An art project envisioned more than a decade ago will come to fruition this summer, when town staff expect to be able to announce the artist who will be creating a work of public art for Tremont Plaza.
Later this month the town will be putting out a call to artists who are interested in doing a commissioned piece for the town to celebrate LGBTQ2S+ life in Collingwood. The work will be installed in the courtyard between the Tremont Studios building, the Collingwood Public Library and a town parking lot in the Simcoe Street area.
The town struck a working group made up of community members for the project to further develop the theme and scope for the art and wording for the call to artists.
“We’re hoping the artwork will engage all ages, and will garner a sense of love and pride in the community,” said Tanya Mazza, coordinator of arts and culture for Collingwood. “The working group is looking for something that is enduring, conceptually timeless, something that’s visually arresting, that evokes emotion … and ideally that it be conceptually and visually available to all ages and abilities.”
There’s bonus consideration for something that encourages exploration and touch.
According to Mazza, the site has been earmarked for public art since the Collingwood Public Library was in its design phase.
The library’s main gallery runs east and west through the building as a lobby and an art gallery. It’s also called an art walk, and the space behind the library – Tremont Plaza – was designed to be a continuation of the gallery.
“The piece in the plaza would be significant enough to have a presence and could be noticed from inside the library and also connect those places together,” said Mazza, adding the art in the plaza would help connect the art studios, theatre, and library on Creative Simcoe Street.
There were two triggers for the project moving forward this year. One, the town has been building a public art reserve for the last seven or so years, and it has reached the point where it can support the $50,000 budget for the Tremont Plaza project.
And two, it helps accomplish a request the Rainbow Club made to council last fall to have a public art project created around the theme of LGBTQ+ life.
Council told staff to proceed with this request, and the Tremont Plaza was already on the radar as an upcoming public art project.
The space is currently open and paved in interlocking bricks, lending itself to a three-dimensional installation such as a sculpture.
“The committee is leaving that open to the artist,” said Mazza.
A staff team dedicated to the project is tasked with the responsibility of making sure the installation is technically feasible.
Based on a timeline presented to a council committee last week, the town will be putting out a call to artists in mid-April. The working group will select up to three artists for a shortlist and ask them to submit preliminary design proposals.
“The working group is encouraging works that consider and engage experiences of resilience, strength, belonging, transformative joy, and other topics that acknowledge the journey of LGBTQ+ individuals in our community,” said Mazza.
The group is scheduled to have its final artist selection made by September and the project will be complete in 2022.
“I’m really rewarded by seeing this project come to fruition,” said Mazza. “Public art has that ability to ignite, to inspire, to animate. It really has the ability to engage people in conversation.”
It’s a decades-old tradition in Collingwood, too. Some of the murals in town were painted more than 20 years ago.
The ‘Millennium Murals’ (installed between 1999 and 2001) include the series on the side of the Eddie Bush Memorial Arena, Sidelaunch (formerly on the Mountain View Hotel and now on Loblaws), the 3-D mural on the side of CIBC bank, and the Heading Dockside mural that used to hang on the Shipyards Medical building.
The Heading Dockside mural is the only one of the group that is no longer on public display.
The Compass Rose metal sculpture at Millennium Park was also installed around the same time.
“Public art reveals aspects about our community: socially, naturally, physically, and historically, as seen by the current murals we have,” said Mazza. “I think it’s largely seen as something that can connect residents and connect visitors with the fabric of our community.”
For more about the town’s public art installations and policy, visit the town website here.
Launching the conversation on Newfoundland and Labrador art history
ST. JOHN’S, N.L. —
“Future Possible: An Art History of Newfoundland and Labrador” is a book that has been a long time coming, Mireille Eagan says.
While working at the Confederation Centre Art Gallery in Prince Edward Island, Eagan curated an exhibition marking the 60th anniversary of Newfoundland and Labrador joining Confederation with Canada.
“As I was researching, I noticed that there was very little that existed in terms of the art history of this province,” she said. “There wasn’t even a Wikipedia article.”
Noticing this large gap, “Future Possible” was a book that needed to exist, she said.
As the 70th anniversary approached in 2019, Eagan, now living in St. John’s and working as curator of contemporary art at The Rooms, envisioned filling that gap.
Over two summers, The Rooms held a two-part exhibition. The first looked at the visual culture and visual narratives before the province joined Confederation and the second focused on 1949 onward, Eagan said.
“At its core, it was asking, what are the stories we tell ourselves as a province? It was looking at iconic artworks, it was looking at texts that have been written about this place, and it put these works in conversation with contemporary artworks,” Eagan said.
In the foreword to the book, chief executive officer of The Rooms Anne Chafe described it as a complement to the exhibition and a project that “does not seek to be the final say. It seeks, instead, to launch the conversation.”
History and identity
One example of that conversation between the past and the present mentioned by Eagan is the work of artist Bushra Junaid, who moved to St. John’s from Montreal as a baby. The daughter of a Jamaican mother and Nigerian father, Junaid said her experience growing up in the province in the 1970s, where she always the only Black child in the room, was not like most.
“All of my formative years, my schooling and everything, took place in St. John’s,” she said. “It’s very much shaped my current preoccupation.”
Her interest in history, identity and representation led her to making “Two Pretty Girls…,” which used an archival photograph of Caribbean sugarcane workers from 1903 with text from advertisements for sugar, molasses and rum from archived copies of The Evening Telegram collaged over the women’s clothing.
In her essay “Of Saltfish and Molasses” published in “Future Possible,” she described the work as “(allowing) me to place these women and their labour within the broader historical context of the international trade in commodities that underpinned Caribbean slavery and its afterlife.”
