The Art Gallery of Greater Victoria has opened a new exhibition examining how Emily Carr saw the land and sites she painted in British Columbia, and how she’s seen by both artists and historians.
“Emily Carr’s legacy is intertwined with the land and sites of this region. She is celebrated for the way in which she articulated what she saw in these landscapes through painting and for how she interpreted and portrayed Indigenous village sites, landmarks and culture,” says AGGV Acting Chief Curator and exhibition co-curator, Nicole Stanbridge.
Continuing through July 2022, Emily Carr: Seeing and Being Seen is divided into two sections.
In Seeing, the gallery explores how Carr documented what was around her, highlighting many of the works she’s admired for today. Displaying 13 of Carr’s works from the AGGV collection including, including Odds and Ends, Big Eagle at Skidegate and Above the Gravel Pit, the focus here is on bringing a more fulsome narrative to the intersection of land and cultures that Carr documented through her work.
The selected artworks show what Carr recorded through her paintings at these sites, and what other stories and lived experiences exist there – the stories, peoples and cultural significance that long precede these fleeting moments captured by a settler person at a very specific point and perspective in time.
The second part pf the exhibition, Being Seen, focuses on how artists and historians of various backgrounds and worldviews have reacted, and continue to react to, and interpret Carr’s legacy and body of work.
Being Seen examines works by other artists impacted by Carr’s legacy – artists who admire her work, historians who adore her, and works that hold her accountable and critique her engagement with Indigenous peoples.
Showcased in this section are artists such as Edythe Hembroff-Schleicher, Pat Martin Bates, Jack Shadbolt, Isabel Hobbs and Joan Cardinal-Schubert, offering many varied perspectives to engage with. Schubert’s work titled Birch Bark Letters to Emily Carr: Astrolobe Discovery depicts letters written to and imagined conversations between Carr and the artist of Kainaiwa ancestry.
“All of these artists see Carr through their own unique vantage point, and contribute to the ongoing discussion about what her work and legacy represent. The lens through which artists are seen by others shapes their legacy throughout their lives and after they are gone, and Emily Carr is no exception,” says exhibition co-curator, Mel Granley.
The exhibition, which runs in the AGGV’s Graham Gallery through July 2022
When it first opened in 1951, the Art Gallery of Greater Victoria exhibited art in the historic 1889 Spencer Mansion that is now adjacent to its seven exhibition galleries, constructed between 1955 and 1978. With almost 20,000 works of art, the Art Gallery has the largest public collection in BC and is a vibrant and active part of Victoria’s artistic community.
For more information visit aggv.ca
VIDEO: Greater Victoria master carver says Indigenous art a way to restore culture – Oak Bay News – Oak Bay News
For internationally recognized master carver and lifelong artist, Temosen (Charles) Elliott, his art is a way of communicating with the public that First Nations Peoples are restoring their culture, once lost to colonialism.
A member of the T’sartlip First Nation, Elliott’s works are cherished in collections worldwide.
As a child he practiced art in many forms and when he attended T’sartlip Indian Day School, he won a drawing contest meant to advocate for awareness around tuberculosis.
It was through carving small pieces and drawing daily that he knew art would be a part of his life forever.
“Every evening in our family home, I’d wait until dishes were done and I’d sit down after dinner and draw and draw,” Elliott recalled.
His work can today be found at the University of Victoria, the Saanich Peninsula Hospital, Butchart Gardens and many more places across B.C. and in private collections worldwide.
“When you’re doing the artwork, you’re just putting the words to images,” he said, explaining that his work stands as a silent ambassador for First Nations Peoples.
Elliott has also mentored many emerging artists, including his own children and grandchildren who he said will carry on Indigenous artistry as part of their family legacy.
“I want younger First Nations Peoples to pick it up and do it, because it’s like speaking your language and holding your culture in place,” he said. “Don’t be discouraged; if you are, keep going because there are teachers around like myself who want to share their knowledge.”
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Picture That: Art Society is a Black-Owned Art Gallery at Southlake Mall – The Atlanta Voice
The painting, a self-portrait of a Black woman, that attracted a female customer one Friday afternoon is the topic of discussion a day later as Art Society owner Shema Woodruff took a few moments to tell the story behind the piece.
“I was in a dark place in my life and art was my outlet,” she said.
The painting, “Complexity of Complexion” outlines her profile and has a roadmap of arteries making their way through her face and neck. Woodruff’s eyes in the painting can only be described as striking. Woodruff, 29, had quit her job as a restaurant manager in April and was looking for her next challenge and chapter in life.
“I knew what I was doing was not what I was meant to do,” she said. “I would try to get my work in galleries and it was hard.”
Then she had one of those crazy ideas that when all the stars are aligned and everything goes as planned feels like a stroke of genius: Why not open an art gallery? Hence Art Society, one part art gallery, one part art collective, one part all-purpose custom art studio was born.
The only art gallery in Clayton County’s Southlake Mall is here.
