By Jensen, Randy on August 29, 2020.
The City’s public art collection and fine art collection have a combined appraised value of just under $2 million.
City of Lethbridge Community Arts and Culture manager Jillian Bracken provided this information at city council earlier this week in follow up to a presentation she made as part of the Public Art Committee annual report back at the Feb. 3 Community Issues Committee meeting.
Besides the 14 valuable pieces of public art the City owns, worth approximately $1.4 million, council had asked Bracken to bring back a full accounting of the City’s fine art collection, which includes a portion of the Buchanan Bequest as part of the overall 83 distinct pieces the City owns. That total was about $592,000, according to Bracken.
Bracken said most of the fine art pieces had been on display at one time or another at the Southern Alberta Art Gallery, and information on the pieces has appeared on the SAAG website.
Back in February some on council had wondered how the public might have greater access to both the public art pieces and fine arts collection which is part of the City’s legacy. With some councillors suggesting virtual tours might be offered of the public pieces on an app as one possibility, and perhaps a dedicated website or online viewing opportunities available for the fine art pieces.
Bracken said City staff were working with the Public Art Committee on various possibilities for the fine arts collection, but in the meantime had established a website called publicartlethbridge.ca for raising awareness and providing public access to information on the City’s public collection, and any calls for artist proposals which might arise in the future.
“From the art committee’s perspective,” she explained, “we’ve done our best working with the Southern Alberta Art Gallery for the past several decades to show the (fine art) collection in that format; so we have done our best to make the collection as accessible as possible. The challenge with art collections is you have to balance both conservation with access to ensure the pieces are properly cared for. At this point, from the art committee’s perspective, we are just looking at different ways to continue to make it accessible.”
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Influential Social Practice Art Fellowship Program Shuts Down Because of Covid-19 – ARTnews
The New York–based nonprofit A Blade of Grass, which has supported the production of socially-engaged artworks through funded fellowships, has announced a significant restructuring of its operations and program as a result of financial challenges precipitated by the pandemic. In a sign of the health crisis’s impact on small arts nonprofits, the organization will end its fellowship program, with the artist fellows named in March 2020 representing the final cohort in the program.
A Blade of Grass also announced that it will lay off its current five-person full-time staff in October and cut salary and benefits for its executive director, Deborah Fisher. During the 2021 fiscal year, the nonprofit will launch a commissioning model through which it will support the creation of a selection of artworks and related public programs. In addition, the nonprofit will organize “listening sessions” with artists to discuss their needs and formulate new modes of meeting them.
The organization’s annual Fellowship for Socially Engaged Art had awarded individual grants of $20,000 to eight artists during each cycle. Those funds went toward the development of artworks that address social, political, and economic issues across different communities.
Since the fellowship program was launched in 2014, it has been considered one of the top initiatives devoted to social practice art, which relies on outreach, conversations, and activism, and often does not take the form of physical objects. Major artists and groups, including Simone Leigh, Black Quantum Futurism, Ras Cutlass, Monica Sheets, Chinatown Art Brigade, Suzanne Lacy, and Dread Scott, have been named A Blade of Grass fellows in the past. The organization’s 2020 cohort includes Cannupa Hanska Luger, Taja Lindley, the theater collective Papel Machete, and others.
“In a moment when socially engaged artists have a particularly critical role to play, we are also being faced with the reality that arts funding, in its current form, is precarious precisely because the arts are perceived as serving too few,” Fisher said in a statement. “While we could not have predicted these circumstances, we have to deal with the moment as it exists and make the difficult but necessary decisions now to establish a more sustainable model that will allow the organization to continue to fulfill its mission and the commitment it made to supporting socially engaged art and the artists who create it.”
Artch: From abstract to accessible contemporary art | Fringe Arts – The Link
Multimedia exhibition welcomes emerging artists in Montreal
One out of three artists does not live off their art after graduating due to a lack of resources for art professionalization, according to Artch’s director Sarah Kitzy Gineau-Delyon.
Every year, Artch holds an outdoor contemporary art exhibition in Dorchester Square made for young emerging artists.
The core purpose of this organization is to support new creators with an entrepreneurship training and a platform to showcase their work. Artch’s mission is also to popularize this art form with free exhibits and cultural mediators to bridge contemporary art, which can be abstract, to the population as well as enhancing the local art market by raising awareness on its relevance.
This initiative emerged in 2018 between Art Souterrain, the Carrefour jeunesse-emploi Montréal Centre-Ville, and Jack Marketing. This inclusive project is developed in collaboration with Concordia, UQÀM, the RCAAQ and the RAAV.
“Each organization brings their own set of skills so if we support young artists, promote the art market to new investors and democratize contemporary art, we will make the Montreal artistic ecosystem durable,” said Gineau-Delyon.
