Collingwood’s new winter festival arrives this weekend with three days of outdoor activities planned – all banking on cold temperature and snow on the ground.
The Art of Winter is a new event hosted by the town and it was designed to help participants enjoy and embrace Collingwood’s winter.
The event is based on getting creative, active, and connected, and being outdoors in the coldest months.
The event will include trials for winter sports and activities, a warm fire, and family-friendly programming.
“We were inspired by two unique features of Collingwood – the arts community and the way Collingwood embraces winter activities,” said Karen Cubitt manager of culture and events for the Collingwood Parks, Recreation, and Culture Department.
On Friday, Jan. 24, Art of Winter begins with public skating on the outdoor rink from noon to 8 p.m.
There will be an event information station set up in the Central Park Arena lobby where staff will be able to provide event details and complimentary runny nose nursery supplies.
From 2 p.m. to 4 p.m. on Friday, and from 10 a.m. to noon on Saturday professional carvers will be hosting a workshop to demonstrate their snow carving skills at Central Park. If you’re going to enter the amateur carving competition on Saturday, this is a good place to get some expert advice.
The Art of Winter will feature two professional snow carving teams for the whole weekend. They will be working on their showpiece carvings – one per team. They start with a cylinder of snow eight feet high and eight feet in diameter and carve it into a sculpture made of snow.
The amateur snow carving competition takes place Saturday from 1 p.m. to 4 p.m. on Saturday at Central Park ball diamond one. Teams can compete to create the best carving within the allotted time. Professional carvers will be standing by as lifelines.
On Friday, Saturday, and Sunday evening from 6 p.m. to 9 p.m. bring a flashlight and pick up a game card at the Central Park Arena lobby for the Watchful Eyes Flashlight-Powered scavenger hunt, which encourages participants to find forest creatures hiding in the trees along the trail.
There will be hot drinks available at the Central Park Arena canteen at the same time, which are available for purchase by donation to the Collingwood Youth Centre.
On saturday, try curling at the Collingwood Curling Club. On-ice curling instruction will be provided, bring clean running shoes, and the cost of the clinic is $25. Pre-register by emailing Brent Lanktree at email@example.com
There will be an outdoor family fun zone at the Central Park Ball Diamond from 10 a.m. to 4 p.m. including try-it activities like three-person skis, snowshoes, snow hockey, games and a creative station.
At the outdoor rink, there will be parent and tot skating from 11 a.m. to noon and public skating from noon to 2 p.m. on Saturday and Sunday, followed by family shinny from 2 p.m. to 4 p.m. and open shinny from 4 p.m. to 6 p.m.
On Saturday there will also be a Rock the Rink public skate on the Outdoor Rink featuring 80s and 90s tunes by DJ Aaron White.
From 11 a.m. to noon on Saturday you can also try sledge skating and sledge hockey indoors at Central Park Arena.
There will be a fireside lounge set up next to the outdoor rink Saturday and Sunday, and a concert by the fire at 11 a.m. and 12:15 p.m. on Saturday and at 1 p.m. and 2:15 p.m. on Sunday.
All Art of Winter activities take place in and around Central Park.
For the full schedule, click here.
Contemplating the Fens through art – BBC News
At Wicken Fen in Cambridgeshire a new artwork offers those passing by a chance to relax and contemplate the Fens from within its walls.
The sculptural artwork, entitled MOTHER…, was created by artists Heather Peak and Ivan Morison of Studio Morison.
It is designed to mimic the haystacks that could once be seen in fields across Britain. It was inspired by descriptions in Richard Mabey’s book Nature Cure, in which he recovers from severe depression by walking, watching and writing about the beautiful and unexplored landscapes in the East of England.
“The ellipsis after MOTHER… suggests the omission of a second word – to be added by the viewer,” explains artist Ivan Morison.
He gives his own examples: “MOTHER EARTH connects to ideas of the natural world – its supporting qualities – but also our own responsibilities and personal connections to it.
“MOTHERLAND connects us to the place we belong, within this landscape, within a community, within a country.
