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Boom in fine-art rental market an offset of the pandemic – CPA Canada



An abstract art piece called "Your Husband Works Too” by Parveen DhattPieces like Parveen Dhatt’s Your Husband Works Too could find a temporary home in your living room (Courtesy of Partial Gallery)

Over the past couple of years, Canadians have had a chance to sit at home and stare at the wall for a good long while. And a growing group of them is becoming more selective about what’s hanging there, staring back at them.

Tammy Yiu Coyne, who co-founded the Toronto-based online gallery Partial, is one of several art dealers who have begun renting more art to private individuals as an affordable alternative to buying. Yiu Coyne says Partial’s online traffic increased by 130 per cent since the start of the pandemic and art rentals more than doubled from 2019 to 2020. The upward trend has continued, with a 43 per cent increase in 2021 compared to 2020.

She co-founded the online sales and rentals business in 2016 with the goal of getting more Canadian art on more walls. Individuals interested in dipping a toe into the world of collecting can browse the gallery’s holdings of works by Canadian artists, both emerging and established. Rental prices range from $25 up to several hundred dollars per month, with purchase prices from $35 to $10,000 (though the majority are in the $750 to $2,500 range).

Customers have the choice of buying a piece outright or renting it by the month for up to three months, with the rental fee going toward the full purchase price if the client eventually decides to buy.

“Diving right in with a purchase can be intimidating,” says Yiu Coyne. “This model allows people to spend time with new art on their walls before deciding whether to buy or not.”

It’s a model that corporate clients looking to decorate offices, waiting rooms, restaurants and film sets have been using for years. Yui Coyne chalks up the more recent expansion of her consumer base in part to the lockdowns, a fact of life that she says has made some of her clients consider more deeply how they enrich their home life. And, while an increase in disposable income due to travel and dining restrictions likely plays a role, too, she believes there’s been a larger shift in values that’s driving the interest in art as much as any other factor.

“People have had time to reflect. They care more about where they put their money,” says Yiu Coyne. “You can buy something on Amazon or you can support an artist in your neighbourhood.”

At North Van Arts in British Columbia, art rental coordinator Florene Belmore naturally had concerns as West Coast offices emptied and film sets shut down at the beginning of the pandemic. The non-profit organization has been renting art since 1969, but mostly to corporate and film industry clients. Yet, as corporate rentals fell off, private rentals and sales surged and the gallery is now generating about 20 per cent more revenue from rentals and sales than before the pandemic, the majority from rentals to individual consumers.

“I think the pandemic downtime created a contemplative mood that led to a greater appreciation for art,” says Belmore. “And think of all the Zoom meetings that needed something in the background.”

At the Art Gallery of Ontario rentals program, the shift from corporate to individual rentals was dramatic. Pre-pandemic, it was roughly a 70/30 split between corporate clients versus private. In the last six months, about 80 per cent of new rentals were placed in residential homes.

“Residential is carrying the revenue right now,” says AGO art rental and sales coordinator Clair Kyle, though she saw corporate rentals beginning to return as the Omicron wave receded.

The Canada Council Art Bank in Ottawa holds some 17,000 contemporary and modern Canadian artworks, all of which can be rented to businesses or branches of government—but not individuals. The council’s art rental program manager Rebecca Huxtable says that, like most businesses and organizations, the Art Bank continues to evaluate new opportunities associated with the future of work.

Despite a downturn in corporate rentals early in the pandemic, Huxtable says, the industry is poised to grow. To entice workers back to an office that many now view as optional, employers are putting more time and money into creating an aesthetically pleasing and healthy office environment.

“Better lighting, quality furniture, plants and original art work are all a part of that,” says Huxtable.

She also sees the art rental model benefitting from the societal shift toward the sharing economy.

“Rideshares, food delivery, co-working—these have all seen an uptick. I see art rental as fitting in there quite nicely,” says Huxtable.

As for how artists feel about the growing residential rental trend, Yiu Coyne at Partial says that a painting hung in a corporate law firm might be seen by more people, “but there are a lot of good vibes in seeing your art in someone’s home.”


These days you can rent just about anything thanks to apps like Ruckify, originally launched in Ottawa and reaching as far as Austin. Rentals aren’t the only sector getting a facelift. Find out how Krazy Binz, a retail chain launched by accountants, has tapped into a market of shoppers willing to line up for a chance to comb through large bins for mystery deals.

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Home + Away artwork opens in Vancouver’s Hastings Park



A new art installation now towers over Vancouver’s Hastings Park fields in celebration of the city’s history of spectators and sports.

Home + Away is a sculpture by Seattle artists Annie Han and Daniel Mihalyo of Lead Pencil Studio, which opened Monday in the southeast end of the historic park.

