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Interactive art installation in Benny park helps local artist be heard during the pandemic



A new interactive art installation in NDG’s Benny park is making a lot of noise.

Titled the Hexaphone, passersby are invited to see what it feels like to be in a recording studio without ever walking through a door.

Located in the shadow of the Notre-Dame-de-Grâce sports centre, five wooden music stations emit isolated sounds of instruments and vocals from local artists.

Listeners can hear the individual sounds of each musician and instrument but also a complete ensemble when they arrive at the centre of the hexagonal installation.

The sounds are paired with a visual element. Screens give the audience an intimate inside look at a recoding session.


The project was put on by the city of Montreal in partnership with the borough, multiple local artists and the Trouble Makers recording studio.

Up-and-coming local singer Thaïs, whose music is featured in the project, said it was a blessing to have her voice and work heard by a new audience during this hard time for performers.

“It was a cool experience, because I can do a show so it was a great way to show my music to public and new people,” Thaïs said.

Seen playing the piano and singing in the installation, as an emerging artist, Thaïs said she was thankful for the opportunity for this kind work.

“We have to adapt during times like this,” she said.

The installation is apart of a city-funded cultural initiative.

The goal of the project, according to the borough, is to allow people to enjoy local talent in a safe environment during the coronavirus pandemic.

“This gives people some kind of artistic and cultural experience given that the options are limited in this context,” borough councillor Christian Arseneault said.

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Arsenault says this gives the public a reason to venture outdoors and experience art in a safe way without leaving their neighborhood.

“It’s perfect for social distancing. There is no need to touch buttons. We feel this is ideal for the situation we find ourselves in right now, ” he said.

The Hexaphone installation operates from 3 to 10 p.m.

The temporary piece will be playing a tune until Nov. 4.


Source: – Global News

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Well known sports figure, teacher Art Gabor passes –



A man well-known for his love of basketball and teaching has died.

Arthur John Gabor passed on Wednesday Nov 18, at the age of 92.

“Art always expressed that he wanted to make a difference and contribute in a way that made the world a better place and he did just that,” reads his obituary. “Art was an outstanding athlete in his own rite, a dedicated coach and a contributor at every level of sport.”

As a teacher, he spent most of his career at Chippewa Secondary School.

Art spent countless hours organizing tournaments, coaching kids, mentoring coaches, officiating basketball, and supporting the North Bay Legion Track Club. The Chippewa boys basketball tournament, aptly named the Art Gabor Classic Basketball Tournament, one of the largest in Ontario, was one of his sources of pride and he stayed involved until his failing health did not allow him to do so. 

Art’s contribution to sport was recognized by the North Bay Sports Hall of Fame in 1986 and he was very excited to receive this honour because as he indicated, it was recognition from his peers, which was very important to him. 

“Art Gabor was a multi-sport man as an athlete,” according to the Hall of Fame writeup. “He played hockey, basketball, and football and took part in track. In hockey he won a pair of university scoring titles and went on to star in intermediate and senior ranks.

As a teacher, he started in Kirkland Lake, then came to NBCI&VS and joined Chippewa in 1958 where he remained until June 1985. He was the school’s Boys Athletic Director there for 27 years. He was a multi-sport man there too, and an innovator supreme – starting the Tomahawk Basketball Tournament, starting junior football in the NDA and NOSSA and bantam football at the NDA level.

He coached teams to some 17 football championships over the years. He also coached all levels of basketball for 27 years. A Martyn Memorial Trophy winner for basketball, he served on the Ontario Basketball Association Executive for some time, was a fully ranked basketball official and refereed games into his eighties.

He worked closely with Bill Colcock in both track and cross country and helped bring both sports to the fore. Active for a number of years with the North Bay Legion Track Club, he emphasized learning and taking part. He was a convenor, coach, official and advisor in both high school and North Bay sports for better than thirty years, working enthusiastically and humbly; many an athlete called him not only coach -but a friend”

In addition, he loved music, playing his guitar and drums and “jamming” with friends whenever he got the chance.  

“Art’s life was well-lived and he was well-loved – we have lost a generous and compassionate man but he has left us with abundant memories and set an admirable example for all of us to always be kind to each other and smile, even in the most difficult and challenging times.”

Read Art’s complete obituary here.

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5 Art Gallery Shows to See Right Now – The New York Times



It’s Thanksgiving, plus a pandemic. Check online before you go to a gallery this weekend. Many spaces have shortened their hours or are closed for the holiday.

Through Dec. 12. Paula Cooper Gallery, 524 West 26th Street, Manhattan; (212) 255-1155;

I’m only a middling fan of Cecily Brown’s paintings, but she has stuck to her stylistic guns and respect is due. Her current show at Paula Cooper is one of her best — although my favorite remains an exhibition of small oil studies at Maccarone in 2015. Those works felt complete, but completeness is not necessarily a priority for Ms. Brown.

