Connect with us


BMO 1st ART! Award: Georgia Dawkin



Photo Credit: Georgia Dawkin

BMO 1st Art! Competition

The NL winner for the BMO 1st ART! Award has officially been announced!

This achievement is awarded each year to a student from each province in Canada and to a National winner. It is a way to celebrate and highlight the young artists across our country and the incredible work that they are accomplishing.

“BMO 1st Art! celebrates the creativity of art school students from over 100 post-secondary institutions across Canada.”


For more information on the competition, visit:

Genius Dog 336 x 280 - Animated

The NL provincial winner,

Georgia Dawkin, a recent graduate from Grenfell’s School of Fine Arts, is the provincial winner here in Newfoundland and Labrador; Originally from Victoria, BC, she moved to NL for university. She has created numerous works and prints, including an exhibit titled Infestation and a digital photo series that can all be found on her website –

Her submission piece entitled “Professional Woman: Coming Soon” critiques and comments on misogyny and sexist themes that affect women in modern professional environments. Creative, humorous, and thought-provoking, her piece showcases the many aspects of what professional women endure daily.

Luckily, Dawkin was able to chat with us about her work and what this achievement will mean for her moving forward. Read on to discover more about the artist and the piece she created. The following conversation has been condensed and edited.

How did you find out about the BMO 1st Art award?

Well, we’re actually nominated by our profs. It’s nice because there is only one art school in NL, so everyone in our graduating class was nominated together. It’s your choice if you want to put forward an application; out of those applicants, a winner is chosen. I received a phone call earlier in the year; then, I had to sign a non-disclosure agreement so the winners could be kept a secret until the announcement went public.

What made you choose to attend Grenfell?

Believe it or not, I came to St. John’s first; I came to MUN for Neuroscience and then switched programs, made a big switch, and moved to Corner Brook to do visual arts. I did two years here and then four years there, and now I’m back living in St. John’s again! Haha

How long have you been creating art, and when did feminism become an inspiration for your work?

I was always creating art and painting at my house as a kid, which continued through my teenage years. My mom – who is a doctor – would always tell me,

“You don’t wanna be a doctor; that’s not for you. You need to be a tattoo artist!”

She always encouraged me the opposite way. Then, I got a job working for Paint Nite NL while I was still in neuroscience, regularly bringing art back into my life. I was able to spend more time painting, which is what encouraged me to want to apply for art school.

Is there a particular event/thought that inspired you to create Professional Woman: Coming Soon?

There wasn’t really one particular event that inspired Professional Woman. I’ve always been passionate about and interested in feminism and those kinds of topics. I think some of my work started with things that I thought were funny. I find a lot of the video funny and I always like to include humour in my artwork. I like to talk about serious, concerning, and/or frustrating topics and find a way to incorporate a humorous aspect. Some parts come from me just wanting to make a joke of something.

A particular scene in the video caught my attention; the clip of you conducting to an audio recording was so well executed. How difficult was it to put together?

So, I wouldn’t consider myself a musical or rhythmic person at all, and I originally had so much trouble with that scene. When making that scene, I made an audio clip of different internet recordings and recordings of my friends’ voices. Then I went into the studio to film, put on a piece of classical music and tried to conduct the music. I didn’t, however, consider that it wouldn’t match up with the recording I made. When I put it together and showed my advisor, I was like, ‘this feels so weird,’ and she was like, ‘yeah, cause it is,’ haha.

So, I had to remake the song. I got a metronome online of the same count as the classical piece and then re-filmed it so that my conducting matched the counts of the backtrack.

The video format of this piece is quite different from your previous work, what made you want to take on this kind of project?

I had never done any video like this before this past year. I was taking a new media class at school, working with video and sound art – I really loved it. At the same time, I was doing a lot of research for my fourth-year project about feminist art history and Canadian feminist artists, specifically how performance and video are such a huge theme throughout that topic. A lot of feminist artists say that using the feminine body as a woman is the best way to put yourself in history and to put women in history. So, that came into play a little bit.

The concept of Professional Woman partially came from how I would say it all the time. I would call myself and call other people ‘Professional Woman.’ I drew her as a comic book character for a long time. She wasn’t a performance character at first; the project developed that way because it was the only approach that could fully convey what I wanted to get across.

