They say that those who do not learn history are doomed to repeat it, but who wrote the history we learn in the first place?
Generations Lost: Healing the Legacy of Residential Schools is an in-depth look at residential schools from why they were begun to what resulted from them. The vast majority of the more than 150,000 children who were taken from their families and forced to attend these schools experienced abuse, neglect, and suffering. Many died and the intergenerational trauma continues to this day.
Peter Henderson Bryce: A Man of Conscience looks at the former medical health officer for the Department of Indian Affairs who found that large numbers of First Nations children were dying each year due to conditions in residential schools and lack of tuberculosis treatment between 1904 to 1921. The Truth and Reconciliation Commission estimated that more than 6,000 children died in the schools from preventable disease, abuse, and neglect. Whistle-blowers such as him called on the federal government to intervene. It chose not to.
Both exhibitions run until July 17.
5 St. Anne St. 780-459-1528; museeheritage.ca
The Visual Arts Studio Association is back in business and the first order is Welcome Back: the VASA resident artists’ exhibition. The show features works from the 13 artists whose studios can be found in the Peter Hemingway Centre. Until July 31.
25 Sir Winston Churchill Ave. 780-460-5990 & vasa-art.com
ILL Winds is an exhibit of very large paintings by Keith Harder. Visit artgalleryofstalbert.ca/exhibitions-events/exhibitions/ill-winds-2 for the online exhibition and to register for the tours and the talk. Until Friday, July 30.
The Staircase Gallery now features the exhibition called Enticement by Amanda McKenzie. Until Aug. 5.
19 Perron St., 780-460-4310; artgalleryofstalbert.ca.
If you like Ryland Fortie’s sculpture in the St. Albert Botanical Garden then you can check out more of his work at In the Weeds. The new show is an outdoor exhibition of 12 artists in the yards, all part of a curatorial project by Steven Teeuwsen. Fortie is joined by Alicia Proudfoot, Anapaula Villanuevad, Andrew Thorne, Autumn Sjølie, Christina Krentz, and Rachael Warnock (CKXRW), Druvid, Jenny Shaw, Stephanie Florence, Stephanie Patsula, and Veronika McGinnis.
The indoor gallery space at Lowlands is currently exhibiting five artists from Nextfest Arts Co. Until July 24.
11208 65 St. in Edmonton. 780-802-8874; facebook.com/lowlands.projects
DY3CORPIA is the third iteration of Dyscorpia: Future Intersections of the Body and Questions. It is being held virtually, hosted in a digital twin of Enterprise Square Galleries, where the first DYSCORPIA exhibition was mounted in 2019. Visit dyscorpia.com/dy3corpia to view work by St. Albert intermedia artist Brad Necyk, and filmmaker, cinematographer, and multimedia artist Aaron Munson, among many others.
The Institute for Sexual Minority Studies and Services at the University of Alberta is hosting a virtual exhibit in celebration of Pride 2021. The show features 2SLGBTQ+ artists from Greater Edmonton who created “a mosaic that encapsulates the beauty and individuality that lies within each of us” as well as the collective strength they hold as members of the 2SLGBTQ+ community. Featured among the artists is local Dehcho Dene artist Coral Madge, who makes traditional beaded works under the name Big Bear Moccasins. Visit ualberta.ca/ismss/events/pride-week/mosaic.html to see the show.
The Whyte Avenue Art Walk has returned with a modified event as a weekend art market only at the former Army & Navy store during July, ending on Aug. 1. This show and sale features dozens of different artists displaying their works each weekend. Special hours are from 3 to 8 p.m. on Fridays, and 10 a.m. to 5 p.m. on Saturdays and Sundays. 10411 82 Ave. in Edmonton. art-walk.ca
The Works: Activated is now on until July 17. The festival of visual art is live at Churchill Square, online (at theworks.ab.ca), and in communities throughout Edmonton this summer.
They say that those who do not learn history are doomed to repeat it, but who wrote the history we learn in the first place?
