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Teen Art Phenomenon launches Fine Art Challenge to help African Children affected by COVID19 – Canada NewsWire

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Sharma, who grew up hearing stories of the richness of Africa from two of his grandparents who were born there, decided to help. Having previously raised over $60,000 for various charities, he decided to roll up his sleeves and create the project.

To me, helping other people is the most important thing someone can do.  I am incredibly grateful for these world-class artists who have agreed to participate in the challenge. It is all about trying to make a difference in the lives of children who need our help,” said the 17 year old Sharma. I am also thrilled to collaborate with Flying Kites and HATCH on this project.”

The event will start with Sharma auctioning off Drive Carefully Me – a Paul Newman portrait, then challenging 20 other notable artists to do the same. The 2-week challenge will end with the release of Sharmas 46664 – a portrait of iconic South African leader, Nelson Mandela.

Flying Kites is thrilled for the opportunity to partner with Evan and participate in his incredible vision of the CovART challenge,” stated Leila De Bruyne, Executive Director of Flying Kites.

The Challenge will go live today and remain live for 2 weeks, ending on March 9th.

To learn more about the CovART Challenge, please visit: www.covartchallenge.com

About The CovART Challenge

The CovART Challenge is a fine art auction started by teen artist Evan Sharma to raise funds for children in Africa affected by COVID19. Partners include Flying Kites and the HATCH Experience. Funds raised for the challenge will help provide 250,000 meals for vulnerable children.

SOURCE CEH Inc

For further information: Contact info: Blake Wynn – [email protected]; Phone (613) 483 9353

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Launching the conversation on Newfoundland and Labrador art history – TheChronicleHerald.ca

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ST. JOHN’S, N.L. —

“Future Possible: An Art History of Newfoundland and Labrador” is a book that has been a long time coming, Mireille Eagan says.

While working at the Confederation Centre Art Gallery in Prince Edward Island, Eagan curated an exhibition marking the 60th anniversary of Newfoundland and Labrador joining Confederation with Canada.

“As I was researching, I noticed that there was very little that existed in terms of the art history of this province,” she said. “There wasn’t even a Wikipedia article.”

Noticing this large gap, “Future Possible” was a book that needed to exist, she said.

As the 70th anniversary approached in 2019, Eagan, now living in St. John’s and working as curator of contemporary art at The Rooms, envisioned filling that gap.

Over two summers, The Rooms held a two-part exhibition. The first looked at the visual culture and visual narratives before the province joined Confederation and the second focused on 1949 onward, Eagan said.

“At its core, it was asking, what are the stories we tell ourselves as a province? It was looking at iconic artworks, it was looking at texts that have been written about this place, and it put these works in conversation with contemporary artworks,” Eagan said.

In the foreword to the book, chief executive officer of The Rooms Anne Chafe described it as a complement to the exhibition and a project that “does not seek to be the final say. It seeks, instead, to launch the conversation.”

History and identity

One example of that conversation between the past and the present mentioned by Eagan is the work of artist Bushra Junaid, who moved to St. John’s from Montreal as a baby. The daughter of a Jamaican mother and Nigerian father, Junaid said her experience growing up in the province in the 1970s, where she always the only Black child in the room, was not like most.

“All of my formative years, my schooling and everything, took place in St. John’s,” she said. “It’s very much shaped my current preoccupation.”

Her interest in history, identity and representation led her to making “Two Pretty Girls…,” which used an archival photograph of Caribbean sugarcane workers from 1903 with text from advertisements for sugar, molasses and rum from archived copies of The Evening Telegram collaged over the women’s clothing.

In her essay “Of Saltfish and Molasses” published in “Future Possible,” she described the work as “(allowing) me to place these women and their labour within the broader historical context of the international trade in commodities that underpinned Caribbean slavery and its afterlife.”

It’s a direct connection between Newfoundland and people in the Caribbean, a historical line not often drawn through the context of the transatlantic slave trade, but one she knows personally through the stories told by her mother, Adassa, about their ancestor, Sisa, who “as a teenager, survived the horrors of the Middle Passage, enduring the voyage from West Africa to Jamaica in the hold of a slave ship (Junaid).”

A book like “Future Possible” allows people to interpret themselves and their past, present and future, Junaid says.

“I appreciate the ways in which they really worked to make it as broad and diverse as possible,” she said. “It’s also striving to tell the Indigenous history of the place, the European settler history … and then also looking for … non-Western backgrounds such as myself. It’s enriching.”

What shapes us

St. John’s writer Lisa Moore contributed an essay called “Five Specimens from Another Time” that weaves together moments from her own life, the province’s history and current realities and the art that has inspired her over the years.

“It’s really interesting to me to see all this work of people that I’ve written about in the past and whose work influenced me, even in my writing of fiction, and then newer artists,” Moore said. “I just think that the book is a total gift.”

With such a rich cultural history ready to be written, she imagines “Future Possible” is just the first of what could be many books about art in the province now that the “ice is cracked.”