It’s a 17-metre-tall structure that resembles a narrow set of bleachers — similar to the stands of the Empire Stadium, which stood on the site of the park from 1954 to 1993 and hosted The Beatles, among many others. It recalls a covered ski jump that stood there in the 1950s and the nearby wooden rollercoaster at the PNE.

The city says the public is invited to walk the stairs and sit on the benches.

“In addition to being visually striking, this artwork is intended to be ascended, sat on and experienced. It offers exciting experiences of height and views and provides 16 rows of seating for up to 49 people, making for a unique spectator experience when watching events at Empire Fields,” the city said in a release Monday.

The idea for the park to include public art was outlined in the Hastings Park “Master Plan,” first adopted by the city in 2010. The city says Han and Mihalyo first presented their design in 2015.

“It’s wonderful to see this piece realized within the context of such a well-used public space,” said Han.

Home + Away was inspired directly by the site history of spectatorship, and we hope it will connect Hastings Park users to that history and the majestic views of the environment for many decades to come,” added Mihalyo.

The artwork features a large light-up sign, in the style of a sports scoreboard, that reads “HOME” and “AWAY.”



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Bill Viola, Video Artist Who Established the Medium as an Integral Part of Contemporary Art, Dies at 73



Bill Viola, whose decades-long engagement with video proved vital in establishing the medium as an integral part of contemporary art, died on July 12 at his home in Long Beach, California. He was at 73 years old. The cause was complications related to Alzheimer’s disease. The news of his passing was confirmed by James Cohan Gallery.

Viola’s works are centered around the idea of human consciousness and such fundamental experiences as birth, death, and spirituality. He delved into mystical traditions from Zen Buddhism to Islamic Sufism, as well as Western devotional art from the Middle Ages and the Renaissance in his videos, which often juxtaposed themes of life and death, light and dark, noise and silence. These explorations were achieved by submerging viewers in both image and sound with cutting-edge technologies for their time.

“I first used the camera and lens as a surrogate eye, to bring things closer, or to magnify them, to experiment with perception, to extend vision and make lengthy observations of simple objects,” Viola said in a 2015 interview. “Once you do that, their essence becomes visible. So I suppose I was always interested in the inner life of the world around me.”

Beginning in the 1970s, Viola created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast—all of which expanded the scope of the medium and established Viola as one of its most notable practitioner.

Video still of a man diving into water that has been reversed. The image is mostly black and teal.

In 2003 the Whitney Museum of American Art in New York; Tate, London; and the Centre Pompidou in Paris jointly acquired Bill Viola’s 2001 three-channel video installation Five Angels for the Millennium.

Photo Kira Perov/©Bill Viola Studio

Bill Viola was born in 1951. He grew up in Queens and Westbury, New York, and attended P.S. 20 in Flushing, before receiving his BFA in experimental studios from Syracuse University in 1973. There, he studied with visual art with the likes of Jack Nelson and electronic music with Franklin Morris.

Following his graduation, between 1973 to 1980, Viola studied and performed with composer David Tudor in the music group Rainforest, which later became known as Composers Inside Electronics. He also worked as technical director at the pioneering video studio Art/tapes/22 in Florence, Italy from 1974 to 1976. During that time he encountered the work of other seminal video artists like Nam June Paik, Bruce Nauman, and Vito Acconci.

Viola was subsequently an artist-in-residence at New York’s WNET Thirteen Television Laboratory between 1976 to 1983, wherein he created a series of works that premiered on television. He traveled to the Solomon Islands, Java, and Indonesia to record traditional performing arts between 1976 and 1977. Later that year, Viola was invited to show work at La Trobe University in Melbourne, Australia, by cultural arts director Kira Perov, with whom he married and began a lifelong collaboration.

He was appointed an instructor in advanced video at the California Institute of the Arts in Valencia, California in 1983. He was the Getty Research Institute scholar-in-residence in Los Angeles in 1998 and was elected to the American Academy of Arts and Sciences in 2000.

In 1985, Viola received with a Guggenheim Fellowship for fine arts, and later that decade, in 1989, he was awarded the MacArthur “Genius” Fellowship. His work was also featured in some of the world’s most notable exhibitions, including Documenta VI in 1977, Documenta XI in 1992, the 1987 and 1993 editions of the Whitney Biennial, and the 2001 Venice Biennale.

In 1995, he represented the United States at the 46th edition of the Venice Biennale. For the pavilion, Viola produced the series of works “Buried Secrets,” including one of his most known works The Greeting, which offers a contemporary interpretation of Pontormo’s oil painting The Visitation (ca.1528–30). The Deutsche Guggenheim Berlin and New York’s Guggenheim Museum commissioned the digital fresco cycle in high-definition video, titled Going Forth By Day, in 2002.

