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City's visual arts district disintegrating, one gallery at a time – Vancouver Sun

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“It seems like there are more galleries closing than opening so the opportunities for artists to show their work are diminishing.” — Shane O’Brien of Gallery Jones


Shane O’Brien, co-owner of Gallery Jones located in The Flats.


Gerry Kahrmann / PNG

The gradual disappearance of Vancouver’s visual arts neighbourhood looks like it will pick up steam in 2020.

Once marketed as The Flats, it is an area east of Main from Industrial Avenue to the north to East 7th to the south. At its height, it grew into a mixture of about a dozen non-profit and private art galleries where people could easily walk from one gallery to another and see modern and contemporary works by local and international artists. In 2017, The Flats held its fifth annual summer block party.

But that’s all changed since then. First Catriona Jeffries, arguably one of the top art spaces in the country, closed in 2018 and opened a new location on East Cordova earlier this year. Then Winsor Gallery, after 16 years in three different locations, closed its space in the neighbourhood.

Galleries that remain include private ones such as Elan Fine Art and Macaulay & Co Fine Art and non-profits such as grunt and Burrard Arts Foundation.

By next year, two other top galleries will have to move to make way for the new Broadway Subway extension. A third may also have to move to a new location before the end of 2020.

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Gallery Jones has a year to go on its lease at 1-258 East 1st. But with a station on the new subway extension planned by the new Emily Carr University of Art & Design, rents in the area are increasing by as much as 50 to 75 per cent, said Shane O’Brien, co-owner and director.

“That’s not sustainable for our business,” he said. “I’m not sure what’s going to happen.

“It seems like there are more galleries closing than opening so the opportunities for artists to show their work are diminishing.”


The Equinox Gallery.

Francis Georgian /

PNG

The ministry of transportation and highways said construction on the Broadway Subway is expected to start in the fall of 2020. That means demolishing 525 Great Northern Way, the industrial building where Equinox Gallery and Monte Clark Gallery, two of the cities top art galleries, are located.

Andy Sylvester, owner of Equinox Gallery. said he and his agent are looking every day for a new location.

“I’ve looked at, I don’t know, 50 buildings. There is a significant and complicated problem in how art galleries function in respect to legislation at city hall and the taxes and the rent. It’s a very different world for us now compared to when we moved here.”

Equinox, one of the city’s oldest art galleries, was founded in 1972 by Elizabeth Nichol. Equinox moved from South Granville to The Flats in 2012.


Andy Sylvester the owner of Equinox Gallery.

Francis Georgian /

PNG

At 14,000 sq. ft, Equinox has more floor space than any other private art gallery in Vancouver. Sylvester realizes he’s not going to find anything that size at a price he can afford. But he can’t even find anything half that size.

One of the biggest problems he’s facing is the city’s policy of taxing a building on its “highest and best use” which is determined by B.C. Assessment based on zoning and market evidence. If a one story building, for example, is on a site zoned for a 20-storey condo tower, the smaller building can be taxed at the rate of the bigger building.

He found one potential new home but taxes of $147,000 a year made the site uneconomic.

Sylvester said he remembers being inspired the first time he walked into 525 Great Northern Way, the former paint and mechanical shop for Finning International.

“The floor was painted black and it was a rough looking space,” he said. “You could envision possibilities that would inspire people. That’s what I still want.”

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Monte Clark, who has owned and operated Monte Clark Gallery for almost 30 years, said while he’s actively looking for a new gallery, he would prefer to put all that energy into promoting his artists.

Art galleries showing challenging contemporary art like his are in a grey area when it comes to zoning.

“Are we retail or are we a warehouse?” Clark asked.

Yes, he said, his business is retail because people come into the gallery to buy art. But a lot of the work his gallery does is with collectors by email and phone calls from people who may come to the gallery itself to see a work.

His gallery has also become a storage space for art works because artists can no longer afford large studios where they once were able to keep their work. It’s also a workplace where art works are framed and shipped to collectors — often on approval.

“We created our own art zone,” he said about The Flats.

“Now it is about to be completely dismantled. You’d think someone at the city would meet with us and say: ‘OK you guys, what can we do?’”

O’Brien of Gallery Jones said he’s “stubbornly holding onto the idea” that galleries and visual artists make valuable contributions to a city.

”I want to make it so that artists can have viable careers where they’re not living below the poverty line, don’t have to move to Vancouver Island or Saskatoon,” he said.

“But that’s becoming increasing difficult day by day.”

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Don MacMillan, the owner of South Main Gallery, located on the southern edge of The Flats, said the closure of his gallery at the end of September had nothing to do with the high cost of real estate.

That’s because he owned his ground floor unit at East 6h and Main. His reasons were personal.

When his mother and a few of his friends died, the arrival of his 68th birthday made him think of his own mortality even though he was having “the most fun” he’d ever had in his life putting on exhibitions and working with artists.

“The last year was one of the best financially but not enough to hire a few more people,” MacMillan said.

“Being in business for years, you know what it would take to get it there. I don’t have the same push and energy to do that any longer.”

One thing he said was missing in Vancouver is an association of art galleries. He recognizes that art galleries are protective of their client lists but it might help to deal with shared issues by presenting a united front.

At the end of June, Kimoto Gallery on West 6th just west of Granville closed after more than 70 exhibitions in six years.

Construction of an 11-storey building across the street would have led to a drastic reduction in walk-in business Monday to Friday, said gallerist Katsumi Kimoto.

“It is a tough business and with higher rents and taxes it’s become increasingly more difficult to stay in the established art gallery areas,” he said in an email.

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Home + Away artwork opens in Vancouver’s Hastings Park

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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

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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

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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.”

2024-07-12-lakeshore-overpass-banner-art-elliot-harvey-2-campaigne
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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