The past 12 months were an extraordinary year for Canadian culture. While cinemas, theatres, concert halls, galleries, museums, and even book stores were off-limits, the arts themselves never went away. Indeed, this country’s most passionate and dedicated voices only grew louder, finding all kinds of ways to remind us about the power of creativity, and the importance of meaningful cultural change. Here, The Globe and Mail spotlights a handful of these heroes of Canadian arts who made 2020 such an exciting and invigorating year, despite absolutely everything else.
Illustrations by Antony Hare
The Archipelago artists at the Museum of Contemporary Art, Toronto: Leeay Aikawa, Stephanie Bellefleur, Tania Costa, Lily Huang, Wenting Li, Vanessa Maltese, Erin McCluskey, Val Sears, Yen Linh Thai, Kelcy Timmons and Jinke Wang
Squatting on the floor, their faces masked but their brushes busy, they worked for more than 1,500 hours to execute one giant paint-by-numbers project. The 11 local artists hired to create the colourful floral patterns designed by the Taiwanese artist Michael Lin for Toronto’s Museum of Contemporary Art are just the latest example of studio assistants wielding the actual brush. But this time, the master could never put in an appearance. Instead the team that created Archipelago, a series of floor paintings and low seating platforms in the MOCA lobby, were directed remotely from Lin’s Paris studio. Toronto team leader Vanessa Maltese (shown in the illustration above) would give studio director Isabelle Georges daily tours on her phone.
The group, hired for their experience on mural projects and their clean, graphic painting style, were provided with giant mylar printouts of Lin’s design that they stencilled onto the floor using transfer paper. The artist had selected colours from paint chips and Maltese then drew up a legend, checking back with Paris to make sure the actual floor paints were matching Lin’s original choices. Then they got to work.
“It was quite physically demanding. We had to be in a frog position on the floor,” Maltese said, adding, “It was amazing to see it come together.”
The artists were paid by the hour and MOCA staff also provided mentorship with a series of lectures and workshops about the art world and museum practice. The completed Archipelago was only open to the public for one weekend before MOCA was forced to close, but some visitors saw it during installation. The children were the best audience, Maltese said; sometimes they disputed Lin’s colour choices, suggesting more pink. –Kate Taylor
Theatre artists having concerns about theatre criticism is nothing new. But, in February, Yolanda Bonnell, an Ojibwe and South Asian performer and playwright, decided to directly challenge “current colonial reviewing practices” by inviting critiques from IBPOC [Indigenous, Black and People of Colour] writers only during the remount of her Dora-nominated play bug at Toronto’s Theatre Passe Muraille.
Bonnell’s selective invitation provided fuel for theatre journalists to opine on race and reviewing not just in Canadian media – but as far afield as The Guardian in Britain, El Pais in Spain and L’Obs in France. The old theatrical saying “any publicity is good publicity” was not coined by an Indigenous woman, however; Bonnell says this was a traumatizing time as she was targeted with hateful messages and death threats.
Nevertheless, Bonnell and bug also sparked or revived quieter conversations in newsrooms about a paucity of IBPOC theatre critics. And her ask hardly seemed radical at all when summer came around and George Floyd’s killing by police led to a wider societal racial reckoning. An American group called We See You White American Theater released a full list of demands rather than requests about criticism – including that producers not buy ad space in the New York Times, the L.A, Times and the Washington Post until they had 50 per cent IBPOC critics. Its hundreds of signatories included Lin-Manuel Miranda, Sandra Oh and Sterling K. Brown. Bonnell went out on a limb ahead of them. –J. Kelly Nestruck
Edward Burtynsky and Nicholas Metivier Gallery
In the early days of the pandemic, Canadian photographer Edward Burtynksy found himself isolated in Ontario’s Grey County when he was supposed to be flying off to Africa. He decided to put the sudden gap in his schedule to good use, got out a digital camera and started experimenting.
Burtynsky is known for his giant images of industrial landscapes shot around the world but now he began touring his own backyard just as spring was emerging in the Ontario woods. Using technology that can stack multiple exposures to create a single image, he was able to achieve a range of detail and depth of focus that previous photographs couldn’t match.
He showed the results at the Nicholas Metivier Gallery in Toronto in September and, seen as large-scale prints, the photographs proved oddly unsettling. The viewer’s eye is so accustomed to the shallow depth of field of a traditional photograph – foreground sharp; background fuzzy – that there seemed to an aura of the inexplicable or unnatural about these hyper-focused images. In truth, they reproduce something closer to the way the eye actually sees the world as it darts about bringing different bits of a view into focus.