“The writers that (Eagan) has chosen to write here are also really exciting critics from all over the province, talking about all kind of different periods in art history,” she said.

As time passes, the meaning of the works in the book becomes richer, she said.

Mary Pratt’s 1974 “Cod Fillets on Tin Foil” and Scott Goudie’s 1991 “Muskrat Falls,” for instance, are two images with seemingly straightforward and simple subject matter. But any viewer looking now, who is aware of the cod moratorium and the Muskrat Falls hydroelectric dam, would find it difficult to see and interpret these images outside of those contexts.

“Artists, writers, filmmakers … they’re keen observers of culture and the moment that we live in,” Moore said. “They present things that are intangible like the feeling of a moment, or the culmination of social, political and esthetic powers that come together at a given time and shape us.”

“Future Possible: An Art History of Newfoundland and Labrador” is available online and in stores.

Andrew Waterman reports on East Coast culture.
[email protected]
Twitter: @andrewlwaterman

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Parrott Art Gallery goes virtual to help flatten the curve – The Kingston Whig-Standard

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Article content

WENDY RAYSON-KERR

Feeling stir crazy because of COVID and the latest lock-down? Take a virtual trip to Morocco!

On Wednesday, April 14 at 2:30 p.m., the Parrott Gallery will host Lola Reid Allin’s Armchair Traveler online presentation: “Morocco: Sea, Sand and Summit”. Allin is an accomplished photographer, pilot, writer and speaker. Travel with her through the land of dramatic contrast and hidden jewels, busy markets and medieval cities, and enjoy some virtual sun.

For more information and to register for this free online event, please visit bellevillelibrary.ca/armchair-traveller.php. The Armchair Traveller Morocco photography exhibit is also available to view through the Parrott Gallery website until mid-May.

Even though our gallery is currently closed to the public, our exhibitions are all available to view online. Sam Sakr’s show “The Housing Project” is certain to bring a smile to your face. His collection of mixed media artwork will take you to a playful land of fantastical creatures that inhabit imaginary, stylized cityscapes. If your spirit needs uplifting, you need to see to see this show. I hope that everyone will be able to view Sakr’s work both online and then in our gallery after the lock-down ends in May. Without a doubt, it will be worth the wait to see it again in-person when we re-open.

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Another exhibition that you can currently visit on the Parrott Gallery website is the group show “Spring Sentiments: a Reflection of Art in Isolation”. This was a collaborative effort by the 39 artists who submitted their work, our staff who put the show together in the gallery and online, and our guest curator Jessica Turner. We are thrilled that Jessica was able to transcribe her experience with this show into a final paper for her Curatorial Studies BFA degree at OCADU.

The fact that we have had to close our doors just as this show was opening is a sad reflection of the theme as the audience must now reflect on this artwork at home, in isolation. The up-side to viewing this exhibition online is that one can read the artist statements that accompany the work and get a more in depth view of the artists’ perspectives. We encourage viewers to support our artists by sending in their comments and to vote for their favourites in the show by following the appropriate link on the webpage.

When you can’t come in to our building, the Parrott Gallery will bring the artwork to you. And then when the sun and flowers come out in May, and when it is safe to return to our gallery on the third floor of the Belleville Public Library, we hope to see you all again.

For questions about our online talk, our shows, or to purchase any of the artwork please call us at 613-968-6731 x 2040 or email us at gallery@bellevillelibrary.ca.

Wendy Rayson-Kerr is the Acting Curator at the John M. Parrott Art Gallery.

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Couple accidentally paint over art worth $500K at South Korea gallery – fm96.com

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A young couple damaged a $500,000 piece of art on display in South Korea last month after they mistook some nearby cans and brushes as an invitation to smear paint on the artwork.

CCTV footage captured the moment when the man and woman started splattering paint on the graffiti on March 28 at the Lotte World Mall in Seoul. Exhibition staff say the couple daubed, splattered and rubbed the paint on the display, causing extensive damage to the wall-sized piece of art.

“They thought they were allowed to do that as participatory art and made a mistake,” Kang Wook, who runs the exhibition, told Reuters.

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The piece was a valuable work of art by U.S. graffiti artist JonOne, who made it in front of a live audience in Seoul in 2016. The artwork was later turned into a display with paint cans and brushes arranged nearby wherever it’s shown.

Police reviewed the CCTV footage and arrested the couple shortly after they defaced the graffiti. They were later released without charges after the gallery accepted their explanation that it was an honest mistake.

“We are currently in discussions with the artist about whether to restore it,” Kang said.

Read more:
Man arrested after ‘gigantic’ playground slide found on child’s bunk-bed

The gallery has since added a sign to the display that reads: “Do not touch.”

It’s not the first time a careless gallery visitor has damaged a piece of art on camera. In 2015, a schoolboy in Taiwan accidentally tripped and punched a hole through a $1.5-million painting that he used to break his fall.

With files from Reuters

© 2021 Global News, a division of Corus Entertainment Inc.

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