An expanded art space, illuminated by colourful overhead lanterns and lush hanging flower baskets, now greets visitors to what was a dark, dingy alley behind the Pelissier Street parking garage.
The Northwest Territories’ Prince of Wales Heritage Centre is making hundreds of its fine art items searchable online, something museum curatorial assistant Ryan Silke says will bring one of the biggest collections of northern sculptures, paintings, prints and textiles to users without leaving their home.
“We have a lot of artists that are well known, very prolific across the territories and many of them are still producing today so we’re really happy to showcase those works,” Silke told CBC Radio Trail’s End Host Lawrence Nayally.
The centre is launching an online collection where people can view the centre’s vast art selection, giving greater access to a trove material that people might not otherwise be able to see it.
This matches the direction of many large museums beginning to host their collections in digital portals.
“This is one way to bring collections directly to the user,” said Silke, adding that museums lack exhibit space and there can be challenges to getting people to come see them in person.
Silke said that during the pandemic, heritage centre staff worked with software engineers to build a web portal based on one part of the museum that classifies fine art — that includes paintings, drawings, sculptures and tapestries.
It has items from the likes of Carver Dolphus Cadieux, Inuinnait graphic artist Helen Kalvak, Métis artist Don Cardinal, painter James Wedzin and Inuk printmaker, painter and drawer Germaine Arnaktauyok.
There are also contemporary and lesser known artists like Didy Woolgar, a watercolour artist from the 1960s, Gwich’in painter William Bonnetplume, who created oil paintings, pen and ink drawings, cartoons and even wood sculptures and Wally Wolf who made many aviation-themed paintings.
The collection includes world famous sculptures by Harold Pfeiffer who commissioned bronze bust statues in the 1970s of prominent Northern people like Stuart Hodgson, Annie McPherson, midwife Harriet Gladue, and bush pilot Clennell Haggerston “Punch” Dickins.
The bronze statues “really immortalize” the individuals, said Silke, and hold significance for their descendants who may wish to view these items.
Browsing the gallery brings you to stargaze beading by Margaret Nazon, sketches by AY Jackson, painted portraits by Mona Thrasher, pen and ink works by Walt Humphries, David Ruben Piqtoukun and Fort Providence’s John Farcy, and multimedia seal skin wall hangings.
The works are from the N.W.T., but include artworks made in the eastern Arctic.
Because the museum has only 1,400 fine art pieces — out of a total of 75,000 items — the museum felt it would be an easy collection to start with.
“Art is not really a well used part of our collection because we’re not by definition an art gallery.”
“In the coming years we really will be working on making photographer and other collections related to science and cultural history [available] as well,” said Silke.
The works shown were collected over the 40 years of the museum’s existence and include creations from more than 200 artists.
Each item is searchable by artist, culture, region or date, and will be featured with information about the artwork as well as high-definition photos.
Silke encouraged anyone who is interested in particular items to be made available on the search to let the museum know.
Rising from the nihilistic ashes of the punk movement in the late 1970s, a fresh crowd of flamboyant fashionistas, who would later be christened the New Romantics, began to materialize on the streets of London, England.
My new feature film, TRAMPS! repositions the iconic 80s subculture as an art movement rather than solely a pop-cultural one.
This period in British history was particularly unique because kids could attend art or fashion school for free, and also lived in massive squatted houses with other fledgling artists. In a pre-AIDS era, this way of living provided a lifestyle with very little sense of consequence and resulted in a flourish of art being produced that straddled film, music, art and fashion causing waves around the world that resonate to this day.
Their radical, proto-drag confused the media, who couldn’t look away — like a cultural car crash, and soon enough they were brought into homes internationally with the rocket-like rise-to-fame of the likes of Boy George and his band Culture Club.
The idea for the film originates back to my trip to London, England with my first movie back in 2013. Admittedly, I came to the city with a well-developed obsession with UK music, arts and subculture going all the way back to my youth. I was struck by the proximity of these artists who were both central to my preexisting obsessions, and those who permeated the margins of the cultures I had come to love.
I knew straight away that I needed to spend time getting under its skin for my next movie, and it wasn’t until a series of coincidences revealed to me what that movie would be, that things started falling into place.
As my research plunged to its depths I realized that I wanted to shift the focus away from megastars and instead shine a light on people like painter Trojan, who had to this point been thrust into the shadows of his partner in crime, performance artist Leigh Bowery. These shadows were also cast by the onslaught of AIDS and rampant drug use, which effectively banished so much of the creative community to obscurity.