Viola’s work was the subject of a major 25-year survey at the Whitney Museum of American Art in 1997, which subsequently toured internationally. His work has been the subject of major museum retrospectives in the years since, including at the Grand Palais in Paris (in 2014), the Palazzo Strozzi in Florence (2017), the Guggenheim Bilbao in Spain (2017), and the Barnes Foundation in Philadelphia (2019), as well as an exhibition pairing his work with that of Michelangelo at the Royal Academy of Art in London in 2019.

Viola is survived by his wife Kira Perov, who has been the executive director of his studio since 1978, and their two children.

“One thing that’s very exciting about video that has turned me on since I first saw this glowing image way back in 1970 is that it can be so much,” Viola said in a 1995 with Charlie Rose on the occasion of this US Pavilion at the Biennale. “Furthermore, what’s really exciting is I don’t think it’s been since really the Renaissance where artists have been able to use a medium that one could say is the dominant communication form in society.”


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Couple’s winning art projects adorn overpass



Annabelle Harvey and Corbin Elliot are partners: in life, love, and art. Thanks to their creative pursuits, now they are also joined in the recognition of their work along the Lakeshore overpass.

The City of North Bay, in collaboration with the Public Art Advisory Committee (PAAC), recently held an event to acknowledge the successful applicants for the Lakeshore Drive overpass banner project. This initiative features 14 artworks created by local artists, highlighting the ongoing commitment to bringing public art to the community and celebrating local talent. The banners were installed early last week.

On behalf of PAAC, Katie Bevan noted that 71 submissions were received for the banner art project. “Selecting just 14 artworks from such outstanding submissions was no small feat. It truly highlights the incredible creativity within our community — and it’s only growing.”

Bevan acknowledged all who submitted their work and congratulated the 14 winners:

  • Caitlin Daniel
  • Corbin Elliot
  • Adam Fielder
  • Ian Gauthier
  • Ruby Grant
  • Annabelle Harvey
  • Penny Heather
  • Robert Johannsen
  • Robyn Jones
  • Gerry McComb
  • Victoria Primeau
  • Tessa Shank
  • Rana Thomas
  • Claudia Torres

“This is the first time I’ve participated in something city-wide, and I’ve been really interested in getting more involved in the art community,” said Harvey, a teacher by vocation when not helping to beautify North Bay. “I’ve worked a lot with the WKP Kennedy Gallery and I’ve been putting in submissions for some of their group shows. So, this is a cool opportunity to try something new. This is the first time I have done digital work. Usually, I like painting and collage. So I was interested just to try something new.”

In September 2023, public art gained more prominence in North Bay as 12 pieces by eight local artists selected by the Public Art Advisory Committee were placed on aluminum panels mounted onto the public buildings in both Champlain and Sunset parks.

Harvey’s partner Elliot is an emerging artist and a Fine Arts graduate from Nipissing University who says his passion for bringing his vision to life has only grown, thanks, in part, to these public art initiatives.

“There is so much opportunity to have a lot of different public art in different spaces,” he says. “So, when I saw that there was a variety of different artists and voices being accepted, of course, I wanted to have my vision out there in the city, to make my mark and be a part of that kind of trajectory of building the art scene within the city.”

The couple share a studio space, often working on separate projects at the same time while collaborating with encouragement and ideas.

“We are working on different mediums, a lot of the time,” Elliot said. “We have our own corners set up in the studio and I’ll usually be on my easel and Annabelle will be doing something…”

Harvey picked up his thought, “I’m usually at my desk doing pottery, jewellery, collage — I do a lot of different things.”

Couple Annabelle Harvey and Corbin Elliot each earned a spot among the 14 winning banner art projects. Stu Campaigne/BayToday

For Harvey, working so closely together is her “favourite part, especially watching his creative process.”

Elliot added, “I think I’m more non-verbal as I’m creating. I often hear you saying, ‘Oh, I think I like this.'”

Both have active Instagram pages featuring their artwork, Harvey’s can be found here, and Elliot’s here.

Elliot has a show at the WKP Kennedy Gallery, entitled “Upon a Star,” opening Sept. 13. “I’ll have my own solo exhibition. I typically work in painting. I have a big body of work with paintings,” he said.

The City of North Bay and PAAC encourage everyone to take a moment to appreciate these works of art when passing by the overpass.

Harvey and Elliot are thrilled about the banner art project.

“It’s like seeing your vision come to life. We’ve had lots of friends, even before we saw them today say excitedly, ‘I saw your work on the overpass,’ it’s just a proud moment to have so many eyes on our work.”



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