The Penticton Art Gallery opened its latest exhibits on Friday, Jan. 24. The three different exhibitions will be open to the public until March 15.
In the main gallery, the artists of the Penticton Indian Band’s En’owkin Centre had the centre stage with their Messages from the tmxʷulaʔxʷ and the sqəlxʷɬcawt Renewed.
The art on display is a mix of students and their teachers from the En’owkin Centre’s National Aboriginal Professional Artist Training program. This year’s exhibition features eight first-year students and nine second-year students, alongside some selected pieces from their teachers, alumni and one invited artist, many of who are having the first public showing of their works.
“For a lot of our students it’s the first time it is the first experience they have in being able to showcase their work in a contemporary art gallery that is a public art gallery with more well-known national shows,” said Michelle Jack, one of the professors at the En’owkin Centre.
“It’s a huge opportunity to them, that opens their eyes to what is available in the greater contemporary art world, and how it works to showcase those things and what goes into the curatorial process.”
The students at the En’owkin Centre come not only from the Penticton Indian Band and the other bands in the Okanagan, but from other bands far and wide.
“We have a lot of people from across Canada who come to the En’owkin Centre to study and do the NAPAT. ” said Jack.
“There used to be a lot more aboriginal centres like ours, but due to funding stipulations and all of that. We’re not federally funded, we have to do grants and all of those things to make our programs run. Because of that a lot of secondary institutions like En’owkin in other parts of the country have had to close their doors.”
The artists at the En’owkin Centre have a wide variety of styles and mediums, from painting using traditional pigments to sculpture and more modern forms of art such as photography.
“Last year we had a piece and everyone was saying, ‘Oh, that’s a really traditional pattern,’ and [Joe Feddersen] was, that’s ‘Parking Lot A,’” said Jack.
“It was the parking lot pattern painting, how they paint the spaces, and he made a pattern of that for his basket. So he’s thinking of modern ways and what we see as would be patterns and petroglyphs, and that’s just one example of the mesh of the traditional and contemporary.”
Walking through the front door of the gallery, the first thing that will first catch your eye will most likely be the small prints lining the main hall. These pieces are the pages from local publish Theytus Books’ printing of Zoe and the Fawn, a children’s book written by local Indigenous author Catherine Jameson, and illustrated by Julie Flett.
Jameson is herself an alum of the En’owkin Centre, with her book being the product of her time there.
“One of our projects was to interview a six-year-old, and my niece at the time, Zoe, was six. This story was the one she told me, with some creative changes,” said Jameson at the talk on Saturday.
The story in Zoe and the Fawn follows young Zoe and her father, as they go outside to take care of a newborn fowl, and see a lonely fawn outside. As they look for the fawn’s mother, they find many other animals along the way.
The words in the Sy’ilx language are emphasized with the colour of Zoe’s boots, along with the English translation to help readers learn as they read along.
Copies of the book are also available at the gallery’s shop.
The third exhibition currently on display in the Project Room gallery features the works of two very different artists, with Scott Price’s found material sculptures of rusted metal, stone and wood a sharp contrast to Corrinne Thiessen’s at-times grotesque paintings of once-human figures.
Price does not approach his work with an eye for a single meaning, but rather lets the pieces speak for themselves.
“I don’t know what I’m looking for,” said Price during the artists’ talks on Jan. 25. “If the ball in [the Project Room] talks to you of big or small, of the microscopic or the cosmic. If by having the void in it, that talks to you of breaking down or building him. All those things speak to me. Whether I’m looking for those fascinating things in nature and including them in my art, I can’t answer that question.”
Thiessen and Price were selected as part of the Penticton Art Gallery’s 13th year of collaboration with Island Mountain Arts and the Toni Onley Artist Project to highlight a Canadian artist. This year, the decision was so close between the two, that they were both selected to showcase their works.
The three exhibits at the Penticton Art Gallery are on display until March 15. The Gallery will also be hosting the third annual Loving Mugs chili-cook off fundraiser on Feb. 20.
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Football and art come together in the first NFT exhibition of its kind – Canada NewsWire
– The King Abdulaziz Center for World Culture’s From Strike to Stroke exhibit features 64 FIFA World Cup match results in a unique man-machine collaboration
DHAHRAN, Saudi Arabia, Dec. 6, 2022 /CNW/ — The King Abdulaziz Center for World Culture (Ithra) celebrates the art of the beautiful game in a unique exhibition at the 2022 FIFA World Cup in Qatar. From Strike to Stroke features 64 NFTs by 32 artists from the competing nations, while Artificial Intelligence (AI) fuses the pieces from the contending two countries in each of the 64 matches into a unique piece based on the match outcome. The result will be a singular collection of one-of-a-kind NFTs created through a collaboration of man and machine. Strike to Stroke runs at the Msheireb Galleria Doha, Qatar until December 23.
