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In-person art classes, workshops return to Chilliwack Cultural Centre – Chilliwack Progress – Chilliwack Progress

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The doors of the Chilliwack Cultural Centre are open once again for artsy folk to take in-person classes and workshops.

From pottery to mixed media to photography, summer art classes are returning to the centre, along with open clay studio times.

Mixed Media Workshop is a class that will take people through numerous mixed media techniques to create a unique masterpiece in a single afternoon.

For those looking to go more in-depth to the world of mixed media art, Art Journaling will walk folks through the steps of creating a colourful, interactive art journal that is the perfect way to express themselves through art.

Beginning Photography will guide those with new cameras through how to use them. This class will explain the basics of composition, exposure, camera settings and even the different types of photography. It’s a great first step in starting a journey with photography.

For pottery enthusiasts, there a workshop called Make Clay Handles to learn new creative ways to do just that.

For those who have taken a pottery class at the centre, the Clay Open Studio is once again up and running. These studio sessions allow people to continue developing their skills independently by giving them a space to practice on the wheel, hand-building, or finish work started in class. Spots available within the open studio are limited, and registration is required.

While both pottery classes – Wheel 1: Intro to Wheel and Wheel 2: Beyond Basic Wheel – have already sold out, the box office offers a waitlist for the fall classes for those enthusiastic about learning to use the wheel to make stunning pieces of pottery.

Physical distancing protocols are in place for these classes.

For more information or to register for a class, visit www.chilliwackculturalcentre.ca, call 604-391-SHOW(7469), or stop by The Centre Box Office (9201 Corbould Street, Chilliwack).

RELATED: Hop from one Chilliwack brewery to the next in beer-themed museum event this summer


 

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Email: jenna.hauck@theprogress.com
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Greenpoint This Week: Art Fair, Staycations and More – greenpointers.com

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Happy Weekend Greenpoint!

This weekend, The Other Art Fair is back in town, with affordable artworks ready for your post-quarantine redecorating plans.

If you’re eager to get out, plan a staycation in the neighborhood, for a change of scenery, without a sink full of dirty dishes. If you prefer your own pillows, consider just spending a day at one of our local outdoor pools. The newly opened Le Doggie Cool also has open cafe hours this Saturday, for pups to play in their backyard pool.

This week, we reported that Brooklyn Bowl is reopening in early September! Get your tickets now for upcoming parties and shows. If you’re looking for a free event, Friday night brings a screening of Frozen to Transmitter Park.

We also reported that a new community fridge has opened on Greenpoint Ave. near Transmitter Park. And shared some unfortunate news about a Greenpoint resident arrested for recording his female roommates without their consent.

Make sure to fit in your last visit to the Leonard Library before it closes for renovations on Monday, August 2. Worry not – Greenpoint Library is still up and running, with computer service and open seating also now available.

Don’t forget to check out our summer 2021 fashion sundae roundup for this season’s best local looks.

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The art of the deal: empty storefronts become gallery space to lure shoppers back downtown – CTV News Montreal

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MONTREAL —
With many Montreal storefront real estate lying empty, some landlords have turned to the arts in a bid to bring people back downtown.

Where some would see a crisis in the decimating effect that online shopping and the COVID-19 pandemic has had on brick-and-mortar stores, Frederic Loury, who runs the Art Sousterrain festival, saw an opportunity.

“During the pandemic, I noticed it was a necessity to build a bridge between real estate and emerging artists,” he said.

Loury convinced several downtown landlords to lend available spaces to artists.

One of those artists, Dana Edmonds, now has storefront space in Alexis Nihon Plaza.

“I thought it was a really cool idea because I got to expose art, which doesn’t get exposed a lot,” she said. “It’s hard to get into galleries in the first place, so at least we can show our work.”

Edmonds is sharing her space with fellow artist Florence Gagnon, who said the initiative is giving people who don’t normally go to art galleries a chance to see what local talent has to offer.

“I think it’s a beautiful way to integrate art into places that don’t usually have it,” she said.

For the landlords, it’s a smart marketing opportunity and a way to get people shopping again.

“They were kind of afraid of coming back to Montreal, so basically this will make them want to come back and shop and visit some emerging artists that we have with Art Sousterrain,” said Alexis Nihon general manager Danny Thery.

Edmonds says that while her work might be in a store, she isn’t giving a hard sell to curious window shoppers.

“My work is kind of political, It’s commentary about over-consumption, mental health, climate change. I like the dialogue,” she said. “If I sell something, that’s great. If people just look at garbage a little differently, then I’m happy.”

Thus far, there are 30 stores being lent to artists downtown. Loury said he believes mixing art and retail will become a trend.

“Others have to rethink the model if they want to survive.” 

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Art Gallery of Ontario reopens with blockbuster Andy Warhol exhibition – Toronto Star

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The Art Gallery of Ontario is betting on a blockbuster Andy Warhol retrospective to entice audiences back following a nine-month pandemic induced closure.