“MOTHERSHIP makes us think of the sculpture as a vessel that might take us places. This could be on an imaginary journey around the solar system, or it could be a journey connecting the past with an imagined future – making the work a time machine, of sorts. Or it could be a journey within our own minds – a rehabilitative journey, from upset to calm.”
Morison continues: “The sculpture offers a space to reflect on troubling thoughts, as well as an opportunity to perhaps still the mind for a while – by focusing on the simple material qualities of the work and the changing nature of the landscape that surrounds it.”
The timber used to build the sculpture was felled from the artists’ own forest and milled by the pair at their workshop. The walls and roof are made from local straw, with the thatching executed in the traditional style by a master thatcher whose first job as an apprentice was to thatch a haystack – or hayrick – at Wicken Fen.
The work was commissioned by the Cambridgeshire-based Wysing Arts Centre, as part of a region-wide arts commissioning programme, New Geographies, and is supported by Arts Council England and the National Trust.
Winter art at the EAGM – Estevan Mercury
Winter has inspired many great artists to create incredible pieces, but it spreads its charms over everyone. Young talents came to the Estevan Art Gallery and Museum (EAGM) to turn their inspiration into beautiful little crafts.
The EAGM ran two one-day camps for younger kids during the winter break. Participants made snowflakes out of coloured coffee filters, did some polar bear and penguin art, using different mediums and techniques. They also had a chance to make slime.
About 20 kids participated in the camps altogether. The EAGM keeps experimenting with its programming to accommodate the needs of their participants.
“We just keep trying different times and lengths, and morning or afternoon,” said gallery programming co-ordinator Karly Garnier.
While camps are for kids only, the EAGM also runs a family art program for both children and their guardians. Family art is for younger kids and it runs every Thursday and Friday morning.
The Art Show at the Armory: Blue-Chip Brands Show Their Best – The New York Times
Trust me, even if you’ve been looking at art for a long, long time (or even longer than that), you will see work at the Art Show at the Park Avenue Armory you have not seen before, by artists you may never have heard of. This is not because the Art Show, organized by the Art Dealers Association of America to benefit Henry Street Settlement,” is dedicated to showing the young and hip. Quite the opposite, ADAA represents blue-chip galleries that show high-quality work. But it has a terrific roundup of art by lesser-known artists, many dead or left out of art history for all the ordinary reasons (gender, geographical location or the idiosyncrasies of their work at a given moment). And despite the density, the fair is very manageable compared with other mega-fairs in New York.
Other strains running through the 72 exhibitors at ADAA this year, the fair’s 32nd edition, are a focus on geometric abstraction and craft and a high percentage of female artists — 19 exhibitions are dedicated to them. With an enormous backlog of women, artists of color and people working in unusual media, fairs like this one are yet another place to play catch-up. Below are some highlights, divided into categories with lots of slippage and overlap.
Just inside the fair’s entrance, three booths are showing geometrically abstract work — a good indication of its current popularity. The Houston gallery Sicardi | Ayers | Bacino (A1) has canvases by Mercedes Pardo (1921-2005), a Venezuelan painter whose dark, moody colors — she mixed her own pigments — and off-kilter geometric compositions set her apart from painters working with more reductive shapes and forms. Sean Kelly Gallery (D2) has deep, chalky blue paintings by the London artist Idris Khan. The paintings look completely abstract but they are built up in places with layers of text. Across the aisle at Petzel Gallery (B1) Walead Beshty’s colorful photograms are reflected in mirrored panels on the floor, which will be sold after they are sufficiently cracked and weathered. The panels echo an earlier project by Mr. Beshty in which he “created” shattered sculptures by shipping glass rectangles in FedEx boxes. Deeper into the fair, Philadelphia’s Locks Gallery (A10) is spotlighting Edna Andrade (1917-2008), a painter who worked in the Op Art vein (although most painters eschewed that term). A few of her electric-hued, radiating compositions are mounted on wallpaper that she designed, alongside a ceramic chess set she made, showing her range beyond painting into craft and design.