Ithra, a cultural bridge between Saudi Arabia and the rest of the world, channels the world’s passion for football into its infatuation with the arts as the world comes together for the World Cup. The exhibition melds the man-made with the machine-made, and combines art, sport and technology in an innovative fashion.
It features the work of 32 emerging and established artists, each tasked with creating a piece representing their country and using their respective team’s jersey colors. After each match, the AI-powered algorithm combines the artists’ creations with match statistics to generate unique pieces that represent each game. The collection will be a unique set of pieces presented as NFTs – non-fungible tokens. These cryptographic assets are based on blockchain technology, and created in a process similar to cryptocurrencies.
From Strike to Stroke includes artists who have never created NFTs and NFT artists who had not worked within traditional fine art.
“The passion shared by football fans for the love of the beautiful game can be tangential to the passion shared by art aesthetes,” said Dr. Shurooq Amin in her curator’s brief to the exhibition. “By connecting 32 artists from both the traditional and digital arenas, Ithra not only bridges the gap between Web2 to Web3, and between football and art, but furthermore between human and machine, as the artists collaborate with AI generation technology to create unique NFTs that combine art, football and technology.”
Images and exhibition catalogue can be found here.
For more information on Ithra and its programs, visit www.ithra.com.
SOURCE King Abdul Aziz Center for World Culture (Ithra)
Richard Serra's art installation hard to miss in Qatar desert, once you get there – The Globe and Mail
Art stands tall in the desert some 75 kilometres northwest of Doha.
You need a rugged vehicle and no small resolve to find it, given signage is almost non-existent. The last few kilometres take time as you cross the desert on a slightly flattened but irregular path well away from the closest blacktop. Proceed with caution.
But East-West/West-East by American sculptor Richard Serra is worth the effort.
Completed in 2014, the installation comprises four giant steel plates – the outer two stand 16.7 metres high and the inner two 14.7 metres – and span more than a kilometre. Slightly different in height, to compensate for the difference in ground level, they line up like enormous fence posts in the barren desert flanked by gypsum plateaus at some points.
If not the middle of nowhere, it’s well on the way.
Possibly the last place on earth you’d expect to see “one of the most significant artists of his generation,” as Serra is dubbed by the Gagosian Gallery which has showcased his work in both New York and France.
“Taking art to the people,” is how Qatar Museums, the country’s arts and culture arm, explains it.
Depending on the direction you approach, you see only part of the art. As you get closer, the dark plates get bigger and bigger and you get to see all four.
“After the perceptual bombardment of Doha, with its architecture dominated by idiosyncratic shapes and kitschy facades, the sensuous experience prompted by the rigorous abstraction of the (desert) sculpture is at once bracing and sensitizing,” wrote Artforum magazine.
“Serra reminds the viewer, like 19th-century German Romantic artists such as Caspar David Friedrich, of man’s frailty in the face of nature’s omnipotence,” added Numero magazine.
For non art-critics, imagine the monolith in 2001: A Space Odyssey on steroids and times four in the desert. Stand next to one and you feel like an ant – a very hot ant under the blazing Qatari sun.
You’ll also likely be alone, albeit under review from what seemed like security in a nearby pickup truck.
The 84-year-old Serra, who worked in steel mills during college, is known for his large-scale abstract steel sculptures.
There is another in Doha itself. A sculpture called 7 – the number seven has spiritual significance in Islamic culture – was commissioned by Qatar Museums.
Built out of seven steel plates, it faces the sea at MIA Park, adjacent to the Museum of Islamic Art.
Like a billionaire stocking his mansion with objets d’art, the government of Qatar has dug deep into its oil-filled coffers to decorate the country with world-class art.
There are big-ticket art works all over.
In 2013, Qatar Museums Authority head Sheikha al-Mayassa al-Thani, the daughter of the emir of Qatar, was listed atop ArtReview magazine’s annual Power 100 list “on account of her organization’s vast purchasing power and willingness to spend at a rate estimated to be US$1-billion a year – in order to get top works of art for its Doha museums,” ArtReview said.
Le Pouce, a giant golden thumb by French artist Cesar Baldaccini, is front and centre in Doha’s Souq Waqif market. French-American artist Louise Bourgeois’ Maman, a giant spider that can also be found outside Ottawa’s National Gallery of Canada, stands inside the Qatar National Convention Center (QNCC), which doubles as the World Cup’s main press centre.
Another edition of Maman, one of seven, was sold for US$32-million by Christie’s in 2019.
“The Miraculous Journey” by English artist Damien Hirst is hard to miss outside Sidra Medicine centre just down the street from the QNCC. The 14 monumental bronze sculptures chronicle the gestation of a fetus inside a uterus, from conception to birth – ending with a statue of a 14-metre-tall anatomically correct baby boy.
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This report by The Canadian Press was first published Dec. 5, 2022
Combine Art Fair Returns to Griffin Art Projects for Its Second Year
Combine Art Fair returns to North Van’s Griffin Art Projects for the second year, December 8-11. Participating galleries include Vancouver-based Unit 17, Mónica Reyes Gallery, Wil Aballe Projects and – all the way from Montreal – first-timers, Galerie Hugues Charbonneau. Another new addition: a book fair where you can peruse exhibition catalogues, limited publications, and more.