A deliberate confusion reigns in her larger, more ambitious canvases. Blizzards of brushwork usually in shades of pink fill her surfaces, through which recognizable motifs and fragments are intermittently visible: animal forms, nude models, the windows of a studio. This shifting ebb and flow is contrarian: It refuses the ideals of finish and skill, wreaking havoc with the gaze, especially the male one. The marks can bring to mind the female nudes of old master painting, blown to smithereens. They also have the allover quality of Abstract Expressionism, but its big, clear gestures are mocked by Ms. Brown’s many small brush strokes.

A frequent theme here is the grand still life of the Dutch Golden Age. Groaning boards covered in red recur, often with a pair of cat eyes glowering in the black beneath them, so do suggestions of strings of pearls and an occasional wine goblet. “The Splendid Table” (2019-2020) — a hulking triptych — can evoke a blood-soaked battle scene from a distance; up close blurry forms of freshly killed game emerge.

The best paintings here take distinct approaches to motif, suggestion and color: the ostensible still life of “Red and Dead,” the apparent woodland fantasy of “The Demon Menagerie” and the de Kooning-esque centrifuge of “When this kiss is over.” Their differences will be exciting to follow.


Through Dec. 19. Pace Gallery, 510 and 540 West 25th Street, Manhattan; 212-421-3292;

Credit…Sam Gilliam and Pace Gallery

Sam Gilliam’s been making paintings for more than 60 years, most famously the huge, color-dappled canvases that he hangs, like heavenly curtains, unstretched. So it’s only natural that “Existed Existing,” his inaugural show at Pace, the first New York gallery ever to represent him, should extend across two buildings. It also includes three distinct bodies of work — a group of dapper wooden sculptures, a room full of glowing watercolor monochromes on giant squares of Japanese paper, and nearly a dozen enormous acrylics of varicolored snow, a few of which he’s named after Black public figures he admires like the congressman and civil rights pioneer John Lewis, who died this summer, and the poet Nikki Giovanni.

The acrylics are key, but I’d recommend starting with “Five Pyramids,” a single piece comprising five discrete wooden forms on rolling casters. Mr. Gilliam builds up these pyramids with layers of plywood, divided by thin aluminum pinstripes, and stains their faces deep purple, red, or blue. The execution is so sharp that the pieces strike the eye as flat, more like 2-D renderings than 3-D objects. But it’s a flatness more expansive than any notion you may have walked in with, one that makes the world seem much larger than you realized.

Once you’ve seen that, you’ll understand what the acrylics do to color, in every sense of the term. Their busy, buzzy surfaces, all texture and noise, blow apart any fixed ideas you started with, leaving you gaping at the sheer scale of what you’re looking at.


Through Dec. 5. Mitchell-Innes & Nash, 534 West 26th Street, Manhattan; 212-744-7400;

Credit…courtesy the artist and Mitchell-Innes & Nash

Many of the painted scenes in “Blue Boys Blues,” the Ghanaian artist Gideon Appah’s first solo show here, are inspired by his life in Accra, the country’s capital. There are nightclub revelers mid-cigarette. Homebodies lolling in underwear. But there are stranger sights, too: otherworldly vistas that have the larger-than-life feel of formative memories and the potent symbolism of dreams.

Unlike their Black counterparts in Mr. Appah’s more realistic portraits, these dreamscapes’ inhabitants are mostly greenish-blue, like the verdigris of weathered bronze. In this fictional cosmos, skin color doesn’t range between black and white. Rather, bodies turn from black to blue, as people move from the real world into mythic realms. Throughout, the artist’s loose painting style leads to nice moments of surprise. In “Teen Smoking on an Imaginary Street,” for example, unexpected traces of orange paint interweave with ocher brush strokes to portray the branches of a faraway sapling peeking between a palm tree’s half-desiccated fronds.

As galleries have started mounting a sustained attempt to give Black figurative painters the recognition they deserve, one worries that institutional zeal translates into something more detrimental behind the scenes: unfair pressure placed on these painters to stay the course, their own desires be damned. So it’s heartening to see Mr. Appah’s paintings wander widely. At one moment, he seems to be sampling the limbless torsos and barren horizon lines of European surrealist painters; at the next, he’s delving into childhood recollections. Memory has been a prominent theme in Mr. Appah’s work for a while now. That focus serves him especially well in 2020, with so much of the present world off limits.


Through Jan. 25. Sculpture Center, 44-19 Purves Street, Queens; 718-361-1750;

Credit…Tishan Hsu and Sculpture Center; Kyle Knodell

“Consciousness is constantly mutating, moving from one state to another, and possibly back again,” the New York-based artist Tishan Hsu wrote in a catalog accompanying his exhibition at the Pat Hearn Gallery in 1986. How to represent these mutations in artistic form? Mr. Hsu did that with strange, gorgeous precision in about 30 sculptures, wall reliefs, drawings and other works made from 1980 to 2005 that you can see in “Liquid Circuit” at the Sculpture Center, the artist’s first museum survey exhibition.

