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Britney Spears lands first art exhibition – BBC News

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US pop star Britney Spears will have her artwork displayed at a gallery in France from this Saturday.

Her debut exhibition, Sometimes You Just Gotta Play!!!!!!, will take up residence at the Galerie Sympa in the town of Figeac in south-west France.

The title is taken from an Instagram post made by the singer several years ago, which showed her painting outside.

The exhibition will mark the 21st birthday of her big-selling debut album … Baby One More Time.

According to the gallery, the 38-year-old’s first public art show will run “till the world ends,” – a reference to her 2011 track of the same name.

Her flower painting, which was used to promote the show, was donated to a Las Vegas charity auction in 2017, helping the victims of the Root 91 Harvest music festival shooting.

A year ago, the performer scrapped her Las Vegas residency and announced she was taking an “indefinite” break from music, to focus on her father Jamie’s recovery from a life-threatening illness.

Her dad served as her conservator for 11 years – meaning he was in charge of Spears’ finances because of her ill-health – after Spears was placed in psychiatric care back in 2008.

Last year, he was legally relieved of his duties for “personal health reasons”.

The singer reassured fans over her own wellbeing, following internet speculation that she was being held at a mental health facility against her will. This sparked the #FreeBritney campaign; a hashtag which appears again, ironically, in the promo for the new art show.

In an Instagram video in April, she rejected the theories, saying “all is well” and that she would “be back very soon”.

“My family has been going through a lot of stress and anxiety recently, so I just needed time to deal,” she added.

Paint it black

Spears is not the first musician to channel her creativity into physical artwork.

The Rolling Stones guitarist Ronnie Wood is well known for moving seamlessly from guitar licks to licks of paint.

The 72-year-old rocker placed his paintings on display once again at a pop-up gallery in London just before Christmas.

A few years earlier, the former art student described his painting Sad Guitar – which featured in his book Ronnie Wood: Artist – to BBC Radio 4’s Today programme as a combination of his two greatest loves, music and art.

“It’s very influenced by the guitars of Georges Braque and Picasso. Those artists lay heavy with me as influences,” he said.

From The Rolling Stones to The Stone Roses – fellow guitar wizard John Squire‘s latest exhibition, Disinformation, featured at Damien Hirst’s Newport Street Gallery, also in the capital, last year.

The large-scale oil paintings were based on photographs taken by the artist or found online and then put through a Snapchat filter that the 1995 Turner Prize winner had told Squire about.

The 57-year-old, who was responsible for the Manchester band’s signature Jackson Pollock-inspired paint splash artwork, told The Guardian: “I don’t think I’m a very good guitar player – or painter.”

We’ll agree to disagree on that one, John.

Last but not least, without blowing his own trumpet, it’s fair to say seminal US jazz musician Miles Davis produced some pretty impressive artwork too, late on in his career.

Davis, famed for trailblazing records like Bitches Brew, only began painting in his mid-50s during a break from touring, but soon threw himself fully into it.

“It’s like therapy for me, and keeps my mind occupied with something positive when I’m not playing music,” he wrote in his self-titled autobiography in 1989.

His influences ranged from Picasso to Basquiat, via African tribal artwork.

After his death in 1991, at the age of 65, Davis’s estate took his paintings on the road, and in 2013, Miles Davis: The Collected Artwork was published.

Look out for the best of Britney’s artwork in book form in time for Christmas 2020 (maybe, baby).

Follow us on Facebook, or on Twitter @BBCNewsEnts. If you have a story suggestion email entertainment.news@bbc.co.uk.

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Arts Everywhere for everyone – GuelphToday

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Spiritualist writer Thomas Merton wrote “Art enables us to find ourselves and lose ourselves at the same time.”

Art in all its forms helps to define us culturally and expand our relationships to each other. It should, therefore, be accessible to everyone and that is why accessibility and inclusion are the central themes of the Arts Everywhere Festival this year.   

“We are looking forward to a number of things and one of the main pieces is the importance of access for members of our community,” said festival director and program curator, Marva Wisdom. 

“We are very excited to be able to bring a festival that is intentional in how we approach access and inclusion whether individuals face barriers around economic, cultural and physical abilities, sensory or otherwise.” 

The festival runs from Jan. 22 to Jan. 26 and features performances, exhibits, workshops and activities that celebrate the diversity of creative expression through music, literature, ceremony, spoken word and visual arts.

“The presenters will be coming from different parts of the world, so, local and international,” said Wisdom. “We really want to inspire our community and recognise the importance of the arts and the changes it can make in our society.”  

Those changes are reflected in the artists featured this year and in the efforts made to ensure each event is as inclusive and each venue is as accessible as possible. They even prepared an accessibility guide that among other things lists all the accessibility features of every venue in the festival. 