There are many different dimensions to this piece. Watching it again, it’s easy to see aspects you may not have noticed the first time. Was this intentional?

Everything throughout the video is well thought out and personal to me. Even things like font choices and colours are very specific. The billboards in the background of the shots have been redone. Lots of little things like that to make it exactly what I want it to be in that Professional Woman universe.

In the construction scene, the first time we filmed it, I got an actual bucket of dirt and wheeled it up to the studio – a studio monitor saw me, and I just said, ‘please just ignore me; I promise I’ll clean it up!’ – But then I had to re-film it because I had new props and a different outfit. By that point, it was winter, and I couldn’t exactly get dirt, so I decided to edit them in instead – it was pretty funny!

Feminism is a big passion of yours. Will these themes promoting female equality and awareness concerning issues of misogyny continue to be voiced in your future/upcoming work?

I have done a lot with feminism in my past work. I previously did a collaboration with my friend and fellow artist, Stephanie Sheppard, called ‘she’s so edgy.’ I plan on continuing with that body of work with Professional Woman and making more videos. I have started to work on prints and drawings, focusing a lot on power dressing – with the visual of the suit and the jacket.

Have you noticed a difference in how men and women react to your piece?

I noticed that women tend to laugh a lot more; people seem to understand it in different ways. When I show it to guys for the first time, they’ll sometimes be more quiet. I definitely think that it depends on the person.

Your work has been featured in exhibits in both NL and MTL. Are there any new events coming up or a particular place you hope to be featured in someday?

Definitely Vancouver! I like the Vancouver Art Gallery because I went there a lot as a kid. I go there every time I visit home in BC; it’s just a really special spot. It was so extravagant to me as a kid that it would just mean a lot.

What has this achievement meant to you, and what will it mean for you now moving forward?

It was redeeming. I put a lot of hours, hundreds of hours of work, into this project – and a lot of heart. So, it felt really good. After graduation, you get so much rejection and a hard reality check. This achievement gave me hope and a sense that I’m doing the right thing. On the phone, they said that this year was incredibly close; I am biased – of course – but my class was really strong. I’m so proud that I get to represent my class; there are just so many strong artists there.

Lately, I’ve been applying to things. I hope to get my residency soon so I can have a place, time, and resources to do more of this work. I’ve been working a lot on residency applications and sketches, drafting ideas about what I’d want to make when I have access to sufficient supplies and a bigger space.

Source link

Continue Reading


McPherson Library art opening



The new exhibition explores relationships and togetherness

Photo by Manmitha Deepthi.

Photo by Manmitha Deepthi.

When you walk into the McPherson Library, your first thought would rarely be about the art that’s displayed beneath it. However, tucked in the lower level is the Legacy Maltwood Gallery, a space dedicated to artists and their works.

On Nov. 25 the McPherson Library held an opening reception for Shaping Relations, Tethered Together, a new collection of art housed in the Legacy Maltwood Gallery that explores relationships and togetherness.

Genius Dog 336 x 280 - Animated

The event celebrated the exhibition by emerging Edmontonian curator Mel Granley. They are Metis on their mom’s side and a fourth generation Ukrainian settler on their dad’s side. The UVic alumni, now works as a guest curator at the Art Gallery of Greater Victoria.

The event began with Granley reading their curatorial statement. They spoke about how relationships hold an important place in every individual’s life. Shaping Relations, Tethered Together aims to explore this by highlighting BIPOC work, experiences, and relationships.

The exhibition was originally curated for the First People’s House in 2019, however it was delayed until early 2020 and then again due to the pandemic. Three years later, Granley was finally able to see their first show open.

A lot of the art in the exhibition is from the Legacies collection which belongs to the university. The collection includes a variety of mediums and is interdisciplinary in nature. The works range from ceramics, a video piece, and charcoal work to prints, posters, and a magazine.

Rain Cabana-Boucher, whose art is included in the exhibition, also spoke at the event. Cabana-Boucher is a Michif and British artist from Saskatoon and a recent recipient of the Takao Tanabe Prize for emerging British Columbian painters.