Mr. Hsu trained as an architect at M.I.T., but he was also interested in artificial intelligence. The builder’s and technologist’s approach is apparent in “Liquid Circuit” (1987), an electric yellow wall relief with industrial handles that has waving lines painted in a dark field suggesting a spooky digital screen. “Vertical Ooze” (1987) is a powder-blue object that straddles the divide between biomorphic sculpture and a tiled industrial space or a science-fiction film set.

Mr. Hsu’s wall reliefs recall elements of Minimalism and ’80s Neo-Geo, like Ashley Bickerton’s sculptures. (Mr. Bickerton extended the concerns of Pop Art, however, by including product logos and references.) Mr. Hsu’s work is subtler, with flickers of surrealism, psychedelia and cybernetics. Mostly, however, they feel fresh and wildly prescient, predicting perfectly how consciousness has mutated even further in a digital and biotech age.


Through Dec. 6. James Fuentes, 55 Delancey Street, Manhattan; 212-577-1201. Online through Dec. 1;

Credit…Purvis Young and James Fuentes

The self-taught artist Purvis Young was nothing if not prolific. His output includes hundreds of paintings that he hung outdoors in Good Bread Alley in Miami’s Overtown neighborhood in the early 1970s; the roughly 3,000 pieces he sold to the collectors Don and Mera Rubell in 1999, the entire contents of his studio at the time; and the 1,884 artworks left behind when he died in 2010.

So James Fuentes’s exhibition, featuring 15 paintings online and 8 in the gallery, is a drop in the bucket — and not an especially strong conceptual one. But for those who haven’t seen much of Mr. Young’s art, it’s a welcome and gratifying introduction.

The gallery presentation better displays the textures of the scavenged objects on which he painted. In “untitled (MM 11324),” from 1974, strips of wood in different shapes form a frame decorated with wispy bodies that surrounds an image of a saintly, crying Black man. Recurring throughout the show, this theme of the individual in relation to the group is fitting for someone who worked alone intensely, yet was a notable public part of his disenfranchised community, which he brought to wider attention through his art.

The unjust dynamics of American society were never far from the mind of Mr. Young, who did a brief stint in prison as a teenager, for breaking and entering, and took inspiration from the protests and Black Arts Movement of the ’60s. In the most haunting piece here, “untitled (MM 11315),” 1973-4, eyes representing the establishment surround a prone, Black, bleeding body and a crowd of onlookers behind bars.

What comes through equally is the spiritual side of Mr. Young’s practice. Haloed figures, funeral processions, angels, and horses abound, creating the feeling that judgment is looming — but with it, the possibility of redemption.


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Well-known artists remembered through donations to Welland Wall of Art –



Ken Cosgrove was a “significant teacher that made an impact on students’ lives,” says his widow Margaret.

The founder of Niagara College’s graphic arts, design and architecture program in 1968, Cosgrove is one several people the Art on the Wall group is honouring by placing names on a donor wall at Welland Civic Square next to a red brick wall that has showcased artists since 2006.

People can make a donation of $100 to honour someone on the donor wall.

The Welland Wall of Art has been bare for several months as a result of city hall only being open to the public by appointment, and the public library the wall is across from being in operation only since early August.

Cosgrove died two years ago at age 81 after a battle with ALS. He lived and worked in the United Kingdom and Scotland before he and Margaret moved to Toronto, Windsor, and then Niagara so he could take on his pioneering role at Niagara College.

“He loved the students so much, but he wasn’t so co-operative with the administration,” Margaret quipped.

Cosgrove didn’t get into painting until after his retirement 20 years ago, but had an affinity for vineyards, likely because on their “symmetry” and his background in architecture, she said.

He also had an immense passion for print making, a process that involves carving wood with fine-point exacto knives.

Some of his work was exhibited at the prestigious Albright-Knox art gallery in Buffalo, N.Y.

Exactly a calendar year from the death of his wife Alexis MacLean-Newton, Larry Newton spoke about her love for all things creative.

Alexis, who died when she was 71, was an art teacher at Denis Morris Catholic High School in St. Catharines for close to 30 years. She had a fine arts degree from University of Western Ontario.

After her retirement, she became involved in the Art on the Wall effort, recruiting talented artists from across Welland and the region to showcase their work.

“That became very important to her, keeping that connection up in the community,” said Newton, adding his wife was “very much dedicated to her students.”

Andrea MacGregor, a graduating student from Cosgrove’s first class at Niagara College, as well as a member of the art group, chose to honour her parents, Elizabeth and Andrew Szabo, through her wall donation.

“They were very supportive of my endeavours,” she said Wednesday.

Group member Dianna Kit Mete said people can contact her if interested in making a donation. She can be reached at

“By people donating, it’s helping us keep the wall going,” she said, adding that plans for a student bursary are being painted as well.



The donor plaque has been at the civic square, in rear lobby, since 2007.

Close to 75 artists, including individuals, teams, high school students, have had their work shared on the wall.

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