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How Art of BBQ chef and owner Trevor David makes his Big Bang Brisket

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Backyard BBQ: How Art of BBQ chef and owner Trevor David makes his Big Bang Brisket

Now that it’s officially barbecue season, we’re asking Toronto chefs to show us what summer dishes they’re grilling in their own backyards, on their balconies or in their kitchens

Like many of us, Art of BBQ chef and owner Trevor David is at home more than usual these days. We asked the social-distancing chef what summer dishes he’s grilling. His recipe: super-tender smoked brisket

 

 

Low and slow is the way to go for pitmaster Trevor David’s tender brisket, a fan favourite at his new Scarborough restaurant Art of BBQ. “I came up with my Big Bang Brisket after experimenting in my kitchen. I love combining different herbs and sauces to see what I come up with,” says David. “Exploring through flavours is integral to the process of pushing the boundaries of our taste buds.”

For this particular recipe, inspiration struck when David came across a bottle of oyster sauce in his pantry. “I just had fun with it—added a dash of this and a bit of that—and the brisket came together wonderfully after spending some time in the smoker.” Although David says this was a culinary experiment and there were all kinds of things that could go wrong, it worked. The result was an explosion of flavour. “Kind of like the Big Bang that created our universe,” he says.

David loves the umami hit the oyster sauce imparts to the brisket. “It’s overlaid with the mustardy tang and warmth from the aromatic spices, and then of course you have the crowning glory: the fatty char from the barbecue.”

Good brisket needs equally good sides. David recommends cornbread, rice and peas, coleslaw and a fresh garden salad. “And to wash it all down, I love fresh mango juice or a nice cold beer from Left Field Brewery.”

No smoker? No problem. Skip to the end of this post for instructions on how to make David’s Big Bang Brisket in your oven.

Here’s what you’ll need
Ingredients

1 five-pound brisket
½ cup oyster sauce
½ cup mustard
½ cup puréed herb paste (equal parts fresh ginger, garlic and cilantro)
½ cup cracked black pepper
¼ cup sea salt
5 tbsp allspice
5 tbsp of cinnamon

Plastic spray bottle (for spritzing the brisket) filled with one to two cups with your choice of water, apple juice or apple cider vinegar.

The recipe

Using your hands, rub the sea salt all over the brisket.

Mix the oyster sauce, mustard and herb paste together in a bowl. Then rub it all over the brisket.

Mix the allspice, cinnamon and pepper in a bowl and then—you guessed it—rub it all over that brisket. It’s messy work, but it’s worth it.

Now cover the brisket in plastic wrap and let it marinate in the fridge for 48 to 72 hours. Not patient enough? It’s totally fine to start smoking it now.

Preheat your smoker to about 300°F and place the brisket in. Lower the temperature to 200°F and smoke for about 7½ to 8 hours (this works out to about 1½ hours per pound).

Where there’s smoke, there’s barbecue

Meanwhile, fill a heatproof bowl with water and place it in the smoker. This will help generate moisture. Replenish as necessary.

Let the brisket smoke for two to three hours. Then, spritz it with water (or whatever you filled up your spray bottle with) every 30 minutes. This—along with that bowl of water in the smoker—helps ensure that the brisket stays nice and moist.

After smoking, remove the brisket and wrap in tin foil or plastic wrap. Let it rest for 2 hours.

Slice your brisket against the grain and serve.

David demonstrates how to slice against the grain

Enjoy! (And don’t forget those sides.)

David’s finished brisket, with all the fixin’s
Oven method

Preheat the oven to 350°F. When it comes to temperature, lower the heat to 300°F.

Pour three cups of water or beef stock into a roasting pan.

Place your brisket in the roasting pan, then cover with tin foil.

Slow-cook for about 6 to 7 hours.

Keep an eye on the water level: if it starts to drop, add another cup of water to the roasting pan. Repeat if necessary.

Source:- Toronto Life

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Process of bringing more public art to downtown Charlottetown begins again – The Journal Pioneer

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CHARLOTTETOWN, P.E.I. —

At a glance

Following are some of the ideas submitted to Charlottetown’s arts advisory board on the types of public art people would like to see:

• Large murals on plain side of buildings

• Water fountains

• Bench art

• Painting the Irving tanks

• Urban lounge furniture for city’s parks

• Suspended overhead lighting

• Artistically designed lighting systems

• Locally-made Christmas decorations

• Roundabout art

Did you know?

• Anyone with an idea for public art or landowners willing to have a mural painted on the side of their building should email MacLeod at barbmacleod@eastlink.ca.

Efforts to add some splashes of public art around downtown Charlottetown are moving forward.