Burtynsky and the Metivier Gallery are donating $200,000 from the sale of the Natural Order – Grey County series to photography acquisition funds at the AGO and the Ryerson University Image Centre to buy the work of emerging and mid-career Canadian artists. –Kate Taylor
Wesley Colford and Arkady Spivak
The groundbreaking Canadian director John Palmer died this year of COVID-19 – reviving memories of the glory days of Toronto Free Theatre, a company he co-founded in 1972 that, indeed, had free admission in its early days. But the idea that theatre should be free was also reborn during this pandemic. And leaders at two Canadian theatre companies acted immediately on “building back better” by removing financial barriers to their essential services.
A six-year-old company in Sydney, N.S., the Highland Arts Theatre (HAT) is what executive director Wesley Colford calls an “emerging professional” theatre.
Without any operating funding, Colford and the HAT team quickly sprang into action with a plan on how to replace the threatened loss of $600,000 in box-office revenue by starting a “Radical Access” campaign. The idea: Find 2,000 people in the community to sign up for monthly donations of $25 ($300 a year). When that goal was met, ticket prices were eliminated for all.
In Barrie, Ont., Talk is Free Theatre (TIFT) just cut to the chase – announcing it would provide free admission to all core theatre programming for three years.
Artistic director Arkady Spivak has always structured TIFT so he doesn’t have to worry about box-office revenue and can program eclectically; last season, box office was just $60,000 on a budget of $1,070,000.
“It’s just not worth it to keep it as a barrier for so many people,” Spivak says. “It’s easy to give it up and replace by strategic fundraising instead.” –J. Kelly Nestruck
Mark Haney is a composer, double-bassist and managing artistic director of Vancouver’s Little Chamber Music. In March, he also became a musical matchmaker. Knowing musicians would be among the hardest hit, with gigs abruptly cancelled – and realizing arts patrons suddenly had no events to buy tickets for, he dreamed up the Isolation Commissions. For $200, a patron could commission a short video and choose the musician, genre, instrument – or leave it to Haney. He figured he’d broker maybe 25 pieces. By June, when the program wound down, 130 videos had been commissioned, raising nearly $30,000 – all of which went to the musicians.
Among the patrons was a Burnaby high school teacher. Distressed that she could not be with her students as they prepared for exams, she commissioned a motivating five-trumpet video of Mark D’Angelo playing the theme from Superman. This year, Haney also COVID-altered two major events. On the 75th anniversary of the bombing of Hiroshima, he brought together a masked orchestra at the Polygon Gallery to play a program that included Krysztof Penderecki’s Threnody to the Victims of Hiroshima for an in-person audience of two: a survivor of the bombing and her husband. For Remembrance Day, he planned to have 75 female voices perform a 40-minute meditative piece at a Vancouver cemetery, representing 75 enlisted Canadian women who died during their Second World War service. Instead, he streamed a shorter piece.
There were also small pop-up performances in the cemetery – including one near the graves of two of the women. Haney’s work brings to mind the Christopher Reeve quote that teacher used at the end of her Isolation Commission: “A hero is an ordinary individual who finds the strength to persevere and endure in spite of overwhelming obstacles.” –Marsha Lederman
In answer to the challenge presented to performing arts organization this year, we saw some regrettable poverty of imagination and ingenuity. Not so with Against the Grain Theatre (AtG), the small but indomitable opera company. To its great credit, in its 10 years alive, AtG has been devoted to opera in unconventional spaces with unique approaches. It has also relied on social media to build an audience for everything from its Dora-winning productions to its popular Opera Pub Nights.
Founder and artistic director Joel Ivany nimbly moved AtG online, created a YouTube channel and weekly, if not more often, presented performances, discussions with performers and directors and then created original digital content. First there is the unique web series A Little Too Cozy, “a digital prequel” to the company’s inventive, re-imagined version of Mozart’s Cosi fan tutte as a TV dating show. The original production was done at CBC studios in 2016. Ivany turned TV writer/director for a backstory to that crazy reality-TV/Mozart mash-up. Fresh and cheeky, it’s about the contestants and the makers of an absurd TV show about love and ego
Then came the ingenious and stirring Messiah/Complex, an online performance interpretation of Handel’s Messiah using 6 languages, 12 soloists, four choirs, and anchored in the Toronto Symphony Orchestra. The 70-minute filmed performance is truly an inclusive Canadian experience, in Arabic, Dene, English, French, Inuktitut, and Southern Tutchone. With singers participating from every province and territory, and the whole country in vivid display, the work is an astonishing declaration of optimism when all around is COVID-induced doom and gloom. –John Doyle
No one would have blamed the Academy of Canadian Cinema and Television if it just took 2020 off. Or at least stayed in a holding pattern. Yet, the Academy’s CEO Beth Janson decided to look an industry-shaking crisis in the eye and say, basically, to hell with that.