“We have not done anything like this before,” said Wisdom.  “We spent a fair bit of time at the venues for what we call an embodied audit. We took photos. We had great conversations with staff members, managers and owners about access.”

Festival staff and team members received accessibility training.

“We participated in a workshop from Tangled Arts and learned a lot about access and how you make events more accessible,” said Wisdom. “This all came about through work over the years with Bodies in Translation and at the University of Guelph. They have been tremendously helpful in pointing the Arts Everywhere Festival along this journey.”    

There will be live captioning (surtitles) for many of the events as well as ASL (American Sign Language) interpretation and earphones to amplify or reduce sound.

“If you tell them you have sensitivity to certain sounds or light, if you are in a powered wheelchair and need more width or maybe you have a hearing impairment, you don’t even have to share that with us, you just need to show up,” said Wisdom. “If you feel more comfortable knowing ahead of time we have someone you can speak to and when you arrive we have access ambassadors that will help you navigate the entire festival.” 

They have even made efforts to accommodate people who experience anxiety in public or crowded spaces.    

“We have relax spaces and quiet rooms because some people get over stimulated and they don’t come to these events because they think it is going to be too much,” said Wisdom. “People can go on our website and see the information.” 

Accessibility and culture of care lead Coman Poon hopes their efforts will act as a seeding initiative for growing accessibility culture and he invites other festivals to use the Access Guide for planning future events.

“It is not  a proprietary document,” said Poon. “It is not just for this festival. We welcome others to use it as a free tool that challenges prejudice against people with disabilities or ‘able-ism’.”  

Poon is the point person for all accessibility inquiries and can be contacted at access@artseverywhere.ca or 647 575-4202.

The festival opens Wednesday, Jan. 22, with a free event at the Art Gallery of Guelph curated by poet, author and visual artist Taqralik Partridge. 

“It is her image we are using on our poster and on the front of our program,” said Wisdom. “She is going to be our featured literary artist at the event Friday night at the River Run as well.”

Partridge’s image of a damaged door with limited access on the side of a poorly maintained home is an apt metaphor for the challenges we face as we strive to improve access and include everyone in the conversation about something that should unite us all — art.

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Walt Humphries' art comes home to roost at Yellowknife show – Cabin Radio

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As Walt Humphries surveyed his own exhibit, the self-taught artist and self-declared doodler recalled when bureaucrats told him he should be “locked up” for his art.

Humphries has been capturing the mood of Yellowknife since his arrival in 1969: raucous scenes at the Gold Range Bar and Miner’s Mess, contemplative pieces on the “temporary” neighbourhood of Northlands, apocalyptic scenes between warring Old and New towners.

All are now hung at Yellowknife’s Prince of Wales Northern Heritage Centre.

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“One bureaucrat came in the coffee shop one time,” Humphries recalled, “and said, ‘You should be locked up. You shouldn’t be allowed to create work like this.’

“And I said, ‘It’s a free world.’

“It’s funny how what’s radical one day becomes accepted, and becomes part of the history of the place.”

Longtime Yellowknifer Bill Braden approached Humphries about doing a show during a recent trip on the beer barge – itself a piece of the city’s history, an annual celebration of Yellowknife’s barging tradition.

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Unbeknownst to Braden, newcomer to town and art writer Sarah Swan had also become hooked on Humphries’ art and wanted to stage a show.

Swan had happened upon the works after seeing Humphries’ long-running column in the Yellowknifer newspaper, Tales from the Dump. The two joined forces and embarked on a search for Humphries originals stretching back to the 1970s.

Bill Braden, left, Walt Humphries, Diane Baldwin, and Sarah Swan at the Life’s Like That exhibit, in a photo supplied by Braden.

When the curators put a call out for “lost” Humphries originals, the response was immediate. Collectors came out of the woodwork – many in Yellowknife, but farther afield as well – and the curators ended up with too many paintings to show. The finished exhibition displays a selection of 39 pieces.

Humphries, meanwhile, had to sit back and let curators pick and choose which of his “children” would get into the show. (He was happy that at least one alien made it in.)

For Braden, the scenes from bars and haunts of Yellowknife’s golden days are his favourites. He says they capture the mood of the town’s halcyon days.

“I grew up with these places. They’re institutions, they’re part of me,” he said. “I can smell the stale smoke and the spilled beer in the Gold Range and the mediocre coffee in the Miner’s Mess. I can hear the chatter, the music.”

Swan picks out the work depicting anti-bureaucratic sentiment or tension between different factions – paintings like The Houseboat Wars, which is held in the Prince of Wales Northern Heritage Centre’s permanent collection, or Old Town Versus New Town.

Finding the original of this second piece was a big moment for Swan.

“When you look at that, you may feel your latent anarchic tendencies start to ignite,” she says.