The aim of this boutique fair is to offer fresh perspectives on contemporary art and collecting – whether you’re a veteran art collector or are simply interested in art and considering buying your first piece. Combine is a chance to view work by emerging and established artists, and chat with the gallerists who represent them.
Expect to see work by Inuk artist, Shuvinai Ashoona (whose work was at this year’s Venice Biennale), emerging artist, Manuel Mathieu (his new solo show opens in Miami next year), Métis artist and writer, Gabrielle L’Hirondelle Hill (recent exhibitions include at the Venice Biennale and The Museum of Modern Art in New York), and Governor General Award winner, Glenn Lewis; plus Chantal Gibson, Maggee Day, and many more.
Sure, you can visit these galleries anytime (although it’s a bit more of a trek to visit Galerie Hugues Charbonneau), but the nice thing about the art fair format is that it allows you to visit all five galleries in one go, while also meeting the gallerists and asking questions in a convivial environment. In fact, they encourage it!
Participating galleries will be exhibiting a diverse range of work from their artists. However, we asked each Vancouver-based gallery to name just one work they’ll be showing (around the $1000 price point), as well as one tip for first-time art fair goers. (What’s “okay” to ask? What’s not “okay”?) Read on to find out…
Wil Aballe, Director, WAAP
For his recommendation, Aballe shares that he will have a suite of 11 vintage prints of Marilyn Monroe, taken in 1953 by Glenn Lewis, for $800 each (an example of one is pictured above).
“So the story goes, Glenn, who is now 87 and a Governor-General Award winner, was in his last year in high school at the time, working as a dishwasher in the kitchen of the Banff Springs Hotel. He had just received his first ever camera, a brownie, gifted by his mother. Marilyn was filming, and the day before the photographs were taken, she stepped in a gopher hole and injured her ankle. These photos were taken the next day on her day off, but oddly the pictures feature a Mountie, Marilyn in a canoe, and Mt Rundle in the background. These fibre prints are the last that Glenn and I are aware of to be available; so while theoretically printed in an edition of 75, there are much fewer copies out there and these are the last few. In the mid-20th century, many vintage photographs by well known photographers are open editions and these have not affected the value they can have, as collectors mostly care about whether the print was signed/stamped and printed within the artist’s lifetime.”
Tip for the first time fair-goer:
“To not be intimidated, and to look with curiosity and use the opportunity of Combine to get the broadest sense of what art can be. I am open to any questions anyone sincerely wants to know about, so ask away!”
Mónica Reyes Gallery is thrilled to be bringing this artwork – a wall sculpture by Terrence Turner – to the fair, that is both fun and affordable.
Tip for the first time fair-goer:
“Ask where the artist is from, or how old are they, as these questions help us tell the viewer more in terms of the artist’s CV — whether or not they are up-and-coming, where they have studied, and what shows they have been included in that may be helping their careers and notoriety. “What’s the inspiration behind the work?” is also a very good question to ask.”
“I can only think of one question [not to ask]: “Are you the artist?” This is a solid no-no. We are the art dealers that represent the artists; we are the ones who exhibit their works, take them on the road, connect them with our audience, and help them place their work in private, corporate and institutions at large. Our role is different.”
Tobin Gibson, Director, Unit 17
While most works on view from major museum artists including Anne Low, Gabrielle L’Hirondelle Hill, and Tristan Unrau, range from $6,000-$30,000, there will be a gem of a bronze sculpture on view by Unrau from the artist’s 2021 exhibition at Unit 17, False Idols.
Tip for the first time fair-goer:
“This fair is unlike any other, in that it’s a boutique event. I would say to people who are not used to fairs to take a chance and ask the pressing questions that come to mind. All gallerists are extremely approachable and interested in conversation with a range of participants in the visual arts. Also, look at the didactic information. It can give a lot of information without needing to ask a question, persay. Another tip is to always inquire about a payment plan. Galleries more than ever are open to accepting sales that are paid out each month over a set period of time.”
While visiting Combine at the Griffin Projects Residency space, be sure to pop in next door to Griffin’s main exhibition space to see Allegories of the Present, by renowned visual artist, Stan Douglas, who represented Canada at this year’s Venice Biennale, (closing Dec. 11, 2022). The exhibition brings together photographic works from the 1990s to the present, primarily concerned with architectural and social spaces, to produce what Douglas calls, ‘allegories of the present.’ Guided tours led by Griffin Art Projects’ Indigenous Curatorial Assistant, Emmett Hanly, take place on Sunday afternoons. Sign up here.
Combine Art Fair dates and hours:
Thursday, Dec. 8 | 5-7pm, followed by a public opening reception from 7-9pm
Fri-Sun, Dec. 9-11 | 12-5pm
Admission is free.
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