Thanks to Janson and her team’s drive and commitment to meaningful change, the Academy has spent the pandemic rolling out a series of initiatives to ensure that the Canadian arts’ newfound attention to the all-encompassing concept of “diversity” is not mere lip service. Janson’s goal seems to be no less than changing the way that Canadian film and television is made, and who makes it. That is a seemingly impossible goal, but I can think of few leaders who might be able to make such a dream reality. –Barry Hertz
“Always leave them wanting more.” Maybe Dan Levy learned that showbiz adage from his father, Eugene, and his honorary aunt, Catherine O’Hara. He certainly applied it when he was arcing out the final season of Schitt’s Creek, one of the brightest stars in the 2020 TV firmament. The CBC series, about a rich, callous family who lose everything and realize they don’t want it all back, had a slow build for three seasons, and then instant success in Season 4, when the world discovered it on Netflix.
It could have gone on and on, but Levy knew it shouldn’t. He gave us a final season that could be its own screenwriting course, in which every character is launched into a new life directly because of what they’d learned in their nowhere-but-everything town. In September, Schitt’s Creek swept the top seven Emmy Awards, a feat no other series had ever achieved. It was an acknowledgement of what a gift Dan Levy gave us, particularly in this COVID year: the chance to miss his characters, and so we love them even more. –Johanna Schneller
While serving in the Royal Canadian Air Force during the Second World War, young Douglas MacEwan took in a performance of Richard III in London. The actor assigned to the title role that night was one none other than Laurence Olivier. MacEwan had heard “my kingdom for a horse” from the best there ever was. He’s been a fan and patron of the performing arts ever since. As for the horse, with all apologies to Shakespeare, Olivier and Mr. Ed, MacEwan would rather walk.
On Nov. 11 (not only Remembrance Day but his birthday) the 96-year-old veteran and retired Winnipeg radiologist reached his goal of walking a kilometre a day for 96 days. In doing so, he had raised $96,000 (rounded up to $100,000), to be divided evenly between Winnipeg’s four major performing arts organizations: Manitoba Opera, the Royal Manitoba Theatre Centre, Royal Winnipeg Ballet and the Winnipeg Symphony Orchestra. The money had been donated by an anonymous benefactor in support of the strolling MacEwan’s beloved institutions, in a time of great financial distress for arts companies devastated by the COVID-19 pandemic. One more mission accomplished for MacEwan. –Brad Wheeler
The fifth edition of The Festival of Literary Diversity (FOLD) was set: 29 events were programmed to mark the 2020 milestone. When the world began shutting down in March, FOLD founder and artistic director Jael Richardson acted quickly, moving the festival to Zoom – long before Zoom became a ubiquitous COVID-19 meeting place. She and her team had six weeks to do it.
“I knew we couldn’t cancel,” she says. “We felt like in the midst of the pandemic, it was even more important to put on the FOLD. And to make sure that people from marginalized communities had a chance to connect and find authors and really heal from what was going on around them.”
They held practice runs, worked out technical bugs, set up registration with free tickets. In April, they launched a four-day virtual festival with 16 events that attracted about 5,000 unique participants – up from about 950 the previous year. Not only did FOLD offer cultural respite during lockdown, it also became a model for festival organizers across the country staring down fall events. Richardson answered their questions and created a webinar to share her experiences and takeaways.
The Brampton, Ont. festival grew out of Richardson’s concerns around the lack of diversity in publishing. In this landmark year – with a focus on social justice issues fuelled by Black Lives Matter – Richardson continued to be a critical voice and a formidable advocate. “I think it takes moments like this, where the whole world is watching, to be able to push the needle a little bit further,” says Richardson, who turns 40 on Dec. 26. “For me, this season and FOLD are about continuing to push and continuing to point at where there are gaps.” –Marsha Lederman
Biblioasis’ Dan Wells has always been willing to take big risks. The first one was starting a press in Windsor, Ont., in 2003, not exactly the centre of the publishing universe. It paid off: The publisher’s books have been long-listed for the Giller 13 times and shortlisted for five; they’ve been nominated for the Weston Writers Trust Non-Fiction Prize, won the Writer’s Trust Fiction Prize once, won the Trillium Book award twice, won the Amazon First Novel Prize twice and won the Governor-General’s Prize twice.