I crossed paths with incredible artists like fashion designers BodyMap, jewelry designer and stylist extraordinaire Judy Blame, choreographer Michael Clark and style icons Princess Julia and Scarlett Cannon. I was obsessed with their images, having permeated the pages of revolutionary cultural magazines like I-D and The Face, but seemed to flounder in terms of being celebrated as part of this movement which really was born out of a diversity of art practises, rather than strictly pop music aimed at straight people and dominant culture.
For me, TRAMPS! is a movie about youth culture, the central characters just happen to be more advanced in their years. Of course, night life in London still thrives, and although they seem to be slipping away to the annals of the digitization of gay culture, the East End alternative gay bars still teem with boundary pushing queer artists and festive freaks. DJ’s like Princess Julia and Jeffrey Hinton are still very much at the centre of it. They’ve been at it since the early 80s — Jeffrey Hinton was the resident DJ at Leigh Bowery’s nightclub Taboo, which was infamously debaucherous.
People like Julia and Jeffrey are a well of energy and I was eager to dip my bucket in! I wanted to bridge the gap between the archaic divide between so-called “kids these days” and the generations that predated them. I think the adage goes, if you’re not interested, you’re not interesting. The subjects in my film continue to engage with and produce art in whatever guise that may be — even just dressing up!
Making a documentary can be pretty depleting, especially when you spend years chasing pennies from granting bodies. For me that also extended into a sense of unworthiness — like the project I cared so deeply for didn’t have the worth I felt it had. It can also be costly in many other ways, such as a forced unsustainable lifestyle, especially when other filmmakers seem to sail through things like financing and distribution, where I felt I was destined to flounder.
That’s why when I would look at the subjects in TRAMPS! I began to see them not as just members of bygone subculture, but instead as a sort of mystical source of inspiration. To be an artist is to be a survivalist, resilience is at its centre, and so the narrative of the movie began to develop around those themes. Because I needed to hear it, I assumed others like me would also benefit from their secrets. What was the source of that resilience? How do they survive? How will I continue to make art and survive?
The New Romantics were essentially living what we are now seeing in what is sometimes referred to as the precariat generation; those whose income and employment are entirely insecure today. While working small jobs in friends shops, and a variety of other side gigs, trying to survive while making this movie — this fear-filled existence became central in my life and the narrative of the movie as well. Very dramatic I know, but these are undeniably dramatic times.
I hoped the answer, and inspiration to continue down this path existed somewhere in their story. This was the inspiration I needed to grow as a filmmaker and as a person, and so TRAMPS! was born.
I wanted to find some tenderness in a community that was so well-known for its aesthetic alone, and through this concept and cliché of the “artists struggle” I feel we really did find a lot of heart in that. It wasn’t until the movie was invited to play BFI Flare, and I stood on the stage at two sold out screenings that I realized that pursuit I so desperately needed to continue, truly did manifest in this documentary. I’m so excited to be able to share that with anyone and everyone who may continue to be in that position.
Ultimately, TRAMPS! is an allegorical gesture to artists of any generation trying to navigate how to produce work in an aggressively capitalist political economy. It happens to take place in London, but I hope it speaks to artists everywhere.
TRAMPS! screens in Toronto at the Inside Out 2SLGBTQ+ Film Festival on Tuesday, May 31. It is available to stream across Ontario from May 26 to June 5.
Officially unveiled Thursday, Art Alley is a vibrant, colourful public space that its creator, the Downtown Windsor Business Revitalization Association, hopes will attract visitors to the city core.
With support from the Downtown Windsor Business Improvement Association, the Downtown Districting Committee, the City of Windsor and partner contractors, and $25,000 from the federal government’s Healthy Communities Initiative, the laneway transformed into an outdoor art gallery.
“On behalf of the Downtown Windsor Business Revitalization Association, I cannot express how delighted we are to unveil one of the most exciting, innovative and collaborative projects the board has ever seen,” said Pat Papadeas, vice-chairwoman of the DBRWA board of directors.
Public spaces like this one are glue in our communities
These works encompass significant art installations in the core and include graffiti art installations and the magnificent lampshade art installation dreamed up, developed and dedicated by some of the region’s finest artists.”
Papadeas credited artists Julia Hall, Kiki Simone, Talysha Bujold-Abu, Tony Castro, Ostoro Petahtegoose and graffiti artist DERKZ, for the dazzling display.
“Public spaces like this one are glue in our communities,” said Richard Wyma, chairman of the WindsorEssex Community Foundation board of directors. “They enable a feeling of belonging and social cohesion.