It’s a direct connection between Newfoundland and people in the Caribbean, a historical line not often drawn through the context of the transatlantic slave trade, but one she knows personally through the stories told by her mother, Adassa, about their ancestor, Sisa, who “as a teenager, survived the horrors of the Middle Passage, enduring the voyage from West Africa to Jamaica in the hold of a slave ship (Junaid).”
A book like “Future Possible” allows people to interpret themselves and their past, present and future, Junaid says.
“I appreciate the ways in which they really worked to make it as broad and diverse as possible,” she said. “It’s also striving to tell the Indigenous history of the place, the European settler history … and then also looking for … non-Western backgrounds such as myself. It’s enriching.”
What shapes us
St. John’s writer Lisa Moore contributed an essay called “Five Specimens from Another Time” that weaves together moments from her own life, the province’s history and current realities and the art that has inspired her over the years.
“It’s really interesting to me to see all this work of people that I’ve written about in the past and whose work influenced me, even in my writing of fiction, and then newer artists,” Moore said. “I just think that the book is a total gift.”
With such a rich cultural history ready to be written, she imagines “Future Possible” is just the first of what could be many books about art in the province now that the “ice is cracked.”
“The writers that (Eagan) has chosen to write here are also really exciting critics from all over the province, talking about all kind of different periods in art history,” she said.
As time passes, the meaning of the works in the book becomes richer, she said.
Mary Pratt’s 1974 “Cod Fillets on Tin Foil” and Scott Goudie’s 1991 “Muskrat Falls,” for instance, are two images with seemingly straightforward and simple subject matter. But any viewer looking now, who is aware of the cod moratorium and the Muskrat Falls hydroelectric dam, would find it difficult to see and interpret these images outside of those contexts.
“Artists, writers, filmmakers … they’re keen observers of culture and the moment that we live in,” Moore said. “They present things that are intangible like the feeling of a moment, or the culmination of social, political and esthetic powers that come together at a given time and shape us.”
“Future Possible: An Art History of Newfoundland and Labrador” is available online and in stores.
Parrott Art Gallery goes virtual to help flatten the curve – The Kingston Whig-Standard
Feeling stir crazy because of COVID and the latest lock-down? Take a virtual trip to Morocco!
On Wednesday, April 14 at 2:30 p.m., the Parrott Gallery will host Lola Reid Allin’s Armchair Traveler online presentation: “Morocco: Sea, Sand and Summit”. Allin is an accomplished photographer, pilot, writer and speaker. Travel with her through the land of dramatic contrast and hidden jewels, busy markets and medieval cities, and enjoy some virtual sun.
For more information and to register for this free online event, please visit bellevillelibrary.ca/armchair-traveller.php. The Armchair Traveller Morocco photography exhibit is also available to view through the Parrott Gallery website until mid-May.
Even though our gallery is currently closed to the public, our exhibitions are all available to view online. Sam Sakr’s show “The Housing Project” is certain to bring a smile to your face. His collection of mixed media artwork will take you to a playful land of fantastical creatures that inhabit imaginary, stylized cityscapes. If your spirit needs uplifting, you need to see to see this show. I hope that everyone will be able to view Sakr’s work both online and then in our gallery after the lock-down ends in May. Without a doubt, it will be worth the wait to see it again in-person when we re-open.
Another exhibition that you can currently visit on the Parrott Gallery website is the group show “Spring Sentiments: a Reflection of Art in Isolation”. This was a collaborative effort by the 39 artists who submitted their work, our staff who put the show together in the gallery and online, and our guest curator Jessica Turner. We are thrilled that Jessica was able to transcribe her experience with this show into a final paper for her Curatorial Studies BFA degree at OCADU.
The fact that we have had to close our doors just as this show was opening is a sad reflection of the theme as the audience must now reflect on this artwork at home, in isolation. The up-side to viewing this exhibition online is that one can read the artist statements that accompany the work and get a more in depth view of the artists’ perspectives. We encourage viewers to support our artists by sending in their comments and to vote for their favourites in the show by following the appropriate link on the webpage.
When you can’t come in to our building, the Parrott Gallery will bring the artwork to you. And then when the sun and flowers come out in May, and when it is safe to return to our gallery on the third floor of the Belleville Public Library, we hope to see you all again.
For questions about our online talk, our shows, or to purchase any of the artwork please call us at 613-968-6731 x 2040 or email us at email@example.com.
Wendy Rayson-Kerr is the Acting Curator at the John M. Parrott Art Gallery.
Couple accidentally paint over art worth $500K at South Korea gallery
A young couple damaged a $500,000 piece of art on display in South Korea last month after they mistook some nearby cans and brushes as an invitation to smear paint on the artwork.
CCTV footage captured the moment when the man and woman started splattering paint on the graffiti on March 28 at the Lotte World Mall in Seoul. Exhibition staff say the couple daubed, splattered and rubbed the paint on the display, causing extensive damage to the wall-sized piece of art.
“They thought they were allowed to do that as participatory art and made a mistake,” Kang Wook, who runs the exhibition, told Reuters.
The piece was a valuable work of art by U.S. graffiti artist JonOne, who made it in front of a live audience in Seoul in 2016. The artwork was later turned into a display with paint cans and brushes arranged nearby wherever it’s shown.
Police reviewed the CCTV footage and arrested the couple shortly after they defaced the graffiti. They were later released without charges after the gallery accepted their explanation that it was an honest mistake.
“We are currently in discussions with the artist about whether to restore it,” Kang said.
The gallery has since added a sign to the display that reads: “Do not touch.”
It’s not the first time a careless gallery visitor has damaged a piece of art on camera. In 2015, a schoolboy in Taiwan accidentally tripped and punched a hole through a $1.5-million painting that he used to break his fall.
—With files from Reuters
© 2021 Global News, a division of Corus Entertainment Inc.
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