The city’s arts advisory board met on Tuesday and voted to move to the next stage, which is to seek out landowners who might be willing to have a mural painted on the side of the building.

The board hosted an open house at The Guild on March 5 to give the public a peek at the many ideas which were submitted as part the Imagine Charlottetown initiative. However, everything came to a screeching halt shortly after that when public health restrictions were put in place, all but putting the public art process on hold.

However, the Imagine Charlottetown initiative is back on the rails again.

“We’re not moving as fast as we would like to, but we are putting our ducks in a row to start the process of creating ore public art in downtown Charlottetown,’’ Barb MacLeod, chairwoman of the arts advisory board, told The Guardian following Tuesday’s meeting.

Barb MacLeod, chairwoman of Charlottetown’s arts advisory board, asks people to picture a man playing the piano on the utility and electrical pipes behind her on this building in the downtown core. Painting images on the sides of buildings is one of the many ideas her group has received in its Imagine Charlottetown project. Dave Stewart/The Guardian – SaltWire Network

 

The board has decided to start the process by trying to find locations for murals because it was the top suggestion when the board put out a call for ideas. A key part of that process is finding ideal locations and willing landowners.

They’re hoping to find at least a handful of landowners in the downtown area who think a touch of colour would look nice on the side of their building.

MacLeod is quick to point out that they have no intention of putting a mural on the side of any sort of historic building.

“We’re trying to take the areas that are not attractive and make them more attractive. As beautiful as Charlottetown is, there are a few bits and pieces that aren’t too shiny. Maybe some landowners will read this article in the paper and think their building would be perfect and want to be put on the list. All we’re doing is creating a list.’’

Willing landowners will be asked to sign what the board is calling a pre-approval agreement, which is not binding.

“It just says, ‘right now, we’re pretty interested in having you consider our building for a mural’. That’s step one.’’

This building in Le Plateau-Mont-Royal in Montreal, Que., is an example of what Charlottetown’s arts advisory board is talking about when it means developing more public art in the downtown. Murals on buildings is the first step in the process. - Contributed
This building in Le Plateau-Mont-Royal in Montreal, Que., is an example of what Charlottetown’s arts advisory board is talking about when it means developing more public art in the downtown. Murals on buildings is the first step in the process. – Contributed

 

Once the board comes up with a handful of locations it will submit the list to the planning department. The challenges are this point will be dealing with city bylaws.

Once it gets approval from planning, it will then submit the dimensions of the buildings before requesting ideas from local artists. However, the artists who submit ideas won’t be the ones painting the actual murals.

“The painting of the mural is done by a mural team. And, all of that would have to be costed out, according to the size of the mural.’’

MacLeod estimates each mural would cost between $100 and $500, all depending on the size and detail.

MacLeod acknowledges it’s not the best time to be asking the city for money.

“But, we’re still going to ask and try and get one mural done a year for the next three years,’’ she said.

Dave Stewart is the municipal reporter for The Guardian.

Twitter.com/DveStewart

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Winnipeg Art Gallery exhibition puts spotlight on Inuit clothing and jewelry

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This beaded amauti would have been worn on special occasions. (Lenard Monkman/CBC)

 

Art fans will have a chance to preview some of the work that will be featured at the Winnipeg Art Gallery’s Inuit art centre at a new exhibition on Inuit clothing and jewelry design.

“The amount of detail that goes into making some of the parkas and then even the smaller, finer jewelry pieces, it really is spectacular to see,” said Jocelyn Piirainen, curator of the Inuk Style exhibition.

The exhibition opened Oct. 10 and runs until May 2. The Winnipeg Art Gallery’s Inuit art centre, which unveiled its name — Qaumajuq — on Wednesday, is expected to open in 2021.

Inuk Style features work from Inuit clothing designers and jewelry makers from all across the Canadian Arctic. The items from the Winnipeg Art Gallery’s permanent collection as well as the Government of Nunavut’s Fine Arts Collection, which is on long-term loan at the gallery.

Piirainen is Inuk, from Cambridge Bay, Nunavut, and is the assistant curator of Inuit Art at the Winnipeg Art Gallery.

“I felt that these pieces are really quite contemporary and some of these works, I feel like they haven’t been given… enough spotlight,” said Piirainen.

Many of the pieces are considered wearable pieces of art and include hand-carved necklaces and jewelry, and a number of amautis — winter parkas worn and designed by Inuit women — some of which include intricate beading detail.

 

Jocelyn Piirainen is the Assistant Curator of Inuit Art at the Winnipeg Art Gallery. She pitched Inuk Style to highlight the contributions of past and present Inuit designers. (Lyzaville Sale/CBC)

 

Piirainen said today’s Inuit designers are often paying homage to the past by fusing old techniques with modern contemporary design, creating something new.

