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Portfolio: St. Albert weekly art listings – St. Albert Today



Art Gallery of St. Albert

Nintawin features works by emerging artist Niamh Dooley. Until Saturday, March 28.

Love Thy Neighbour features works by Elsa Robinson and John Kayinamura in celebration of Black History Month. Until Saturday, Feb. 29 in the Vault Gallery.

The current Staircase Feature Artist is Terry McCue who will have new works on display until Saturday, March 7.

19 Perron St., 780-460-4310;

Visual Arts Studio Association

VASA reopens after being closed for renovations with A Bug’s Life: Up Close and Personal, a new photographic exhibit by city councillor Ray Watkins. Until Saturday, Feb. 29.

Doris Charest has an exhibit in the Corridor Gallery.

25 Sir Winston Churchill Ave., St. Albert; 780-460-5990,

St. Albert Public Library

In continuing its support of ArtWalk, the library will be featuring new works of art by a different artist or artists every month. February‘s featured artists are Liz Meetsma and Kateryna Young, Until Thursday, Feb. 27.

5 St. Anne St., 780-459-1530,

St. Albert Seniors Association

The St. Albert Photography Club has a rotating selection of artistic photographs on display in the foyer area of Red Willow Place.

7 Taché St.,

Musée Morinville Museum

The Morinville Art Club has a rotating selection of art on display.

10010 101 St. in Morinville; 780-572-5585,

Alcove Gallery – Northern Alberta Jubilee Auditorium

Landscape Conversations features works by Samantha Williams-Chapelsky. Until Friday, March 27, with a closing reception from 7 to 9 p.m. on Thursday, March 19. Artist will be in attendance.

11455 87 Ave., Edmonton; 780-427-2760 &

Hotel Gallery at the Renaissance Edmonton Airport Hotel

The InFocus Photo Exhibition features the best Canadian-made photography including St. Albert Photography Club member Hedy Bach among several others. Until Saturday, March 28.

The Renaissance Edmonton Airport Hotel is located at 4236 36 St. East at the Edmonton International Airport.

YEG Canvas

The new rotation of artworks is now on display for the Edmonton Arts Council’s third-annual public art project. Look for new works on various billboard and LRT poster locations throughout the capital city.

Upcoming events

Kiona Ligtvoet will be the visual artist on a roster of writers for A Place for Prose, a house salon series that was started in 2008 by Astrid Blodgett and Audrey Whitson. The upcoming salon will be held in conjunction with women’s arts festival SkirtsAfire and will feature Alberta writers Lee Kvern, Dianne Meili, and Anna Mioduchowska, along with Ligtvoet. In its history, the salon has hosted nearly 80 writers and nearly two dozen artists and musicians. The event runs from 3 to 5 p.m. on Saturday, March 7 at The Nina Haggerty Centre for the Arts, 9225 118 Ave. in Edmonton. Attendance is free.

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Kingston arts scene: Art and remembrance – The Kingston Whig-Standard



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With Remembrance Day just behind us, and not yet being in the throes of the festive season, it seemed like a good opportunity to reflect on the relationship of Art and War (or Art and Conflict, or Cultural Property and Conflict, depending on how one wishes to frame the subject). Is there such a relationship, you might ask — indeed there is. And while art and conflict may seem like uneasy bedfellows, they have marched alongside one another for nearly as long as both have existed. Not always in step, and not always from the same point of view, but together nonetheless.


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Historically speaking, we start seeing large-scale conflict in the region of Mesopotamia sometime before 4000 BCE, due in large part to the establishment of city-states there. With city-states came the need to protect and defend them, and a parallel rise of persons of influence and power who did the ruling and defending of said city-states in conflict. One of the earliest examples of a representation of war is the so-called “Royal Standard of Ur” of Sumer from about 2600 BCE, which has on one side (the “war side”) narrative bands depicting charioteers and infantry soldiers in battle trampling and capturing opposing forces, stripping them of arms and armour. On the opposite side of the Standard (the “peace” side), there are similar narrative bands showing the collection of war booty by the victors, and a victory banquet in progress in the top register. Like this object, many of the earliest examples of representations of conflict show the ruler of the conquering people larger than life and glorify their prowess in battle.

The depiction of the collection of war booty, which often consisted of the movable material wealth and cultural property of a defeated people, is significant, because the accumulation of art as the spoils of war is just one other aspect of the conjunction of art and conflict. One clear illustration of the practice can be seen in the “Spoils of Jerusalem” panel of the Arch of Titus in Rome (circa 81 CE), in which Roman troops loot the Second Temple there, which they afterwards destroyed. (The Second Temple replaced, as you might guess, the First Temple (a.k.a. Solomon’s Temple), which the Babylonians had looted and destroyed in 586 BCE.) War booty was sometimes used to enrich the treasuries of a conquering people and was also often used to pay troops for their service in war. The practice was condoned for centuries but was also questioned on moral grounds as early as the Classical Greek period. Nonetheless, the seizure of art as war booty continued into modern times — and likely continues, despite international treaties and policies against the practice — to the enrichment of many of the world’s most prestigious galleries and museums. One has only to look to the Louvre in Paris (the foundation of its vast collections consisting of war booty collected by Napoleon’s troops in the late 18th and early 19th centuries) and the scrutiny of many of the world’s galleries with respect to Nazi War Art and its possible repatriation to get an idea of the scope of the activity.


