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Art
Five Saskatoon gallery exhibitions to see this April
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Here are five art exhibitions to experience this month:
PAVED Arts is celebrating two big anniversaries with the 20/50 Double Anniversary exhibition. The current gallery was amalgamated March 31, 2003 and its predecessor, The Photographers Gallery, opened March 12, 1973. The exhibition runs in the gallery space until April 21.
A curated selection features works by seven artists who have significantly contributed to the artist-run centre over its history — Steve Bates, Terry Billings, Lisa Birke, Linda Duvall, Ellen Moffat, Sandra Semchuk and Adrian Stimson.
“The artists involved touch upon each decade of this 50-year history, contributions that have helped to build a national reputation that PAVED Arts enjoys as a haven for media arts in Saskatoon. The 20/50 Double Anniversary exhibition celebrates this history and renews PAVED Arts’ commitment to foster new generations of emerging artists in Saskatoon, empowering local artists to tell their own stories,” said project curator David LaReviere.
PAVED Arts is located at 424 20th St. W. Information is available at pavedarts.ca.
Featuring recently acquired works by five contemporary Canadian artists, Love Ethic runs at Kenderdine Art Gallery through April 28.
Works by Joi Arcand, Amalie Atkins, Catherine Blackburn, Ruth Cuthand and Curtis Santiago focus on personal and collective narratives of cultural identity, memory, love and loss.
“A term coined by cultural theorist Bell Hooks, Love Ethic considers the artworks in relation to one another, as each artist explores concepts of cultural identity, futurisms, love and loss. The exhibition has resonated with audiences in that it offers ideas around hopefulness, expansion, and coexistence — counter-narratives to our often polarized, divisive times,” curator Leah Taylor said.
Kenderdine Art Gallery is located in the U of S Peter MacKinnon Building, 107 Administration Pl. Information is available at artsandscience.usask.ca/galleries.
UKRAINIAN MUSEUM OF CANADA
Bringing the reality of the war in Ukraine to Saskatoon, Doors: Through the Horror of War by Toronto-based Ukrainian artist Ruslan Kurt is on display at the Ukrainian Museum of Canada until April 29.
The installation features war-damaged doors from hospitals, theatres, cafés, schools and homes in the cities of Kyiv, Kharkiv and Sumy, Ukraine. Providing a tangible experience of the damage caused by the Russian invasion, the doors also serve as a metaphor for the unique, individual stories of war each Ukrainian has to tell.
“It’s quite an emotional experience to be in the presence of these doors. It’s a kind of bearing witness, I think … The scale of devastation in Ukraine is overwhelming,” said executive director and CEO Jen Budney.
The Ukrainian Museum of Canada is located at 910 Spadina Cres. E. Information is available at umcnational.ca.
THE GALLERY/ART PLACEMENT INC.
Kaleidoscope Minds, a solo exhibition of coloured pencil drawings by Saskatoon-based artist Yuka Yamaguchi, runs at The Gallery/Art Placement Inc. through May 11.
“I draw what I find attractive at the time. As I draw, I start to see more images in my head: from nature, people around me, and random everyday objects. They are like many dots floating in my head, combining in different ways depending on my point of view, changing shapes in my mind like a kaleidoscope,” Yamaguchi said.
The Gallery/Art Placement Inc. is located at 238 Third Ave. S. Hours are Tuesday to Saturday, 9 a.m. to 5:30 p.m., but the gallery is closed Friday and Saturday this week. Information is available at artplacement.com.
Self-taught Saskatoon-based textile artist Hanna Yokozawa Farquharson’s solo exhibition Gaia Symphony runs at the Saskatchewan Craft Council Gallery through May 27.
Embracing the beauty in imperfection and her connection to the natural world, Farquharson recontextualizes vintage Japanese kimonos and kimono sashes, or obis. The exhibition invites the viewer to consider our impact and presence on earth.
“As a young woman, Hanna attended kimono classes and recalls how beautifully her mother’s hands moved when folding and caring for her own kimonos. The works in this exhibition use antique kimonos including her mother’s and her great auntie’s kimonos, carefully taken apart and reconstructed,” Farguharson said in her artist statement.
The SCC Gallery is located at 813 Broadway Ave. Information is available at saskcraftcouncil.org.
The news seems to be flying at us faster all the time. From COVID-19 updates to politics and crime and everything in between, it can be hard to keep up. With that in mind, the Saskatoon StarPhoenix has created an Afternoon Headlines newsletter that can be delivered daily to your inbox to help make sure you are up to date with the most vital news of the day. Click here to subscribe.
Art
Art and Ephemera Once Owned by Pioneering Artist Mary Beth Edelson Discarded on the Street in SoHo – artnet News
This afternoon in Manhattan’s SoHo neighborhood, people walking along Mercer Street were surprised to find a trove of materials that once belonged to the late feminist artist Mary Beth Edelson, all free for the taking.