The interest in handmade craft and global folk traditions continues in a variety of forms here. Jordan Nassar takes a conceptual approach at James Cohan (C5), where he has an antique Palestinian dress from the Beersheba area, from around 1900, with traditional embroidery in a display case. Mr. Nassar then paints these (or similar) patterns onto canvases, creating spare but rich geometric pictures. At San Francisco’s Anglim Gilbert Gallery (D28), craft assumes the form of miniature houses made with tiny glass bottles and wooden armatures by Mildred Howard, and Jacob Hashimoto’s wall works and hanging installations made with rice paper, bamboo and resin, inspired by Japanese kite-making techniques. Nina Chanel Abney is best known as a painter, but she takes a craftlike approach in her collages at Pace Prints (D11), which are created with colored paper glued onto panels. Some of the best contemporary works in the fair, the compositions here address African-American histories, and include American flags that appear ironic rather than celebratory in intent. Nearby at P.P.O.W (C9), the Los Angeles artist Ramiro Gomez’s cardboard cutouts of human figures doing physical jobs highlight what he thinks of as “invisible labor.” They bring to light who is cleaning the bathrooms and serving food at the fair, rather than buying and selling (or making) the art.
I’ve already mentioned a number of exceptional women at the fair, but here are a few more. Venus Over Manhattan (D10) has dedicated its booth to the art dealer Phyllis Kind, who opened her first gallery in Chicago in 1967 and was a trailblazer and mentor for many other art dealers. A painting by William N. Copley paradoxically, perhaps, has a female nude with graffiti playfully applied to her flesh, and there is a cartoon-inspired felt-trip drawing here by Ray Yoshida, who inspired many Chicago Imagist painters. In a more feminist vein, Susan Inglett Gallery (D18) is showing the work of Beverly Semmes, which includes pornographic images printed on canvas and painted over, in sections, transforming the original images into something more abstract and mysterious. Michael Werner (C3) is exhibiting the wonderfully banal neo-Pop paintings and some raw craft-like assemblages by the Berlin artist Raphaela Simon, and Casey Kaplan (B5) has canvases by Judith Eisler based on film and video images of women including Serena Williams and the actress Anna Karina. Alice Neel is hardly unknown, but Cheim & Read’s (D13) mini-retrospective of her work bears mentioning, since it includes an unrecognizable, Edward Hopperesque cityscape from the 1930s, as well as a handful of her beautifully odd and unsettling portraits.
Surrealism started in the 1920s as a notorious boys’ club, but later generations of women working in this dreamy idiom stole the show. This is particularly true of Leonora Carrington and Remedios Varo, best friends living as expatriates in Mexico City in the 1950s whose works are on view at Gallery Wendi Norris (D29). Alongside gorgeously weird paintings of women, birds and cats — as well as mythical and imaginary creatures — is a Varo sculpture made from fish, chicken and turkey bones after a dinner with artists. An accompanying scroll with text proposes a clever alternative evolutionary route for homo sapiens, with an umbrella appearing at an archaeological dig, disrupting Darwin’s narrative. Jonathan Boos (A4) has a slightly tamer show titled “Psychological Realism” which includes paintings from the 1940s and ’50s by the American artists George Tooker and Alton Pickens that would not look out of place in a contemporary hipster-oriented gallery on the Lower East Side. Hirschl & Adler Galleries (B4) has a roundup of radical artists — among them Honoré Sharrer, a wonderfully talented painter who was a communist who had to move to Canada during the Red Scare and who made paintings that look like American Gothic stories come to life. Finally, Galerie Lelong & Co. (A8) has a standout presentation of paintings by Ficre Ghebreyesus (1962-2012), an artist born in Eritrea who was married to the poet Elizabeth Alexander. Mixing sources from jazz to Islamic architecture to Coptic Christian iconography and Eritrean folk art, Mr. Ghebreyesus processed everything he saw as a refugee and a global citizen into a kind of ecstatic surrealism. This is the first solo exhibition of his work in New York and the first time I’d seen it. He died of a heart attack a few days after his 50th birthday, leaving behind 882 paintings, a handful of which are on view here.
The Art Show
Feb. 27 through March 1 at the Park Avenue Armory, Park Avenue at 67th Street, Manhattan; artdealers.org.
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