Last year, Wells took another big risk (literally), acquiring Lucy Ellman’s 1,000-page, 2.7-pound tome, Ducks, Newburyport, after her publisher, Bloomsbury, passed. The novel was short-listed for the Booker Prize. Wells started 2020 with a win for the final RBC Charles Taylor Non-Fiction with Mark Bourrie’s Bush Runner. But in a pivot after COVID hit small publishers hard, he made another calculated risk and became a pamphleteer.
In October, he published the first of the Field Notes series: Mark Kingwell’s On Risk. In December, Wells plans to publish Andray Domise’s look at how the grassroots protest movement reached corporate boardrooms with Blackout Tuesday. In January, the University of Toronto’s Rinaldo Walcott’s On Property will be available. I expect to see more big moves in 2021. –Judith Pereira
The Globe has five brand-new arts and lifestyle newsletters: Health & Wellness, Parenting & Relationships, Sightseer, Nestruck on Theatre and What to Watch. Sign up today.
In Conversation With French Art Gallery Owner, Nathalie Obadia – Forbes
Nathalie Obadia, founder of her eponymous gallery with spaces in Paris and Brussels representing artists such as Fiona Rae, Laure Prouvost, Benoît Maire, Valérie Belin, Fabrice Hyber, Roland Flexner, Lorna Simpson, Sarkis, Manuel Ocampo, Wang Keping and Xu Zhen, discusses the pros and cons of online art fairs.
During the age of COVID-19, do you believe we’ll see more online art fairs worldwide in the future?
Online fairs were very important last year, but we already feel a weariness. Collectors do not visit all online viewing rooms. Some collectors said they are already tired of it. Since the ’60s, fairs and their success rely on the possibility to gather galleries, collectors, curators, press and artists. Nothing will change the physical perception of a work and meeting all the different actors of the art world. If in 2021, international art fairs cannot be organized, there will be less online visits. Nevertheless, it will strengthen local business in galleries in New York, Paris and London.
How has the pandemic and subsequent lockdowns worldwide affected the way in which you support your artists, collectors, curators and visitors, instituting new online content?
Until now and since March, we are lucky as this period went well. We sold several artworks online and at the gallery thanks to loyal collectors. We will have to adapt to a longer, and therefore structural change: less travels, less art fairs, less exhibitions of non-European artists, as they cannot come to France. We will focus on artists living in Europe.
What was the percentage of your online sales in 2019 versus 2020?
Our online sales grew by 30 % in 2020 compared to 2019.
Will you continue to participate in as many art fairs as before (whether physical or digital), or reduce the number?
Of course we will participate in fewer art fairs in 2021, as fewer art fairs will occur. Nevertheless, we will work on the French and Belgian markets, which are stronger than people are used to admitting. We will participate in international and strategic art fairs if they aren’t canceled, such as Art Basel Hong Kong, Art Basel Miami and more. Moreover, we will participate for the first time at Asia Now, which is a small and specialized fair in Paris that takes place the same week as FIAC contemporary art fair.
Why did you decide to participate in the physical edition of Art Paris 2020 last September, after the fair had been postponed then canceled?
Nothing will replace a meeting at a booth and a collector looking at an artwork. Nothing replaces an exchange, a spontaneous discussion in front of a work or around art. It is also an opportunity to meet many people that we have not seen for months. We were very happy about Art Paris, which was a test. We learned to work wearing a mask for 10 hours and to recognize our collectors despite that. We concluded more than 20 sales, mostly to French collectors. That is a good sign and means that we have collectors in France despite what we usually hear. A third of our sales were made to new collectors.
How has your vision of the future of the art world changed? Does COVID-19 spell the end of massive physical art fairs, or do you believe that they will be able to survive now and in the future and remain relevant?
Already before the pandemic, there was a sign of the system of fairs running out of steam: too many, too large. On one hand, we saw the big global international fairs like the three Art Basels, the three Friezes and the FIAC being organized, and already the energies of some of these big fairs were starting to run out because too many exhibitors put forward globalized international art. On the other hand, smaller boutique fairs like Art Genève, or more specialized like African art in 1-54, are becoming more interesting and will now perhaps be those that will be possible to organize and that will have more visitors.
Works in group show at London art gallery examine year of pandemic – London Free Press (Blogs)
A new exhibition at a city art gallery features works by more than 20 London-area artists exploring their experiences during the pandemic.
Westland Gallery is hosting the annual gallery artists’ group exhibition until Feb. 13 that includes works by artists who will be featured at the gallery this year.