As someone who has been deeply passionate about the arts from a very young age, I’ve often found myself at odds with this question. Over the years, my interest in the arts has led me to take classes throughout high school and university. I’ve also volunteered at the Woodstock Art Gallery, where I currently work as a front desk attendant summer student.
Throughout my exposure to the arts, I’ve learned the discipline, like many others, is built upon the works and contributions of those who came before. Ultimately, within the uniqueness of every piece of art, something innately human is revealed. Yet, the more I read about old masters like Michelangelo, Da Vinci, and Raphael, the more I can’t help but wonder – where were all the women artists? When I gathered the courage to ask my former art teacher why the majority of our art history curriculum catered to white men, the answer I was met with was simply this: “It is difficult to learn about female artists in art history because there’s hardly any significant female artists to talk about in the first place.”
So why is there a lack of female artists to begin with?
Many, including myself, might at first assume that women just aren’t as capable as men in terms of artistic ability. In her 1971 essay, Why Have There Been No Great Women Artists, art historian Linda Nochlin writes the mere question “falsifies the nature of the issue at the same time that it insidiously implies its own answer: ‘There have been no great women artists because women are incapable of greatness.’” The fact that these assumptions still linger is a testament to the shortcomings of art history. What is the actual reason behind the distinct gender gap we see in art today, and to what extent has historical bias influenced our current perception of the art world?
It goes without saying that women’s underrepresentation and lack of recognition in Western art history is complicated. Women were historically excluded and actively discouraged from partaking within the same spheres as men, including the artistic sphere. Women were likewise barred from entering art academies, undergoing formal artistic training, or even acquiring an education in general – the very building blocks to becoming an artist in the first place. The quintessential middle-class, white, male archetype associated with the default “ideal artist” prevailed because aspiring female artists were excluded from these institutions that helped cultivate artistic proficiency.
As Nochlin explains, one example of gender-based institutional discrimination can be seen through women’s access to life drawing during the 19th century. Due to the rising popularity of history painting at the time, life drawing was seen as a mandatory prerequisite to one’s artistic cultivation. Even once women were finally allowed into life drawing classes, they were burdened with the responsibility to have their works remain modest – a restriction that did not apply to men – despite the common belief that “there could be no great painting with clothed figures.” The male administration specifically prohibited nude models from appearing in anything less than “partially draped.” While men could undergo artistic training without restraints, women often faced hostility when fighting for equal footing within those same institutions.
All in all, to truly learn from history, we must also understand the foundations on which it was written. Though notable names such as Artemisia Gentileschi, Berthe Morisot and Frida Khalo have gained considerable mainstream notoriety, it remains true that the number of male artistic masters still outnumber the women. While we cannot rewrite the past, we can add nuance to how it’s told.
As I’ve learned in my time at the Woodstock Art Gallery, one place we can start is right here at home. The gallery’s 2019 exhibition, Given Her Due: Oxford County Women Artists 1880–1908, showcases the work of talented and sometimes overlooked female artists of this region, including Eva Bradshaw, Betty McArthur, Jaquie Poole, Fryke Oostenbrug, and more. You can explore a 3D virtual tour of this exhibition online at www.woodstockartgallery.ca. The gallery’s permanent collection also highlights the artwork of Florence Carlyle, who broke boundaries as a prominent Canadian painter in the late 19th and early 20th centuries. Carlyle – along with other notable female artists in the collection – is featured in the current exhibition My Favourite Artwork, which launched when the Woodstock Art Gallery reopened on Aug. 3.
Vicky Lin is the front desk attendant at the Woodstock Art Gallery. The Woodstock Art Gallery acknowledges the support for this position, which is funded by two federal student employment programs: Young Canada Works and Canada Summer Jobs.
Some of the Sunshine Coast’s young musical-theatre talent will be showing what they can do when they hit the stage this weekend at the Heritage Playhouse in Gibsons. The production team Synergy at Play, led by Varya Rubin and Bill Moysey, has been running a two-week performance intensive for youth, preparing for their show, A Little Bit of Broadway. There will be three performances: Friday, Aug. 6 at 7 p.m., and Saturday, Aug 7 at 2 p.m. and 7 p.m. Seats are limited due to ongoing pandemic protocols. Tickets are $15, $10 for kids aged six to 12, five and under are free. Available at firstname.lastname@example.org.