“They’re a big part of what makes community’s safe and vibrant and connected.”
Wyma said the WindsorEssex Community Foundation worked alongside community foundations from across southwestern Ontario to determine recipients of $794,000 as part of the second round of the Canada Healthy Communities Initiative.
Seven local projects shared $165,000.
Wyma said funding was allocated to projects in three overall categories — safe and vibrant public spaces, improved mobility options and digital solutions.
The other local recipients include Bike Windsor Essex for its Safe Windsor Cycling program, CJAM FM student media to support its technology lending library program, the Downtown Windsor Business Accelerator supporting its development of the accelerator community patio, Essex County Library supporting its library book bike and mobile information kiosk program, the Polish People’s Home Association supporting the creation and transformation of an eco-friendly pavilion for safe gatherings and the Rotary Club of Windsor 1918 for Windsor Essex Rainbow Alliance supporting the re-development and enhancement of Lanspeary Park.
Windsor-Tecumseh MP Irek Kusmierczyk said the goal of the fund is to bring the community and community partners together.
“Wow, this is absolutely incredible,” Kusmierczyk said. “Look at this. This is an absolutely incredible transformation.
“And it takes a little bit of vision, it takes a little bit of hard work. And it also takes collaboration and partnerships and this is the end result.”
Ward 3 councillor Rino Bortolin was praised by both Papadeas and Kusmierczyk for his tireless work to improve the downtown area and especially to bring out the potential of the city’s alleys.
“There’s been no bigger, better champion for downtown than Rino Bortolin,” Kusmierczyk said. “I wanted to thank you Coun. Bortolin for your vision, your steadfast advocacy.”
Thursday’s reveal was just the first phase of the development of Art Alley, according to Papadeas, who hinted that another announcement will soon be coming regarding the newly updated space.
“This is not scientific, but our sense is that 80 per cent of any issues we have downtown will actually solve themselves by people being down here,” she said. “People moving, people walking, people shopping, people sitting around and enjoying the day.
“This is a welcoming space and this is for the community.”
Your Arts Council (YAC) hosted its annual general meeting (AGM) on Tuesday, and the organization is looking forward to upcoming community events.
To kick off the meeting, YAC executive director Richard Salem discussed some of the upcoming art-focused initiatives that are happening throughout the region. This included chatting about the 31st Apples and Art Studio Tour, which typically spans a weekend in September. The tour has 39 confirmed artists participating so far, across 26 locations. Registration is due at the end of May.
Salem also discussed two events taking place this coming Saturday.
One is Art For All at the Cornwall Square, hosted by Cornwall Art Hive. This weekend’s event is set to host representatives from the international Art Hive initiative, to see what is being created in Cornwall, and discuss future opportunities.
And, the city will be unveiling its First Paint Brush event in Lamoureux Park on Saturday. This wall art event, hosted in partnership with Cornwall Art Hive and YAC, will create a focus on local street art, with the possibility of future expansion.
In terms of ongoing projects, Salem said YAC is looking to pick up its YouTube series profiling local artists again come fall. The long-term intention of this vignette-style project is to archive artists’ information, and advertise our art-positive community.
“There’s a lot of events now that things are starting to open up, and we are doing are best to publicize them,” said Salem.
Mandy Prevost, Cornwall Art Walk co-ordinator, discussed what can be expected June 24 and Aug. 26, such as art of all natures — including visual art demonstrations, musicians, and acting performances. She was excited to announce the event has received a $5,000 grant from the Tourism Development Corp. of Cornwall
YAC’s new chairperson Neil Carriere shared some words of optimism to close out the meeting.
“I was embraced by this incredible, creative, dynamic, wonderful community that I really didn’t know existed until I kind of got into it myself. And this is kind of something I think we should be shouting from the rooftops: what a wonderful art community we have here in Cornwall,” said Carriere.
Carriere spoke highly of the Art Walk and is looking forward to seeing residents out, enjoying each other’s creations. He said he believes now that COVID-19 restrictions are shifting, artists are hungry to create a powerful difference.
“We need to show our presence in this city with the arts. I think we can be that presence,” he said, suggesting Cornwall can be recognized as a city for its great art.
While treasurer Jenelle Bulloch was unable to attend the AGM, financial records indicate that YAC received $22,000 in grants in 2021, contributing to an overall revenue of $38,286. Expenses were reduced this year, coming in at a total of $30,286, for special projects, salaries, insurance, and more.
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