Cabana-Boucher’s piece French Exit was made in April 2021. The charcoal piece is about losing community spaces during the pandemic. The work was inspired by one of many parties that Cabana-Boucher attended at a friend’s apartment, where a lot of her friends during university met and interacted. These were queer parties where everyone knew each other and created a safe space. In the piece, Cabana-Boucher wanted to convey the longing she felt for those places and the feeling of isolation that queer people and everyone experienced during the beginning of the pandemic.

Granley and Cabana-Boucher also spoke about the relationship between an artist and a curator and the possibility for a power imbalance between them. The curator is an arbitrator of whose art is shown, yet their relationship is mutually beneficial. Maintaining relationships with artists is essential for curators to showcase art to their community. As well, working together to apply for grants and supporting each other has helped both Granley and Cabana-Boucher to grow in their own careers as curator and artist respectively.

Before the reception came to an end, Granley invited the crowd to ask questions. One attendee asked, “When you were looking through the collection, what were you looking for? What was attracting you to different pieces?”

“I was looking for what I can see and perceive as relationships,” Granley responded. “The show is filtered through my bias of what a relationship is.” They explained that with around 20,000 pieces in the Legacy database, finding BIPOC artists to feature in the collection was a challenge. “[They] have a lot of colonial remnants in them so it is difficult to unravel all the layers of the museum,” Granley said. They tried to not only find relationships but celebrate BIPOC relationships in a non-voyeuristic way. As a result, many BIPOC works were included without labels. Granley felt it was important to avoid imposing their voice on the work, since they can’t speak to where the artists are coming from or why they made the work.

Granley also talked about an upcoming exhibition called Symbiosis that they are working on at the Art Gallery of Greater Victoria. The collection is all about mushrooms and will open in late March of 2023.

Cabana-Boucher also has a new show in the works for next year as part of her residency at the Polygon Gallery in North Vancouver. She is also an artist in residence at the Contemporary Art Gallery of Vancouver which is a research-based residency for which she is working on a podcast.

Source link

Continue Reading


Forgeries, frauds and Canada’s great fake art debate



Jon Dellandrea’s new book, The Great Canadian Art Fraud Case: The Group of Seven & Tom Thomson Forgeries, was published this fall.Handout

This is a tale of two shabby containers: one a six-quart basket, the other a broken-down bankers box.

The six-quart basket belonged to Miss Winnifred Trainor of Huntsville, Ont. It held a dozen or so small paintings that were unsigned but had been given to her by her very close friend Tom Thomson.

Review: Buyer beware: Book warns Group of Seven forgeries might resurface

She kept them in the basket inside a steamer trunk on the second-floor of an old home on Minerva Street. She did not have running hot water or a proper heating system, yet she would never part with any of the paintings during her long life, which ended in 1962.

Genius Dog 336 x 280 - Animated

Whenever she travelled to visit relatives in upstate New York, she would carry the six-quart basket across the street to the house of Miss Addie Sylvester, the town’s night Bell operator. Addie would stash them behind her wood stove.

Fortunately, these national treasures never caught fire.

The bankers box belongs to Jon Dellandrea of Toronto. He has spent a lifetime collecting Canadian art and publishing articles on fakes and forgeries. The box was found at a city art dealer and contained paintings and journals of William Firth MacGregor (no relation), an obscure artist who came to Canada from Scotland and failed to make his intended mark on the Canadian art scene. While his brother Charles became a successful portrait painter, Willie found no success at all as a landscape painter and turned to teaching art in Ottawa and Vancouver until he vanished.

But that is not to suggest that “Willie” MacGregor did not have an impact – at times a major one – on Canadian art.

In 2016, Dellandrea had been offered the contents of the box at a modest price but had turned it down. He couldn’t stop wondering about the contents, however – Who was this person? – and finally his wife, Lyne, sent him back to the dealer to buy the box. “If you don’t,” she told him, “you’re going to drive me crazy.”

He returned with the box and began picking through it. He was particularly taken with multiple miniature paintings by MacGregor that he thought were rather well executed. Some time later, he found himself at Waddington’s, the prestigious Toronto art auction house, where a painting entitled Study for Spring Thaw, signed by Clarence A. Gagnon and dated 1909, was up for sale, the estimated value $700 to $1,000.

“It was like seeing a ghost,” Dellandrea recalls.