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There are, fortunately, efforts being made to repatriate some portions of art looted from one culture and in the possession of another, but it can be a thorny endeavour for a variety of reasons. For example, how does one return artwork to a culture or entity that no longer exists? And is the cultural property perhaps better off remaining in an institution that can care for it properly? The act of repatriation may also be politically motivated — just as the act of the destruction of cultural property in times of conflict may be. Think of the destruction by the Taliban of the seventh-century Bamiyan Buddhas in 2001 — a means of demoralizing local cultures and causing outrage in the international community. The destruction of cultural property (often artwork, monuments or architecture) to oppress a people and erase cultural memory is a practice that goes back to ancient times, and is one that continues today.

Not that the association of art and war is all negative — indeed, conflict has been the catalyst for many new types of artistic expression and movements. In particular, many of the avant-garde movements of the early 20th century (such as expressionism, vorticism, cubism, etc.) were more effective at capturing and illustrating aspects of modern warfare than were more traditional and staid styles of representation. In fact, it has been suggested that it is truly only artists who can accurately relate what being at war is actually like — visually, emotionally, psychologically and physically — through the power of imagery that words cannot begin to match.  Canadian artist W. Thurston Topham’s impressionist painting “Moonrise over Mametz Wood” of 1916 has been described by veterans as an “eerily accurate impression of the Somme battlefield in 1916.” As well, starting in the First World War and continuing in the Second World War, many nations, including Canada, established Official War Art programs. Many of a country’s notable artists were sent overseas to record and represent the conflicts and were indelibly marked by the experience. It has been argued, for example, that the art of some members of Canada’s Group of Seven was influenced more by the blasted landscapes of war in Europe than by the austerity of Canada’s North, as has so often been stated. Canada continues to invite artists into theatres of conflict, with some moving imagery coming out of such collaborations as a result.


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While the subject of art and war may seem to be a gloomy one (and this essay has merely scratched the surface of the topic), many beautiful and even humorous objects have resulted from the association. Art produced as a result of war is a testament to the enduring human spirit and the act of creativity, which may help us to understand events and experiences of the past.

Kamille Parkinson earned a PhD in art history from Queen’s University and is presently a writer, burgeoning copywriter and art historian at large. You can find her writing at Word Painter Projects on Facebook and can contact her at

The Vimy Memorial, designed by Walter Allward, in Vimy, France.
The Vimy Memorial, designed by Walter Allward, in Vimy, France. Photo by Kamille Parkinson /Supplied Photo

Art About Town

Gallery Raymond

Annual Open House — Works by Gallery Artists

Annual Harambee fundraiser (to Dec. 2)

Studio 22 Open Gallery

Autumn 2021 Artist Portfolio Series. Now open Tuesday to Saturday, noon to 5 p.m. and online.

• Victor Oriecuia, “Sacro Fiore”

• Bruno Capolongo, “Drips”

Window Art Gallery

• Nov. 16-30: Kingston Printmakers

Union Gallery

• Print Pulse (to Dec. 11)

• Coping and Care (to Dec. 11)

• Side-Ways (to Dec. 4, in conjunction with the Modern Fuel ARC)

• What Are You Reading? (to Dec. 11)

• Intimacies (to Nov. 27)

Modern Fuel ARC

• There are Minimums to Operate Properly (to Dec. 4)

• Turbo (to Dec. 4)

• Side-Ways (to Dec. 4, in conjunction with the Union Gallery)

Agnes Etherington Art Centre

• Studies in Solitude: The Art of Depicting Seclusion (to June 2022)

• Pandemical Lonliness (to March 2022)

• Humour Me

• Superradiance

• With Opened Mouths)

• Other Worlds

• Worrying the Mask


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Northern Arts Review: Why art is smart investment – Alaska Highway News



Haley-BassettHello, dear reader. This week, I will cover a big announcement from the BC Arts Council, as well as some ins and outs of the arts grant–writing system, and argue for stronger relationships between local governments and arts organizations for the betterment of the community.

On November 12th, the BC Arts Council announced its Arts Infrastructure Program, with awards up to $250,000, more than three times the usual amount made available through this program. The purpose of this funding is for arts organizations to acquire, construct, or renovate an arts space that will enhance the cultural capacity of the community. There are two other streams for funding as well, worth up to $25,000 for planning and research and $40,000 for acquiring specialized equipment. The deadline is 11:59 PM on Jan. 14, 2022.

The BC Arts Council will host a virtual information session for communities and organizations in the Peace-Liard Region about this program at noon on Dec. 2. This session will include insight on the AIP from Program Officers Erin Macklem and Sarah Todd, as well as a Q&A section.

