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Public art takes shape in Woodstock – Woodstock Sentinel Review

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On Sept. 9, the Woodstock Art Gallery launched the first ever public sculpture commission call to artists on behalf of the City of Woodstock. This is a significant undertaking for the gallery and for the city at large. Until now, public art in Woodstock has been sporadic and project-focused one-offs. Normally, these initiatives are responding to community needs and desires, such as highlighting crosswalks for safety and awareness.

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Due to a growing request from members of our community for the creation of public art, I was charged in 2017 with responsibility for developing the City of Woodstock’s first public art policy. In 2018, respected artist and educator Bruce Flowers left a significant portion of his estate to the Woodstock Art Gallery with the directive to create a figurative sculpture garden.

The first step in any public art commission is determining the location of the site. I am very thankful to my colleague, Chris Kern, parks supervisor, for identifying the west side of Vansittart Park at Ingersoll Avenue as a potential space. Given that this park is split between Vansittart Avenue and that the west side offers a wonderfully contemplative experience, it was the perfect suggestion.

As the park already had a name, however, we activated the process to change the name of the west side to reflect the park’s new identity. After two presentations to city council and a public consultation process, I was delighted that on Aug. 12, 2021, council approved the renaming of the west side of Vansittart Park to Florence Carlyle Park, with a portion designated as the Bruce Flowers Sculpture Garden.

While this was taking place, I was working behind the scenes with the public art committee to draft the call to artists, as well as a helpful guide to artists for public art projects. It is important to note that this is not a call for proposals but a call for qualifications. The gallery highly respects artists’ time and the creative process and is asking only for submissions of interest to be received by Oct. 26.

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In addition to demonstrating their skill and expertise, artists should also emphasizes in their application their interest in employing the human form to address the following themes which were central to Bruce Flowers’ values:

  • Love and acceptance;
  • Mentoring and teaching; and
  • Community and connection.

These applications will be vetted by the public art committee, which will come up with a shortlist of artists who will be invited to submit fully developed proposals.

Public art is not just the job of the gallery, and I am thankful for the assistance provided by Reta Horan, parks supervisor, and Haylee Hallema, GIS parks student, for assisting with the site plans and conceptual mock ups of this old-new park. Thank you as well to Harold de Haan, city engineer, and Brian Connors, director of parks and recreation, for troubleshooting some of the installation implications.

The call to artists and other supporting documents can be found at www.woodstockartgallery.ca.

The gallery will keep the citizens of Woodstock updated on the progress of this significant public art commission as it moves forward. And it goes without saying that we all should be very thankful to Bruce Flowers for providing the City of Woodstock with this lasting legacy of enjoyment and inspiration.

Mary Reid is the director-curator of the Woodstock Art Gallery. She is also a former member of the City of Winnipeg’s public art committee.

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Moose Jaw Art Guild meets to discuss its upcoming MJMAG exhibition – moosejawtoday.com

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The Moose Jaw Art Guild is excited for their 54th Christmas exhibition at the Museum & Art Gallery

Led by President Karen Walpole, ten members of Moose Jaw’s Art Guild gathered for only the second time in 18 months to discuss their upcoming exhibition. The forms necessary for submission were distributed, and everyone chatted about how their works were progressing.

The theme for this year is “Looking Out My Window,” to be interpreted by the artist. A variety of mediums are encouraged, including drawings, pastels, watercolours, and sculptures.

Many of the works displayed in MJMAG’s lobby will be for sale. The exhibition will open on Nov. 12th, and continue until Jan. 9th of next year. 

Karen Walpole noted that she is “always excited” to share some of the Art Guild’s venerable history, particularly in regards to its role in the founding of MJMAG. She says that, “Back in 1963, the City of Moose Jaw asked what was then the Moose Jaw Fine Arts Guild to comment on their plan to celebrate Canada’s 100th birthday.” 

The Guild took that chance to strongly endorse and lobby for a “Cultural Centre” in Crescent Park near the Public Library. The Moose Jaw Art Museum opened in 1967, and the Art Guild has had an annual exhibition there ever since. 

Jennifer McRorie, MJMAG’s current curator and director, confirms that the Art Guild was “instrumental in getting the art museum established.” She adds that, “In 2017 we celebrated our 50th anniversary, and so we actually presented an exhibition from our permanent collection that was the result of 50 years of collecting the work of Moose Jaw artists.”

The Guild itself was established on a cold February night in 1929, after a presentation by influential Saskatchewan artists Vaughan Grayson and Barbara Barber. That night, the Women’s Art Association of Saskatchewan was voted into existence. In 1957 it became the Moose Jaw Fine Art Guild, and in 1984 it achieved its current form as the Moose Jaw Art Guild. 

This year’s exhibition comes on the heels, obviously, of the enormous disruption of the global pandemic. Nevertheless, the Guild endures, and is always open to new members. Walpole sincerely emphasizes that one purpose of their showings is to, “provide encouragement and an introduction to many of us that want to try our artistic hands, but don’t know where to start.”

Art is about expression, moving beyond the limitations of language to convey emotion in a subjective, yet direct way. Although it is not possible to control exactly how one’s art is perceived, this should not be a barrier. The main thing, Walpole says, is “to have the confidence to at least attempt an art form of some kind.”

More information about the Art Guild, its meetings, and how to join can be found on their Facebook page.