He returned home, dug through the MacGregor box and found a miniature almost exactly the same as the larger painting on sale. (“I have a very good visual memory,” he says.) When he took the miniature to the auction house, the “Gagnon” was immediately removed as a fake. “They of course did the right thing,” says Dellandrea. The coincidence led to Dellandrea’s new and excellent book, The Great Canadian Art Fraud Case: The Group of Seven & Tom Thomson Forgeries, published this fall.

Jon Dellandrea is a Canadian author and art historian.Doug Nicholson/Handout

Dellandrea believes the art market is easily open to fraud. “I have long held the view that the art world is a crazy, illogical enterprise that seeks out, creates, and then celebrates a small group of ‘stars’ who are worshipped to the exclusion of artists of equal or greater talent,” he writes in his book. “Individual collectors fall prey to buying art from a name-brand artist, focusing on the signature at the bottom (or top) of the canvas rather than the quality of the art. This collective impulse to worship the stars typically has a distorting effect on the art market around the world, as it does in Canada.”

One such celebrated artist would be J.E.H. MacDonald, Thomson’s friend and a founder of the Group of Seven. At an auction held 60 years ago this month, 15 oil sketches were being offered in his name. Respected Toronto Star art critic Elizabeth Kilbourn challenged the auctioneer, standing up at one point and shouting, “They’re not J.E.H. MacDonald and you know it!”

The art dealer responded by saying that “An auctioneer’s job is to sell what is sent to him” – and the house cannot be expected to guarantee the authenticity of every painting it sells.

Thus began the great fake-art debate in Canada. Writing in Maclean’s in December, 1962, Robert Fulford contended that “… a great many who believe they own distinguished art are actually in possession of nearly worthless junk.”

Much of Dellandrea’s book concerns a dramatic Toronto court case from the early 1960s, when two shady dealers were charged and convicted of selling forgeries of Canada’s most-famous artists. A great many of those forgeries had been painted by Willie MacGregor.

In the winter of 1963, the Toronto Telegram put on an “art authentication night” at a downtown hotel, where 18 of the nearly 80 paintings brought in were declared fake by a panel of experts, including Group of Seven member A.J. Casson (who was himself a consultant in the court case).

Many powerful people were upset to have been duped, but those familiar with the art world were not surprised. As Sara Angel, executive director of the Art Canada Institute, says in a note for Dellandrea’s book, “… for decades scholars, auction houses, galleries and museums have turned a blind eye to felonies in plain sight.” The preliminary inquiry that began in November, 1962, ended on March 4, 1963, with the two shady dealers pleading guilty. They received jail terms of one and two years.

Willie MacGregor, a witness in the case, was critical to the great deception. MacGregor, who split his time between Algonquin Park and an apartment on Toronto’s Church Street, would paint pictures from books supplied by one of the dealers and thought he was just doing cheap copies that would be sold as such. He signed none of them, yet, when forged, signatures would appear. The dealers had even created two facsimiles of “TT” stamps that Thomson’s friends had created for his many unsigned works.

“There are more Tom Thomson paintings out there than he could possibly have painted in his lifetime,” says Dellandrea.

Before Casson’s death in 1992, he was interviewed extensively by artist Alan Collier; the interviews filled an entire box of tapes that Casson’s daughter, Margaret Hall, kept and gave to Dellandrea.

“We could have found another 500,” Casson believed, adding that he thought that “Willie knew what was going on, but he was smart enough that he never signed anything.”

Dellandrea disagrees. “I don’t think he knew, for a couple of reasons,” he says. “He was certainly not party to a conspiracy. He was never charged.” MacGregor would get a few dollars for his paintings, unaware that they might be sold for upward of $1,000 – big money for an artist in the early 1960s. The judge decided he was an “innocent victim.”

“He was penniless,” says Dellandrea. Willie MacGregor was later taken in by a family and lived on Toronto Island, in obscurity. He died in 1979 and is buried in Toronto’s Mount Pleasant Cemetery.

“Virtually no one has any recollection of the scandal,” says Dellandrea. He believes such fraud still goes on: “It’s everywhere. Absolutely everywhere.”

To wit: Dellandrea found an A.Y. Jackson canvas on sale earlier this year for $40,000. He went to examine it and subsequently informed the dealer that he was “100 per cent certain it was a fake.”

“They would not listen to me,” Dellandrea says.