The aptly titled “Andy Warhol” exhibition, which opened to AGO members Wednesday, aims to bring biographic and cultural context to one of the most recognizable and divisive iconoclasts of the 20th century. Through 250 art works and ephemera, including a trio of Warhol’s infamous wigs and the manifest from his mother’s arrival at Ellis Island, “Andy Warhol” makes the argument that its subject is, as Kenneth Brummel, the AGO’s Associate Curator of Modern Art puts it, “due for a reassessment.”

Pointedly, “Andy Warhol” casts its subject as a product of circumstance. The first half of the exhibition is devoted to establishing Warhol’s working-class bona-fides: his humble upbringing as a child of Eastern European immigrants in Pittsburgh, moving to New York to work on commercial and advertising art before establishing himself as a figurehead of the counterculture. In contrast, the latter half moves beyond the biographical into Warhol’s obsession with mortality and religion, a perspective made all the more visceral when he was shot in 1968 by the feminist author Valerie Solanas (Solanas also shot art critic Mario Amaya, who happened to be at Warhol’s studio at the time and would, the following year, become the chief curator at the AGO).

A detail from a Marilyn Monroe image at the AGO's blockbuster Andy Warhol exhibition.

Presented across a massive section of the Gallery (twice the typical floor space to allow for physical distancing), the exhibition reframes the Pop Art Svengali by spotlighting some of Warhol’s lesser-known works while postulating that, as the homosexual son of poor Catholic immigrants, he was uniquely positioned to become the eminent art world translator of American culture.

To achieve this vantage point, the exhibition fleshes out the artist’s work as pointedly flawed and acerbic rather than the sleek, machine-like superficial mirror that has become the artist’s modern caricature. As such, seminal pieces including 1962’s “Marilyn Diptych” and 1964’s “Jackie Triptych” are presented couched in Warhol’s macabre obsessions and Catholic guilt, while the lesser seen “Ladies and Gentlemen” series, in which Warhol was commissioned to create portraits of New York’s Latin and African-American drag queens and trans women, is given pride of place, bluntly asking the viewer to confront the necropolitics of the work, both of its time and of modern day.

“We want to take Warhol as we understand him and make him strange again,” Brummel, who curated the AGO presentation following its debut last year at the Tate Modern in London, explains. “Our goal is to enrich understanding of Warhol as this bifurcated figure; more than a myth with a past.”

Andy Warhol's Karen Kain portraits are featured at the Art Gallery of Ontario's new retrospective.

In parallel, the AGO presentation subtly points out Warhol’s ties to both the gallery and the city. This connection is brought to bear via a selection of works exclusive to the Toronto stop, including multiple commissioned portraits of the ballet superstar Karen Kain and, fetchingly, a neon Wayne Gretzky, whose placement in juxtaposition to “Oxidation Painting” (which Warhol created by coating a canvas with wet copper paint and getting his friends to urinate on it) serves as a commentary on the artist’s own fraught relationship with celebrity, commerce and the art world.

Moreover, by purposely positioning the retrospective in divergence with the polished colourful imagery and pithy quotables that have come to define Warhol as a pop culture figure, Brummel says he hopes it will help salvage the artist’s reputation as a precursor for the disposable nature and lavish absurdisms of modern art.

“The reality is every good painter has to reckon with the cult of admiration,” he says, pointing to the late-era series, “Stitched Photographs,” in which the artist toyed with his own authenticity by stitching a series of reprinted photographs together to form a repeated pattern. “And Warhol was a formidable precursor.”

In the works since 2017, “Andy Warhol” had been intended to debut at the AGO in March of 2021 and joined exhibitions across the sector and around the world which had been delayed or cancelled due to the pandemic.

Stephan Jost, CEO of the AGO, stands near a massive Andy Warhol self portrait.

According to CEO Stephan Jost, while it undoubtedly caused a number of logistical and financial headaches, the pandemic also allowed for something all too rare in the field: a moment to reflect.

Speaking during a brief interview under a posthumous self-portrait of Warhol, Jost explains that over the past year he “learned to stop talking and listen.”

“[The pandemic] allowed us to ask ourselves what are we actually doing and why are we actually doing this? That’s framed as an existential question, but it actually reminded people why they do what they do,” he says. “What I discovered was, on a basic level, we’re doing fine and that’s because everybody, from the night guards to our board, pulled their weight. That gives you a lot of confidence”

In addition, Jost says the break gave the heads of many of the city’s cultural organizations a chance to retrench and consider how best to reinvigorate what has been one of the hardest hit sectors.

“We used to meet maybe quarterly and now it’s every two weeks,” he says of the group, which includes representatives from the National Ballet, Harbourfront Centre, Canadian Opera Company and Soulpepper Theatre. “We’re all trying to figure it out and it’s actually been great to find a common learning.”

As for the near future, Jost says he’s excited for the gallery to come “roaring back,” beginning with the Warhol exhibition, which runs until Oct. 24, to be joined by, beginning Oct. 9, a blockbuster exhibition focusing on Picasso’s Blue Period.

“It’s the best exhibition schedule the AGO has ever had,” Jost exclaims. “We want to be all in on culture.”

Jonathan Dekel is a freelance contributor based in Toronto.

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