returned to the Beaverbrook as director to focus on setting up the gallery for a sustainable future.
Smart said he believes he has achieved that, noting that the budget has grown over the last several years to allow for more activities, exhibitions and public outreach.
Under Smart’s leadership, the Harrison McCain Pavilion underwent an architectural redesign and construction process, which he said has also allowed for more public engagement.
Love the new, too
The gallery also was caught in a controversy in November when it sold an L.S. Lowry painting at an auction house in London that was part of Lord Beaverbrook’s original collection when he founded the gallery.
But Smart said that decision, to deaccession that painting and others, paid off.
He said some of the acquisitions with those funds have already been put on display, including one from artist Lawrence Paul Yuxweluptun about climate change and forest fires.
“I knew that people connect very deeply to the collection,” said Smart.
“And I hope they love what we’ve brought into the collection, and we’ll be bringing into the collection, as a consequence of the deaccessioning process.”
He said he listened carefully to the criticism during that time and things may be more transparent in the future, but it will be up to the new director and curator going forward.
The Beaverbrook Art Gallery said in a news release that an international search is underway to find a replacement. In the interim, the gallery will be managed by a three-member team.
As for Smart, he is already preparing for retirement life and getting back to his first love.
For him, that begins at Go Home Lake in Ontario, where he has a cottage and red canoe waiting for him.
From there, he said he will often go up to Mason Island on the open water of the Georgian Bay, the inspiration for so many truly great artworks, including by the Group of Seven.
“We go … way out in the middle of the lake and I jump in and get the watercolours out on these rocks,” said Smart.
“It’s a very spare landscape, but it’s a landscape that you can imbue with your feelings and your ideas and your concepts about the here and the now.
“I’m looking forward to that very much.”
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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