“This is Art Society, where artists come together and leave here with a place to bring their vision to life,” said Woodruff.
Surrounded by the traditional fare of American malls; sneaker stores, fast food joints, jewelry stores and t-shirt shops, Art Society may not be what you think of when you think of a mall tenant.
Woodruff signed the lease on the 8,100 square foot space in May. She joked about the moment the idea of opening an art gallery crossed her mind, “I wasn’t sure what I was thinking.”
Artists interested in having their pieces- paintings, sculptures, photography, et al- displayed in Art Society have to go through what can loosely be described as an audition.
They can bring samples of their work to Woodruff and her business partner Stephen Benitez, 27, a cinematographer, photographer, videographer and all-around idea man, and as long as the art matches criteria of non-racist and non-offensive messages then it can pass muster.
“We don’t necessarily have a criteria for art,” said Woodruff. “A black and white sign behind her read in part: “Art is everything, and everything is art.”
Whatever is sold at Art Society gets split between the gallery and the artist.
“We want this to be a place where artists can build their brand,” said Benitez, who also goes by Artez, a combination of the word “art” and his last name. “This is a community and it’s about the relationship we are building.”
The pair were introduced by a mutual friend, Picasso’s Splat Room owner Picasso Black and have been working together to build the Art Society into something south Atlanta residents and visitors can take pride in. While growing up in Brooklyn, New York Woodruff said she wasn’t exposed to art at her local mall, or anywhere else she frequented as a child.
“I wasn’t introduced to how to make a career out of art until I was in my early 20’s,” she said. “I love seeing little kids and younger people coming in here enjoying the art. I don’t have to make a dollar that day. It’s all worth it.”
When asked why she didn’t open a gallery in a more art-friendly neighborhood like Inman Park, Grant Park, Midtown or Buckhead, Woodruff said she knew Clayton County didn’t have something like Art Society available to the public and that was a challenge she was proud to take on.
“[Clayton County] is predominantly Black and I feel like we need to be invested in ourselves,” Woodruff said. “Originally I wanted to do a pop-up [art] shop but the mall said no and so we created a space for artists instead.”
Both she and Benitez say the level of support has been strong. Art Society also offers customers graphic design and photography services. Woodruff shared a story of a customer coming into the shop last week looking to have a photograph of her recently deceased boyfriend put on a t-shirt. She and Benitez were able to do that and more, enhancing the photo and got the job done within the hour.
“I love that our clients can come in and get what they need within an hour,” said Woodruff.
“We want Art Society to be a hub for all artists to be able to connect and collaborate,” said Benitez. “I believe we are all created by the Creator to create.”
Monday is art hanging day at the gallery and Woodruff is ready to display some new pieces she recently received. First, she is going to go over the pieces with gallery curator Andre Thompson, another artist helping make Art Society work. “I don’t hang art in here without contacting him,” she said.
Music played in the background as patrons milled about. Woodruff and Benitez went back to assisting their guests. The gallery was buzzing with activity. An art gallery at Southlake Mall on a Saturday afternoon. Picture that.
White House on defensive over Hunter Biden art sales – FRANCE 24
Issued on: 24/07/2021 – 01:08
The White House assured Friday that necessary ethical precautions would be taken around any exhibitions and sale of artwork by President Joe Biden’s son, whose personal life and professional career have been peppered with controversy.
Asked by reporters about upcoming exhibitions of Hunter Biden’s artwork in New York’s Georges Berges Gallery, White House Press Secretary Jen Psaki said the president’s son would be “attending gallery events.”
The discussions about sales “will be happening with the gallerist” and not Hunter Biden, she said.
“That is different than meeting with prospective buyers.”
Psaki had announced July 9 that a system had been established allowing Hunter Biden to practice his profession “within appropriate safeguards,” including the confidentiality of any transactions and no contact with buyers.
At exhibits of Hunter’s work, “the selling of his art will all happen through the gallerist and the names and individuals will be kept confidential,” she said.
When pressed that a buyer could simply tell the artist that he or she is purchasing his work, Psaki stressed that a strict rules structure will be in place.
“He will not know, we will not know who purchases his art,” she said.
Contacted by AFP, the gallery did not immediately provide any comment or details.
The Biden administration, which seeks to present itself as ethically unblemished, has been repeatedly questioned about the artistic career of the 51-year-old lawyer and businessman-turned-painter.
US media point out the obvious risks of businessmen or others purchasing the artwork with the sole aim of winning access to or influence with the White House.
Press reports have said the paintings by Biden, who has had no formal training, could sell for up to half a million dollars.
Hunter Biden is one of former president Donald Trump’s favorite targets.
During the 2020 presidential campaign Trump and his supporters regularly criticized Hunter Biden for his economic interests in Ukraine and China when his father was vice president under Barack Obama.
Hunter is also the target of a federal investigation into possible tax crimes.
In a memoir published earlier this year, the president’s youngest son recounted his struggle with addiction to cocaine and alcohol.
© 2021 AFP
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