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Province boosts support for new Vancouver Art Gallery | BC Gov News – BC Gov News

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Dana Claxton, (Lakota) artist, department head, UBC Department of Art History, Visual Art & Theory, Vancouver Art Gallery Association board member and vice-chair of the BC Arts Council –

“The new building will become a permanent symbol in this amazing and dynamic city that reflects the commitment of the gallery and the B.C. government to advancing reconciliation. As an Indigenous artist and as a board member of the gallery, I marvel at the gallery’s vision as the new building honours and celebrates Indigenous arts and culture throughout all significant elements of its design. It gives me great hope and pride to think about how this will translate to audiences and the public in light of our province’s promise to stand with Indigenous people on the path of reconciliation.”

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Qwasen Debra Sparrow, Musqueam Knowledge Keeper and Indigenous artist/weaver –

“I am excited to be contributing to a space that will serve as a marker of the impact of Indigenous art on the nation’s cultural landscape. The new gallery will enable a new appreciation of a wide variety of art forms from around the world, enhancing our nation’s understanding of art. It has been wonderful to have worked in collaboration with the gallery to incorporate traditional Indigenous artforms into the architecture of the new building to be enjoyed by global and local citizens for generations to come.”

Skwetsimeltxw Willard (Buddy) Joseph, Elder in Residence and Squamish weaver –

“It is a great joy to have a hand in the creation of this monumental building. My role with the Vancouver Art Gallery as Elder in Residence has always been to provide support and guidance while promoting understanding and respect for Indigenous perspectives and values. I feel confident that the new building will reflect these values and promote Indigenous voices in many ways. I am grateful to be a part of the realization of this exciting new beginning for the Vancouver Art Gallery.” 

Chepximiya Siyam’ Janice George, Indigenous artist/weaver –

“Our work with the Vancouver Art Gallery has created a deep connection to the past and a vision for the future. It is important to understand that this new gallery will be the largest expression of Coast Salish art in the world. It is essential we share and appreciate the history of those who came before us and communicate that history through this collaborative work.” 

Qʷənat Angela George, Indigenous artist/weaver –

“The new Vancouver Art Gallery will continue to emphasize and celebrate Indigenous culture through educational initiatives, exhibition programming and the prioritization of Indigenous voices. The new gallery will be a welcoming space for all individuals who wish to expand their horizons and broaden their senses of self through the experience of rich and diverse art forms. Teaching and sharing allow us to acknowledge where we come from, our stories and where we are today.”

David Calabrigo, chair, Vancouver Art Gallery Association and senior vice-president corporate development and legal affairs, Canfor –

“We’re grateful for the Province’s ongoing support for the gallery’s vision to create North America’s first Passive House art gallery. The new Vancouver Art Gallery will strengthen our understanding and appreciation of the diverse communities in British Columbia, and this significant provincial funding brings us one step closer towards the realization of this monumental project.”

Michael Audain, businessman, philanthropist and donor –

“The long overdue new Vancouver Art Gallery building will establish British Columbia as a premier destination for the visual arts, while providing a space to honour our renowned arts community. The Audain Foundation is proud to join so many of our citizens and levels of government in support of the talented artists who have been creating significant art on this coast for thousands of years.”

Christian Chan, Chan Family Foundation trustee and Vancouver Art Gallery Association board trustee –

“The new Chan Centre for the Visual Arts will be a world-class cultural institution. From every step in its design, we’ve made sure the new gallery will be accessible for all people to broaden their cultural horizons and will serve to educate and enrich the lives of both local and global visitors. Art changes the way we understand the world, and the support from the Province will give British Columbians an inspiring place to reflect.”

Hank Bull, local artist and Vancouver Art Gallery board trustee –

“Over the years, as I have come to know Vancouver as my home, I have found a sense of belonging within the welcoming walls of the Vancouver Art Gallery. To feel the solid support of the Province at this critical moment is a huge affirmation. The new building will function as a gathering place for diverse communities, a laboratory for creative minds, and a place of wonder and learning. It will serve as a beacon for Vancouver, telling the world that this is a city where great art happens.”

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'LOVE' Digital Art Collection On Sale – ATP Tour

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‘LOVE’ Digital Art Collection On Sale  ATP Tour



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Football and art come together in the first NFT exhibition of its kind – Canada NewsWire

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–  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.

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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.”

Visit www.striketostroke.com.

Images and exhibition catalogue can be found here.

For more information on Ithra and its programs, visit www.ithra.com.

Photo – https://mma.prnewswire.com/media/1961775/Ithra_World_Cup_NFTs.jpg

SOURCE King Abdul Aziz Center for World Culture (Ithra)

For further information: Media contacts: Nour Aldajani, [email protected], +966-583268120, Nora Al Harthi, [email protected], Domia Abdi, [email protected], Hadeel Eisa, [email protected]

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Richard Serra's art installation hard to miss in Qatar desert, once you get there – The Globe and Mail

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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.The Canadian Press

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.

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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.

–-

Follow @NeilMDavidson on Twitter

This report by The Canadian Press was first published Dec. 5, 2022

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