“You might feel, for example, like spray-painting the anarchy symbol on City Hall, or stealing a shopping cart from Walmart at least.”

Humphries’ own favourites are many – “I like them all,” he complained – but he feels nostalgia in his depictions of camp life.

“I spent a lot of time out in the bush living in a tent just like that. And so it brings back my youth,” he said. “That’s part of what art does. At different stages in your life, you get different things out of them.”

Admirers of Walt Humphries’ work at the Prince of Wales Northern Heritage Centre. Emelie Peacock/Cabin Radio

The search for lost works uncovered stories of ways in which Humphries’ paintings travelled and inspired others.

One print of The Houseboat Wars, situated in an outhouse, helped a young boy forget his fear of the wolves and other scary creatures outside by delving into the details of the work.

However, another Humphries work – remembered by Braden from his time as a reporter at the Yellowknifer – has perhaps been lost forever. In 1992, the paper turned 20 and asked Humphries to portray the city 20 years on.

“He came up with this fantastic drawing of the city of Yellowknife under a massive glass dome. It was of course to keep us warm in winter and keep the bugs out in the summer,” Braden said.

“Maybe some lucky scavenger has it somewhere, some other lucky scavenger, and maybe it’ll surface one day.”

Humphries said he would have trimmed his beard had he known this photo would be reproduced at this size. Emelie Peacock/Cabin Radio

Humphries is recovering from sepsis, which struck just as the exhibit was being moved and mounted. He admitted he had spent time in hospital wondering whether he would, in fact, make it to his own show.

“I was thinking it would be a real bummer if I missed my own art show,” he said. “It would bring a whole new dimension to the show’s title.” (The show is entitled Life’s Like That.)

Humphries hopes to eventually see a public art gallery in Yellowknife for shows like this. “It really helps define a place, the art people see,” he said. “It’s important for people’s well-being, as much as is exercise, sports, and entertainment.”

Life’s Like That is on display at the Prince of Wales Northern Heritage Centre until June. An art party at the centre is happening on Sunday, where Humphries will join fellow Yellowknife artists Alison McCreesh, Tracey Byrant, Sarah Swan, and Cody Fennell for short demos and guided tours of the exhibit.

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South River's sound art group hosting 19th annual festival – NorthBayNipissing.com

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SOUTH RIVER — New Adventures in Sound Art, also known as NAISA, is presenting the 19th edition of its Deep Wireless Festival of Radio and Transmission Art from now to March 30 at the NAISA North Media Arts Centre in South River.

Deep Wireless opens with Art’s birthday celebrations in mid-January and continues to the end of March with performances, special radio broadcasts, interactive installations and workshops.

 


The experience of radio does not have to be limited to one-way communication (i.e., passive listening). Some of the early innovators of radio thought of it as a two-way interactive medium. This year’s Deep Wireless artists use wireless technology to explore interactivity between participants and the artworks while using the theme of transformation to suggest alternative paths of expression and communication. The installations and performances invite participation, but they also consciously allow for the public’s input to be transformed into unexpected outcomes.

Songs of Ice on exhibit until March 30

Songs of Ice brings together the work of Michael Waterman and Jesse Stewart, two Ottawa-based interdisciplinary artists who have a shared passion for sonic exploration. In this exhibition, they explore the sonic properties of ice in both solid and melting forms while creating a two-way interaction between an outdoor geodesic dome and an indoor exhibition area at NAISA. Elements of the work will be developed through a two-day workshop with students from the South River Public School.

Re-Collect / Re-Told: Your Stories of New And Old until March 30

NAISA will once again present its ongoing collection of stories as told by children, parents and grandparents in the region in this interactive exhibit matched with historic photos of South River to tell the story of our community and our place in the Near North. Come add your voice to the mix. Added to this year’s story collection at the end of February will be A Good Ways North by Peterborough podcaster and radio artist Ayesha Barmania, who will be the first artist-in-residence at NAISA to create a radio art work from the Re-Collect / Re-Told story collection. She will be giving an artist talk and presenting her work on Feb. 29 at 2 p.m.

 


The 2020 edition of the Deep Wireless Festival of Radio and Transmission Art is funded in part by the Canada Council for the Arts, the Ontario Arts Council and the Department of Canadian Heritage.

New Adventures in Sound Art is a non-profit organization originally located in Toronto but since 2017 is now based in South River at the NAISA North Media Arts Centre. NAISA produces performances and installations spanning the entire spectrum of electroacoustic and experimental sound art. Included in its productions are: Deep Wireless Festival of Radio and Transmission Art, Springscapes, Sound Travels Festival of Sound Art and the SOUNDplay Festival.

Darren Copeland is the artistic director for the New Adventures in Sound Art. 

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