Artists in the exhibition include Catherine Morrisey, Erica Dornbusch, Donna Andreychuk, Johnnene Maddison, Paul Lambert, Jane Roy, Carol Finkbeiner Thomas, Kim Harrison, Sheila Davis, Lisa Johnson, Denise Antaya, Andrew Sookrah, Brent Schreiber, Dana Cowie, Sharon Barr, Pat Gibson, Geoff Farnsworth, Eleanor Lowden, Jeanette Obbink and Jill Price.
“This year we encouraged our artists to submit artwork that reflected on their experiences during 2020,” said Danielle Hoevenaars, the gallery’s associate director.
“The artistic responses we received are as unique as each individual experience of this unprecedented year has been. Contrasting themes play a big role in this exhibition: loss of public spaces alongside reflections of the home, feelings of isolation alongside the pursuit of meaning, happiness and justice.”
Cape Breton woman's COVID-19 inspired public art show features face masks and personal sentiments – TheChronicleHerald.ca
SYDNEY MINES, N.S. —
Bailee Higgins hopes her public art project will help promote an important public health measure while connecting people in the community.
I Wear A Mask For Sydney Mines is a series of digital portraits of people who live or work in Sydney Mines wearing masks, which are designed to reflect their personalities. Included with each portrait is a comment from the subject about why they wear a face mask or a little about their experience during the COVID-19 pandemic.
“It’s a project that’s meant to bring people together since we can’t get physically together,” said Higgins, who is in the art education program at the Nova Scotia College of Art and Design in Halifax.
“And it’s a project that can encourage people to wear a face mask as a way to help protect everyone during the pandemic, which I think is an important message.”
Created for a public art class Higgins is taking at NSCAD University, the Sydney Mines native received a Rising Youth grant so she could continue the project until March 1.
During the last week of February, she is planning a virtual livestreaming show of all the portraits she’s completed to this point. But the artist, who has a bachelor of fine arts degree from Mount Allison University in Sackville, N.B., plans to continue doing portraits until the end of the pandemic.
“I want to get as many people as possible involved so we can get as many people’s experiences included,” she said.
One participant who is a COVID-19 survivor living off-island wrote a statement that Higgins calls “powerful.”
In it, the woman said her health will never be the same again and that she wants to live in a world where people care about protecting people around them.
“Our cases have been pretty low here. So hearing from someone who has had it and is still suffering from the lasting effects is really powerful,” Higgins said.
Alex Cormier saw Higgins’s Facebook post looking for subjects for the I Wear A Mask series and the mother of two said she wanted to participate in the project because protecting others is a message that hits close to home.
“It’s affected our family directly, the COVID pandemic. My mother had COVID and now she suffers long-term effects from COVID. Her lungs are permanently damaged,” Cormier said about her decision to be a model in the series.
“If by helping promote the message that face masks work, if we can protect anyone else’s mother or grandmother or father or someone else in the community by wearing masks, then we should do what we can to get that message across.”
Each digital portrait takes about an hour and a half to complete and is done on an iPad with a special pen which allows the artist to draw right on the screen.
To date, Higgins has completed 40 portraits and hopes to finish at least 100 by the time the pandemic is over.
Anyone interested in being a model in the I Wear A Mask For Sydney Mines series can contact Higgins by email at [email protected], through Facebook messenger on the project page or by phone at 902-578-9444.
Nicole Sullivan is an education, enterprise and diversity reporter for the Cape Breton Post.
Coronavirus: What's happening in Canada and around the world on Thursday – CBC.ca
Apple’s first VR headset reportedly includes a fabric design, a fan, and expensive price tag – The Verge
B.C. records 500 new COVID-19 cases Wednesday, 14 deaths – Revelstoke Review
Silver investment demand jumped 12% in 2019
Iran anticipates renewed protests amid social media shutdown
Galaxy M31 July 2020 security update brings Glance, a content-driven lockscreen wallpaper service
Sports24 hours ago
Have the Toronto Raptors waived Alex Len
News18 hours ago
Pfizer pitches Canada for tax breaks in upcoming budget
Business11 hours ago
Bank of Canada warns surging loonie could pose risk to economic outlook – Financial Post
Science9 hours ago
A Habitat at Ceres Could be the Gateway to the Outer Solar System
Economy4 hours ago
Facing green push on farm, fertilizer makers look to sea for growth
News4 hours ago
Newfoundland government to fund refinery as search for buyer continues
Economy5 hours ago
Canadian annual inflation rate slows in December amid renewed COVID-19 restrictions
Business6 hours ago
Ottawa to delay second doses of COVID-19 vaccine as supply dwindles