There’s a passion to hear live, in-person performance here on the Coast after close to 17 months of doing without. Shows are selling quickly. You cannot get tickets now to see the Rogue Arts Festival show with Brothers in Farms and Staggers and Jaggs at the 101 in Gibsons on Saturday, Aug. 7, the Brandon Isaak concert at the Clubhouse Restaurant in Pender Harbour on Aug. 8, or the SoulShine Garden Concert with Dawn Pemberton on Aug. 12. But there is still plenty to enjoy. Here are just a few of the musical offerings in coming days (check the Coast Reporter’s Community Calendar and Coast Cultural Alliance’s website for more). Shows marked “free” may also feature a handy tip jar:
Charlotte Wrinch plays the Clubhouse Restaurant at the Pender Harbour Golf Club on Friday Aug. 6 from 5 to 9 p.m. On Sunday, Aug. 8, The Burying Ground will be there with its great, toe-tapping vintage jazz-blues from 2 to 5 p.m.
The Roberts Creek Legion is opening its stage for individuals or groups to play on Friday, Aug. 6 from 4 to 8 p.m. To reserve performance or jamming time, email email@example.com. The Burying Ground plays there Saturday, Aug. 7 from 4 to 9 p.m.
At noon on Saturday, Aug. 7, at the Sechelt Summer Music Series behind the library, hear the reggae rhythms of Pete Catastrophe, followed at 1 p.m. by the Wanda Nowicki Trio. Free.
The 1 p.m. show at Music in The Landing at Winegarden Park in Gibsons features the Gambier Island acoustic duo, Kansas and Johnny. At 7 p.m., electric grit-blues maestros Georgia Fats will get you smiling and swaying. Bring a lawn chair or blanket. Free.
The vocal and guitar stylings of Martinez will be on tap from 2:30 to 4:30 p.m. at Tapworks in Gibsons, Saturday, Aug. 7.
Slow Sundays in The Creek, behind the library in Roberts Creek, has another creatively varied lineup for Aug. 8. The Whirlwind Woodwind Quintet starts things off at noon, with teen singer-songwriter Kaishan performing at 1 p.m., and the Martini Madness Band at 2 p.m. Free.
Indoor seating is still limited, but the Coast’s two main movie theatres have reopened. Raven’s Cry Thetare in Sechelt is screening films nightly, as is Gibsons Cinema, which is also running weekend matinees. Check your local listings.
Six sets of two posters each that are showing up in vacant store windows in downtown Timmins are the work of two Toronto artists. They are, however, on the theme of “Living in Timmins.”
The artwork is financed by a Toronto-based organization dedicated to brightening up downtowns.
Timmins BIA executive director Cindy Campbell says that group will issue a public call for artists this fall.
“Based on Northern Ontario and especially Timmins’ participation,” she points out, “they’re specifically reaching out to indigenous and northern artists to become part of the roster so their artwork can be shown across Canada.”
Campbell says any time someone stops to look at the art, they could realize that there’s potential in that store space.
“All of a sudden that maybe Mom and Pop business idea that was in the back of your head becomes a reality,” she remarks. “‘If I can showcase my products like they’re showcasing what they’re doing, I have a chance at a business.’”
The art was officially unveiled on Wednesday at the following addresses:
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Browns Socialhouse in Kamloops temporarily closed because of COVID-19 – radionl.com
'I finally did it, Mom,' Andre De Grasse told his mother after his Olympic gold medal win – Toronto Star
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Andre De Grasse Canada 4x100m relay into final – TSN
Damian Warner extends decathlon lead by running to an Olympic best in the 110m hurdles – CBC.ca
Amazon's Covid Dilemma: Mandate Vaccinations and Risk Losing Workers – Bloomberg