Resources for emerging artists
For the third edition of Artch this fall, 19 selected creators received 50 hours of artistic entrepreneurship training. This helped them understand business models according to their careers goals, how to manage an exhibit, demystify the dynamics of the art markets, learn self-promotion, build a network, and so on.
“Being an artist is like being an entrepreneur. […] There is no defined path to live the art life but a thousand ways to be an artist,” said Gineau-Delyon. Art schools promote a conceptual approach, she explained, but there is a lack of education concerning art industries. Artch’s training guides emerging artists in understanding the direction in which they wish to pursue their career.
“Being an artist is like being an entrepreneur. […] There is no defined path to live the art life but a thousand ways to be an artist.”
In addition to this training, creators receive a $1,000 grant and the opportunity to interact with other creators which may lead to collaborations and constructive feedback since they are physically present to see the installations.
The artists were selling their work through the events and during the festival. Their pieces are available for sale on the Artch’s website.
Unlike most art galleries, Artch does not take any commission when artists are selling an art piece to encourage emerging artists to stand on their own two feet. The call for artists for next year is launched and artistic criteria are originality, innovation, risk-taking, accessibility and coherence, explained Gineau-Delyon.
Photographer Isabelle Parson, featured in the festival, is interested in the materiality of things from a poetic, scientific and philosophical perspective. Parson enjoyed interacting with the public to get feedback and exchange on attendees’ interpretations of her work. She wonders what alternative views we can find out of everyday objects.
For instance, in January she collected microbes from a tablet to cultivate them on a thin plastic layer that she replaced on the device two weeks later with a massive amount of germs. “The matter resonates,” she said. “I am sensitive to what it can evoke.”
From a post-COVID view, it is fascinating to realize how one’s interpretation of this artwork can be shaped by the pandemic context. Before, contamination was out of sight, but over time our perception of everyday objects radically changed and therefore influenced the meaning of the photo.
Democratizing elitist art
A sizeable part of the population is unfamiliar with this conceptual medium. There is a struggle of education and accessibility to interact with this type of art, acknowledged the Artch’s director. She indicated that contemporary art can be seen as elitist so one of their goals is to democratize it. Indeed, not everyone can afford entrance to museums and galleries, and fewer have the time to intellectualize an abstract piece of art.
Raising awareness on art is relevant to connect it with the street, explained Sarah-Kitzy Gineau-Delyon. This initiative has agency to promote equity.
The cultural mediators are there to help attendees connect with contemporary art through free guided tours. Their role is not to teach a subjective interpretation as well as giving a background on the artworks as traditional art guides. They make it accessible by promoting the audience’s reflections. They suggest questions such as: “How do you feel? What is that piece evoking for you?”
Dorchester Square is a free open space therefore contemporary art suddenly becomes accessible and the park’s tumult becomes a feature of this happening. There are also workshops, held online this year, to make the population mindful of this misunderstood art form which is more emotional than intellectual in the end.
Flourishing local art
Raising awareness is also meaningful to acknowledge the importance of art in the community. Dorchester Square is a strategic location for Artch because the park is grounded in the everyday life of many skyscrapers’ workers who can afford art. Raising awareness about the art market is important to motivate potential clients to invest in local creativity instead of Ikea items for instance, explained Gineau-Delyon. In order to do so, Artch held online workshops about buying artworks and introducing contemporary art.
With all those means of reinforcing Montreal-based contemporary art, they witness the impact on artists’ careers who were promoted by the organization whether they are exposed in galleries, launching solo exhibitions, or selling pieces in prestigious collections. Artch is a springboard for emerging creators.
To illustrate that, Myriam Simard Parent is a sculpture artist who was selected last year by Artch and has made a living off her art and also started a MFA in sculpture at Concordia. She is selling her work on her Instagram account which seems to be a great platform for entrepreneurship.
Every year, Artch creates opportunities for new artists to dive right into Montreal’s art scene.
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West End Art Project adds colourful pieces to Windsor's west side – Windsor Star
A skateboard sign post and reimagined picnic tables are some of the new functional public art pieces that have recently been added to Windsor’s west side.
The West End Art Project unveiled four locally-made pieces on Friday — three at the Queen’s Dock at the foot of Mill Street, and one more at the historic Dominion House (3140 Sandwich St.).
The Queen’s Dock property belongs to the Port Authority of Windsor.
New colourful signs designed by the Vanguard Youth Arts Collective have been posted to celebrate the area, with the names of picturesque west-end neighbourhoods painted upon skateboards.
Nearby, Jessica Cook’s work All My Relations features multiple picnic tables merged into one giant, interconnected table that Queen’s Dock visitors are welcome to sit upon.
Meanwhile, Kristina Bradt’s piece Home Away From Home — a specially-painted picnic table — has been placed outside the Dominion House.
The West End Art Project is an initiative by the organization Life After Fifty, funded by the Gordie Howe International Bridge community benefits plan.
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