Outside of Edelson’s old studio at 110 Mercer Street, drawings, prints, and cut-out figures were sitting in cardboard boxes alongside posters from her exhibitions, monographs, and other ephemera. One box included cards that the artist’s children had given her for birthdays and mother’s days. Passersby competed with trash collectors who were loading the items into bags and throwing them into a U-Haul.
“It’s her last show,” joked her son, Nick Edelson, who had arranged for the junk guys to come and pick up what was on the street. He has been living in her former studio since the artist died in 2021 at the age of 88.
Naturally, neighbors speculated that he was clearing out his mother’s belongings in order to sell her old loft. “As you can see, we’re just clearing the basement” is all he would say.
Some in the crowd criticized the disposal of the material. Alessandra Pohlmann, an artist who works next door at the Judd Foundation, pulled out a drawing from the scraps that she plans to frame. “It’s deeply disrespectful,” she said. “This should not be happening.” A colleague from the foundation who was rifling through a nearby pile said, “We have to save them. If I had more space, I’d take more.”
Edelson’s estate, which is controlled by her son and represented by New York’s David Lewis Gallery, holds a significant portion of her artwork. “I’m shocked and surprised by the sudden discovery,” Lewis said over the phone. “The gallery has, of course, taken great care to preserve and champion Mary Beth’s legacy for nearly a decade now. We immediately sent a team up there to try to locate the work, but it was gone.”
Sources close to the family said that other artwork remains in storage. Museums such as the Guggenheim, Tate Modern, the Museum of Modern Art, the Brooklyn Museum, and the Whitney currently hold her work in their private collections. New York University’s Fales Library has her papers.
Edelson rose to prominence in the 1970s as one of the early voices in the feminist art movement. She is most known for her collaged works, which reimagine famed tableaux to narrate women’s history. For instance, her piece Some Living American Women Artists (1972) appropriates Leonardo da Vinci’s The Last Supper (1494–98) to include the faces of Faith Ringgold, Agnes Martin, Yoko Ono, and Alice Neel, and others as the apostles; Georgia O’Keeffe’s face covers that of Jesus.
In all, it took about 45 minutes for the pioneering artist’s material to be removed by the trash collectors and those lucky enough to hear about what was happening.
Dealer Jordan Barse, who runs Theta Gallery, biked by and took a poster from Edelson’s 1977 show at A.I.R. gallery, “Memorials to the 9,000,000 Women Burned as Witches in the Christian Era.” Artist Keely Angel picked up handwritten notes, and said, “They smell like mouse poop. I’m glad someone got these before they did,” gesturing to the men pushing papers into trash bags.
A neighbor told one person who picked up some cut-out pieces, “Those could be worth a fortune. Don’t put it on eBay! Look into her work, and you’ll be into it.”
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Biggest Indigenous art collection – CTV News Barrie
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Biggest Indigenous art collection CTV News Barrie
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Why Are Art Resale Prices Plummeting? – artnet News
Welcome to the Art Angle, a podcast from Artnet News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join us every week for an in-depth look at what matters most in museums, the art market, and much more, with input from our own writers and editors, as well as artists, curators, and other top experts in the field.
The art press is filled with headlines about trophy works trading for huge sums: $195 million for an Andy Warhol, $110 million for a Jean-Michel Basquiat, $91 million for a Jeff Koons. In the popular imagination, pricy art just keeps climbing in value—up, up, and up. The truth is more complicated, as those in the industry know. Tastes change, and demand shifts. The reputations of artists rise and fall, as do their prices. Reselling art for profit is often quite difficult—it’s the exception rather than the norm. This is “the art market’s dirty secret,” Artnet senior reporter Katya Kazakina wrote last month in her weekly Art Detective column.
In her recent columns, Katya has been reporting on that very thorny topic, which has grown even thornier amid what appears to be a severe market correction. As one collector told her: “There’s a bit of a carnage in the market at the moment. Many things are not selling at all or selling for a fraction of what they used to.”
For instance, a painting by Dan Colen that was purchased fresh from a gallery a decade ago for probably around $450,000 went for only about $15,000 at auction. And Colen is not the only once-hot figure floundering. As Katya wrote: “Right now, you can often find a painting, a drawing, or a sculpture at auction for a fraction of what it would cost at a gallery. Still, art dealers keep asking—and buyers keep paying—steep prices for new works.” In the parlance of the art world, primary prices are outstripping secondary ones.
Why is this happening? And why do seemingly sophisticated collectors continue to pay immense sums for art from galleries, knowing full well that they may never recoup their investment? This week, Katya joins Artnet Pro editor Andrew Russeth on the podcast to make sense of these questions—and to cover a whole lot more.
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