Art
Sobey Award finalists’ art feels promising but immature
Michèle Pearson Clarke’s Quantum Choir is a video installation in which four queer masculine women, including the Toronto artist herself, perform vocal warm-ups and then sing the John Grant song Queen of Denmark.Courtesy the artist
The annual Sobey Art Award, which will be announced Nov. 18 in Ottawa, is a handsome prize for an emerging artist. But artists who are still emerging may not be ready for their close-up.
Take, for example, a small sculpture by the Inuvialuk artist Kaplusiak, one of five finalists for the 2023 prize, currently showing at the National Gallery of Canada. It’s a stone carving of a kneeling figure with dollar signs attached entitled TY Again Mr. Sobey. In French TY has been translated to Merci so the piece is apparently a thank-you to the founder of the feast, but it feels both simplistic and sarcastic. Kaplusiak’s investigation of the familiar figure of the Ootpik owl in various guises displays a gentler and more effective humour as it considers how southern culture commodifies Inuit art.
Still, this is not a strong year for the prize. Many of the pieces in the National Gallery’s annual show of the finalists’ art feel promising but immature.
The most engrossing is Michèle Pearson Clarke’s Quantum Choir, a video installation in which four queer masculine women (including the Toronto artist herself) perform vocal warm-ups and then sing the John Grant song Queen of Denmark (famously performed by Sinead O’Connor). At first they are tentative but gradually they get their groove.
The piece is a performance about mastery – that loaded word – as the female nonsingers gradually gain confidence. It is surrounded by soccer balls and pylons, apparently because soccer is an area where these four excel. It’s an unnecessary gesture that clutters the installation, but the work remains powerful, full of touching moments as one of the women reaches passionately for a stanza or the finale brings tears to Clarke’s eyes. As they belt out that final line, the parallel between self-revealing performance and queer self-acceptance resonates deeply.
Séamus Gallagher poses as a drag clown figure with a hairy body and breasts in A Slippery Place.Courtesy the artist
Montreal artist Anahita Norouzi is represented by a giant classical head, cracked open and weeping black oil in a piece that refers to the plunder of the Middle East for archeological remains and petroleum. (The head is a reproduction of a terracotta from the ancient Persian city of Susa, and is surrounded by blackened reproductions of crown imperial flowers, which were introduced to Europe from Iran in the 1570s.)
One issue with the Sobey Award exhibition is that it asks the jury and the public to judge artists on a handful of works. Norouzi is currently showing a more complex piece in the Royal Ontario Museum’s Being and Belonging show, a video work that uses the blooming of five irises as a visual metaphor for the systemic racism of U.S. immigration controls. In comparison, the large head created for the Sobey show seems bombastic.
On the other hand, the Métis artist Gabrielle L’Hirondelle Hill is represented by multiple works that don’t offer any clear stylistic direction. The B.C. artist contributes three pleasing collages of deep pigments studded with dried flowers, beer caps and other charms; two rabbits made of pantyhose stuffed with tobacco, and a puzzling installation involving two 16 mm film projections screening scratchy patterns that supposedly say something about motherhood and kinship.
Halifax artist Séamus Gallagher is showing their camp series about gender fluidity, A Slippery Place. In outlandishly decorated settings established in both photos and installations, they pose as a drag clown figure with a hairy body and breasts. In the documentary video associated with the show, Gallagher talks about their love of camp, describing it as a form that completely fails to achieve the glamour and beauty it seeks. Failure, they go on to say, is full of creative possibility. Words of wisdom from an emerging artist.
The Sobey Art Award exhibition continues at the National Gallery of Canada in Ottawa to March 3. The winner of the award will be announced Nov. 18.
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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