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Knitting for Guelph's Art Not Shame: 3 things to know about the organization and fundraiser – GuelphMercury.com

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Knitting for Guelph’s Art Not Shame: 3 things to know about the organization and fundraiser  GuelphMercury.com



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So you want my arts job: Art Installer – ArtsHub

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A rare opportunity saw Andrew Hawley join the National Gallery of Victoria (NGV) as a casual art handler after graduating from his BFA in Drawing at RMIT in 2003.

Eighteen years later, he is now the Collection and Exhibition Preparator at Hobart’s Museum of Old and New Art (Mona), known for their eccentric and challenging exhibitions, and undoubtedly, one of the most exciting environments in which to work in art installations, storage, and exhibition preparations.

He also holds a Masters in Cultural Materials Conservation from the University of Melbourne, and has worked across ACMI, the Victorian Arts Centre, ExhibitOne, POD Museum and Art services, and the Melbourne Immigration Museum.

From Ron Meuck’s 10 metre infant sculpture to Ai Weiwei’s White House (2015) in Mona’s Siloam, Hawley and his colleagues are the answer to your question: ‘But how did they manage to get it there?’

Here, Hawley shares the excitement of working on high-profile exhibitions and discusses the skills you would need to pursue this challenging but rewarding profession.

HOW WOULD YOU DESCRIBE WHAT YOU DO?

In a nutshell; I prepare artwork and other culturally significant material for storage, exhibition and loan, and assist with exhibition/display installation. My role is quite varied but I spend most of my time at our off-site collection store where I design, construct and fit out custom packing units for artworks. These vary from timber crates and travel frames to archival board boxes, archival tubes for rolled works and the occasional solander box. I also ensure artwork is clean and display ready. 

I organise and maintain the off-site collection storage area which involves a lot of 3D Tetris. I work closely with colleagues including registrars, a conservator, a mount maker and several other very highly skilled art handler/technicians as well as a wider team of kinetic artwork and time based media technicians.

I assist with exhibition installation/deinstallation and collection changeover at the museum and some external locations during festivals.

I’m also a qualified paper conservator so I undertake some conservation assessments and treatments when required.

Read: So you want my arts job: Museum Program Producer

HOW DID YOU GET STARTED IN YOUR CAREER?

I finished a fine art degree in 2003 and was looking for something outside the hospitality industry and inside the museum/gallery industry. Luckily, a regular customer at one of the venues I worked in (as a chef/cook), let word slip that the National Gallery of Victoria were hiring casual art handlers to prepare to move into the refurbished premises at St Kilda Road. I got the boss’ details, wrote an application letter, attended a job interview and somehow was successful, despite no prior experience.

WHAT DO YOU LOOK FORWARD TO THE MOST IN YOUR JOB?

Unique challenges and a reliance on lateral thinking for solutions – something I experience almost every day. I also have great colleagues with whom I liaise about all aspects of the job. We learn from each others’ creative perspectives.

I love the excitement of a large or high profile exhibition, including engagement with external or international artists and curators, trying to help realise a vision that may or may not be clear in everybody’s mind. I equally love the calm and solitude of a collection store and the fact that I work so closely with museum objects on a daily basis. If I have a bad day, looking at an ancient Egyptian mummified cat or some 2,000 year old bronze knife coins is very soothing. 

IN AN INTERVIEW FOR YOUR JOB, WHAT SKILLS AND QUALITIES WOULD YOU LOOK FOR?

Similar institutional experience in a similar capacity (eg. art handling, art packing) would be a must. It takes many years to attune yourself to the level of care required around culturally significant objects and irreplaceable artworks.

Other qualifiers would include:

  • A strong work ethic
  • An ability to handle multiple projects with strict deadlines
  • The ability to delegate fun jobs
  • The ability to undertake monotonous or tedious jobs
  • Strong, clear communication
  • Patience
  • Physically fit and able

The ability to look outside oneself and one’s own experience for solutions. It’s a bit of a ‘jack of all trades’ kind of position and a good Jack should know when they need to call on a master of something.

Someone who prefers order and neatness in their professional life. I’m in no way the neatest person in my private life but organising a storage area that keeps artwork safe and secure requires a high degree of attention to detail.

WHAT IS ONE OF THE MOST MEMORABLE INSTALLATION EXPERIENCES/PROJECTS THAT YOU’VE WORKED ON?

There’s been a lot over the years – I’ve done everything from helping carry and install a 10 metre silicon sculpture of an infant (Ron Mueck) to hanging iconic works from Picasso, Munch or Tom Roberts. From installing 100 tiny neolithic arrow/spear heads in one showcase to helping build a large, imperial Chinese house framework on glass balls (Ai Weiwei), and from installing famous AFL players’ jerseys in a sports museum (MCG/Australian Sports Museum) to hanging stills from Kubrick’s 2001 Space Odyssey (ACMI).

It’s hard to pick one moment from one project. In recent times, it’s probably been the preparatory work and final install of big MONA shows like On the Origins of Art, The Museum of Everything and our recent Monanisms 2021 collection based exhibition.

WHAT’S THE BEST THING HAPPENING IN YOUR SECTOR AT THE MOMENT?

We’re still operating and I still enjoy my job.

Read: So you want my arts job: Theatre Technician

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