“I’ve been noticing that with Inuit artists and some Indigenous artists, that they have mostly been influenced by a lot of the elders and the traditional kind of styles and designs, and then making it their own,” said Piirainen.

“There’s a lot of contemporary jewelry artists and contemporary seamstresses that are taking from what they know and what they’ve grown up with, in terms of design work.”

‘You know right away that it’s Inuit’

Martha Kyak is an artist and clothing designer from Pond Inlet, Nunavut, who also teaches Inuktitut and Inuit history at Nunavut Sivuniksavut college in Ottawa.

When she moved to Ottawa nearly 10 years ago, she needed to supplement her income. She started making parkas, advertised them on social media and then turned it into a business called InukChiq, a riff on the term inukshuk.

Kyak doesn’t have a piece in the Inuk Style exhibition, but has contributed an amauti which will be on display at the Qaumajuq art centre when it opens in the new year.

 

This Canada Goose parka was designed by Inuk seamstress Mishael Gordon. (Lenard Monkman/CBC)

 

When it comes to Inuit style in general, she said the designs are inspired by the northern climate.

“Since Inuit live in a cold place, there’s a lot of warm clothing,” said Kyak.

“There’s parkas and the amauti is one of the unique designs — where you carry a baby in the back, and the tail. It’s so unique and [different from] other cultures. You know right away that it’s Inuit when you see this garment.”

Kyak said contemporary Inuit clothing style is not much different than the past and that she was taught how to make clothing by her late grandmother, Letia Panipakoocho.

“If you look at old photos, you can tell how creative and innovative the Inuit were,” said Kyak.

“When I was growing up, that’s all I saw. They are the ones that inspired me, especially my grandmother who was blind. She was still able to sew and watching her sewing, that inspired me not to stop, even when there’s obstacles.”

One of the items that is on display at the Inuk Style exhibition is a parka that was part of a collaboration between Inuit seamstresses and the Canada Goose outerwear company in 2018.

Kyak said she hopes partnerships between Inuit artists and companies like Canada Goose will continue and hopes that the designs become mainstream.

“For my design in the future, I think it should be more global. Other retailers… should be buying Inuit designs or Indigenous designs,” said Kyak.

The Inuk Style exhibition will be on display at the Winnipeg Art Gallery until May 2021.

Source: – CBC.ca

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Winnipeg Art Gallery renames its Inuit Art Centre as Qaumajuq – The Globe and Mail

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A rendering of the Inuit Art Centre at the Winnipeg Art Gallery.

Michael Maltzan Architecture/Inuit Art Centre

The Inuit Art Centre at the Winnipeg Art Gallery is now Qaumajuq.

The WAG announced Wednesday that a circle of language keepers have given an Inuktitut name to the centre. Qaumajuq (pronounced HOW-ma-yourq) means “It is bright, it is lit,” a reference to the light that flows into the new building through its glass front.

The centre, which was set to open next month, is now expected to launch in February, 2021. It will house the largest public collection of Inuit art in the world, holdings that include more than 7,000 pieces on long-term loan from the government of Nunavut.

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The art includes contemporary prints, drawings and sculptures, and rare historic pieces, most of which will be on public display for the first time. The centre, which will launch with free admission for all Indigenous visitors, will feature a glass vault, a system of open storage letting people see a larger number of works.

The renaming of Qaumajuq, which the WAG says is the first of its kind at a major art institution in Canada, is an initiative that responds to the United Nations Declaration on the Rights of Indigenous Peoples and Canada’s Truth and Reconciliation Commission, both of which include articles stressing the importance of Indigenous languages.

The language keepers representing both Inuit communities and Indigenous peoples in the Treaty 1 territory where the WAG stands have also given the original gallery building an Anishinaabemowin name: Biindigin Biwaasaeyaah, meaning “Come on in, the dawn of light is here.” The gallery will continue to be known as the Winnipeg Art Gallery, but the Biindigin Biwaasaeyaah name is intended to signify the presence of Indigenous languages at the institution.

The names were arrived at by virtual consultations lead by Dr. Julie Nagam and Dr. Heather Igloliorte, co-chairs of the WAG Indigenous advisory circle, and joined by a group of fluent Indigenous language keepers and elders. The group included both the Inuit, and First Nations and Metis from the Winnipeg area. The languages represented are Inuktitut (Inuit), Inuvialuktun (Inuit), Anishinaabemowin (Anishinaabe/Ojibway), Nêhiyawêwin (Ininiwak/Cree), Dakota (Dakota), and Michif (Metis), and the names can be heard at wag.ca.

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