This grant is a great opportunity that can make a major difference in the region. If successful, it could finance the new arts hub in Fort St. John, a permanent gallery space in Chetwynd, or much needed renovations for the Dawson Creek Art Gallery. This is the second year in a row that BCAC has released funding through this program. However, it is unclear whether it will be offered again, so it is important to seize this opportunity now.

The BC Arts Council has been working to serve rural communities better in recent years, which is why the grant qualifications are slightly relaxed for northern communities. This grant may be up to 90% of the total budget for projects based in rural and remote areas with a small population. As an example, for applicant organizations based in Dawson Creek or Fort St. John, only 10% of the budget needs to come from an additional source. Meaning $25,000 can become $250,000, which is a great investment. On the other hand, the grant can only make up to 75% of the project budget for organizations in communities that don’t qualify as rural or underserved.

These budget splits are often how arts funding works from granting bodies like the BC Arts Council, Canada Arts Council, First Peoples’ Cultural Council, and Creative BC, although the funding component is not usually as high as 90%. Grant-based awards typically cover between 50% to 75% of a project total, which is still incredibly generous. Even with a 50% split, an applicant can double their project budget. The purpose of these splits is to show that the project is feasible, and has support from more than one source. This is something that arts administrators know well, as navigating this grant system is a large part of what they do. However, this point is often lost on local governments, who don’t have close working relationships with these funding sources.

The drawback with opportunities like the the AIP is that it often requires cooperation from municipal governments, who are slow to respond. Often arts spaces are publicly owned, but operated by a non-profit. For example, the Dawson Creek Art Gallery building is owned by the City of Dawson Creek, meaning that the gallery cannot go ahead with an application like this without the city’s support. Historically, the arts have been a blind spot for our local leaders, and this oversight is leaving money on the table, to the detriment of the community.

Understandably, at any given time there are many other pressing needs demanding the attention of local politicians—the pandemic, for example. The cultural revitalization of our communities slips lower down the priority list. However, this needn’t be the case. What is needed to allocate funds efficiently is simply an understanding that the arts and its funding system is a complex industry with many opportunities that require specific expertise and knowledge to capitalize on. This is why local governments need to work closely with arts organizations, and be more responsive to them, so that when opportunities like the Arts Infrastructure Program arise, both parties are prepared to make the best of them. That way, we can bet small and win big for the communities we serve.

Do you have an artistic endeavour you would like to promote? Is there a topic you would like me to discuss? I would love to hear from you! Please email me at

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44th annual Penticton Art Auction set for early December – Penticton Western News – Penticton Western News



After almost two years of adjusting on the fly and being forced to reschedule events, the Penticton Art Gallery is set to go ahead with the 44th annual art auction on Dec. 5.

The gallery is giving people the opportunity for a sneak peek on the evening of Dec. 3 so that they can explore all the art that is being sold.

The weekend-long event doesn’t have to wait though. Online pre-bidding opened on July 26 and is set to end 24 hours prior to the start of the live auction.

This year’s event will be conducted both in-person and virtually, via Zoom, and anyone attending the live auction at the gallery will be required to show proof of vaccination.

“If you don’t have a vaccine passport and would like to arrange a private viewing, please contact the gallery and we can make alternative arrangements,” said Penticton Art Gallery Director Paul Crawford.

Among the items available for auction include Andy Warhol pieces from his “Marilyn” series. The opening bid for the Warhol items was $1,500, with an estimated value of $5,000. After Marilyn Monroe’s death in 1967, the artist began to work on his now-famous series.

This year’s auction at the gallery will contain no shortage of historic items available for sale. James Irwin’s NASA flight suit is also up for auction, with an opening bid of $4,500 and an estimated value that the gallery calls “priceless.”

A woolly mammoth tusk rounds out the gallery’s list of “priceless” items but in this case, the piece had an opening bid of $1,750.

READ MORE: Mammoth finds at 44th annual Penticton Art Gallery auction

To view the complete list of available items, the gallery asks that you visit

“The Penticton Art Gallery champions the transformative power of the Arts through an annual program of thought-provoking exhibitions,” said the gallery’s director.

Crawford said in the latest bi-monthly gallery newsletter that they’ve seen a 60 per cent reduction in revenue over the last 18 months that they had previously earned through a number of fundraising programs, amid the COVID-19 pandemic.

Despite that, he told the Penticton Western News on Thursday that even though he doesn’t know what to expect out of this year’s auction, he’s excited about the gallery’s immediate future.

“As we come to the end of the year, I hope you can help support the Gallery through the purchase of one of our Soup Bowl packages, a work from our Under $500 Exhibition + Sale, Annual Art Auction, the purchase of a membership, early bird tickets to the 2022 Ignite the Arts Festival, or a charitable donation this year,” he wrote in the letter.

READ MORE: Ignite the Arts Festival gets Penticton council’s blessing and funding

Successful bidders will be notified via email within 48 hours of the auction’s closing.

The live auction begins on Dec. 5 at 1 p.m., with the deadline for registration coming on Dec. 4 at 4 p.m.

As of Nov. 25, the auction has raised $8,295, which is 33 per cent of the gallery’s goal for the event.

To register for the live auction, email

In addition, to get in on the pre-bidding festivities virtually, you can visit


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