Dellandrea maintains that the large, well-known auction houses are “absolutely fastidious about providence and authenticity.” His advice: Stay away from the smaller houses that deal only partly in art – “and never, ever buy off eBay.”

What, then, of that six-quart basket of Tom Thomson sketches?

They were not signed but were given, in person, to Winnie Trainor, who would never part with them and would eventually leave them to a nephew in the United States.

Dellandrea says there is a genuine Tom Thomson coming up in an early December auction at Cowley Abbott Fine Art in Toronto. He has no doubt it is a legitimate Thomson. The house catalogue estimates it will go for between $1.2- and $1.5-million.

Today, that six-quart basket would be worth around $18-million.

To a woman with no running hot water.

And only a creaky space heater to carry her through the winter.

Source link

Continue Reading


Paired exhibitions showcasing Sask. art history at MacKenzie Art Gallery



A set of connected exhibitions opening at the MacKenzie Art Gallery are offering a window into a “critical moment” of Saskatchewan art history in the 1950s.

The two shows, titled Anthony Thorn: A Portrait, 1927–2014 and Ten Artists of Saskatchewan: 1955 Revisited, have been curated in tandem by head curator Timothy Long and open at the gallery on Thursday.

Long began conceptualizing the retrospective on Thorn first, after receiving a large number of works from the private collection of art dealer Tony Colella, including art and essays from Thorn’s later years.

Genius Dog 336 x 280 - Animated

“It’s one of those opportunities we have to look back and observe a lifetime of achievement, from very early days to a painting that was sitting on his easel at the time when he died,” Long said.

Thorn is a nationally renowned abstractionist whose career began in Regina, where he was born, before continuing in B.C. as he forged a path through the evolution of Canadian contemporary art.

“He was an artist who was attached to his studio, attached to representational practices, at a time when abstraction was in its ascendancy,” Long said.

“His independence of thought really went against the grain.”

Conceptualizing Thorn’s ties to his home province led Long to thinking about the show that introduced Thorn to Saskatchewan audiences as an emerging artist: an exhibition in 1955 titled Ten Artists of Saskatchewan.

The show debuted just two years after the MAG opened, as the first public art gallery in Saskatchewan, including Thorn and other artists who would go on to similar successful prominence like Dorothy Knowles and members of the Regina Five Ken Lochhead, Arthur McKay and Douglas Morton.

Long has revived this past show, re-collecting works as close to those featured in the original show as possible, to “recreate the feel of that exhibition” in Ten Artists of Saskatchewan: 1955 Revisited.

“I’m always thinking about how to tell the story of art in this province,” Long said, about the idea.

The collection partners with the exploration on Thorn’s career, tethered by a painting titled “Moses Diptych,” which was included in the original 1955 Ten Artists show.

“Moses” is from a period when Thorn worked under Mexican muralist David Alfaro Siqueiros, before it became part of a travelling art show program in Regina the 1960s. Long had it restored specifically for the exhibition.

“It’s like a time capsule of art in Mexico City in 1955. The image of Moses — he looks like Che Guevara holding the Ten Commandments in one hand, but that hand is a fist that’s punching into the future. It’s an incredible painting.”

The MAG is approaching 70 years since opening doors, and Long said these shows are an “opportune time” to consider how contemporary art in Saskatchewan has evolved.

Historically, the ’50s were something of a precursor era, as many artists from this time are better known for works from the ’60s and ’70s, the later years of their careers.

It’s a decade that “hasn’t received a lot of attention, in terms of our history,” but Long feels offers insight into how these artists existed and grew together, as a group.

“Saskatchewan artists weren’t breaking new ground, at that point, but this was an important foundation for what they would explore in future years,” he said.

“Artists don’t work in isolation; they look at what each other and others are doing in their community, and so you get a sense of the shared effort to become modern, in terms of art in the province.”

In tying together the shows, the hope is audiences will get a sense of the province’s history, through the lens of Thorn, who revelled in the craft and had a penchant for retrospection.

“He really was an artist who followed his own internal vision, and spent more time looking back than forward,” Long said. “As we’re looking back at history, we’re looking at an artist who himself is always looking back, seeing what can be recovered, what can be brought forward from a very long history of art.”

The shows will be accompanied by a free talk on Thorn’s life and career with art historian and curator Ihor Holubizky on Saturday afternoon.

Source link

Continue Reading