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Two B.C. artists chosen for Indigenous art fellowship – Vancouver Sun

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Two B.C.-based Indigenous artists have been chosen for the 2021 Eiteljorg Contemporary Art Fellowship.

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Two B.C.-based Indigenous artists have been chosen for the 2021 Eiteljorg Contemporary Art Fellowship.

Ligwilda’xw Kwakwaka’wakw contemporary artist Sonny Assu of Campbell River and Catherine Blackburn, an English River First Nation Dene multidisciplinary artist and designer from Thornhill, were among five Indigenous artists chosen for this year’s fellowship. Osage ceramicist Anita Fields of Stillwater, Oklahoma, Brooklyn-based Húŋkpapȟa Lakota painter Athena LaTocha, and Navajo painter Steven Yazzie of Denver rounded out the selection.

Ligwilda'xw Kwakwaka'wakw contemporary artist Sonny Assu of Campbell River, B.C. was among five Indigenous artists chosen for the 2021 Eiteljorg Contemporary Art Fellowship. Handout/Eiteljorg (single use)
Ligwilda’xw Kwakwaka’wakw contemporary artist Sonny Assu of Campbell River was among five Indigenous artists chosen for the 2021 Eiteljorg Contemporary Art Fellowship. Handout

“Since 1999, the Eiteljorg Fellowship has helped bring Native contemporary art to the forefront, casting a spotlight on the works of leading Native and First Nations artists,” said John Vanausdall, the Eiteljorg president and CEO. “The 2021 class of Eiteljorg Fellows is an exceptional group who have created intriguing works across a variety of disciplines — works that museum guests will want to experience. The Fellows’ work underscores the vitality, imagination and innovation in today’s Indigenous art, and will encourage dialogue about contemporary art.”

Chosen by an independent panel of art experts during an online adjudication, the artist will be given a $25,000 US grant. The Eiteljorg Museum of American Indians and Western Art, located in Indianapolis, will also purchase more than $127,000 of artwork from the chosen artists to further build its collection of contemporary Indigenous art.

A public exhibition of the work by the 2021 fellows is scheduled to open at the museum on Nov. 13 and will continue until spring 2022.

Aharris@postmedia.com

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Art Beat: 2021 writers' festival looking up – Coast Reporter

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The cancellation of the 2020 Sunshine Coast Festival of the Written Arts (SCFWA) left a big cultural gap in a year full of them, and this year is still littered with question marks about local arts and entertainment. But word is that the festival looks more likely to happen than not, depending. (That d-word seems mandatory in 2021.) “The ground we walk upon is not quite settled as we await vaccines and keep an eye on the COVID-19 variants,” festival producer Jane Davidson wrote in the SCFWA February newsletter. “Our plan for the summer of 2021 is based on our ability to gather in groups of up to 50. We are hopeful that restrictions will relax enough to allow us to do at least that and we hope they relax even more to allow us to increase that number,” Davidson said. “Compliance with public health guidelines and safety will lead our way forward.”

The extra good news is that festival events would not be confined to a weekend in August. “Our plan is to produce a summertime Sunday afternoon series of readings from July 4 to August 8. On Festival weekend, we will have 7 p.m. events on Friday, Saturday and Sunday (August 13, 14, and 15) and 2 p.m. events on the Saturday and Sunday. That’s 11 events in total with capacity for an audience of 42-44,” the newsletter said. Also, “[e]very event will be recorded by a professional videographer and the entire series (July 4 to Aug. 15) will be posted online as a virtual Festival for the last two weeks of August.” Fingers crossed. Davidson provides several more details about the current 2021 plans at writersfestival.ca.

Shout Out

It soon will be time again for the annual youth arts show at Gibsons Public Art Gallery (GPAG). The show, Shout Out! 2021, is open to all Sunshine Coast residents age two to 18. “Participating youth may submit up to two pieces of artwork in any medium (drawings, painting, prints, mixed media, photography, animation, video, sculpture, etc.),” gallery manager Christina Symons said in a release. Submission forms and artwork may be dropped off at the gallery at 431 Marine Drive in Gibsons starting March 4, from 11 a.m. to 4 p.m. The deadline is 4 p.m. on Sunday, March 7. More information and submission forms can be found at www.gpag.ca. The show runs from March 11 to April 4.

Space is limited in Art Beat but please let us know about your events at arts@coastreporter.net

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Focus – Looking back at the Arab Spring: The role of art and music – FRANCE 24

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Issued on: 25/02/2021 – 16:23Modified: 25/02/2021 – 16:29

Ten years ago, the winds of change swept across several Arab nations, from Tunisia to Yemen via Egypt. The desire for political change was also expressed through art and music, which became vehicles for political ideas and the hopes and dreams of millions. Anmar Hijazi and Wassim Cornet look back at some of the highlights from the arts and culture world during the Arab Spring.

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Programme prepared by Rebecca Martin and Wassim Cornet.

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Oil heiress’s $150-million art collection could ease a market crunch – Financial Post

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Thanks to trepidation over online-only transactions, top-tier artworks are in short supply at auction

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This spring, Sotheby’s New York will auction off about US$150-million worth of art and jewels from the estate of the late oil heiress Anne Marion, who died last year.

Consisting of multiple blue-chip artworks that remained in Marion’s collection for decades, the sale comes at a time when, thanks to trepidation over online-only transactions, top-tier artworks are in short supply at auction.

Marion, who inherited a Texas oil fortune built on a Texas ranching fortune, was president of Burnett Oil Company, Burnett Ranches, and the Burnett Foundation in Fort Worth, Texas.

A major philanthropist, she founded the private Georgia O’Keeffe Museum in Santa Fe in 1997 with US$10 million in seed money. She also spearheaded the US$65 million expansion of the Modern Art Museum of Fort Worth, and served for a period of time as a trustee of the Museum of Modern Art in New York. Through her charitable donations, Marion gave away more than US$600 million.

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Lifelong collector

All the while, Marion was acquiring art for herself.

“She was a lifelong, passionate collector,” says Michael Macaulay, a senior vice president and senior international specialist for contemporary art at Sotheby’s. The works coming to auction, he continues, “were mostly acquired in the 1980s and some in the 1990s.”

Roughly 200 lots from Marion’s collection will be included multiple sales, Macaulay says. Eighteen of the top artworks will be featured in a standalone evening sale; the rest, including a standalone jewelry sale featuring a pair of emerald and diamond ear clips that carry a US$150,000 high estimate, will be spread across 2021.

Marion is survived by her husband John Marion, the former chairman and chief auctioneer of Sotheby’s North America, whom she married in 1988.

Top lots

The top lot of the entire sale is a work by the Abstract Expressionist painter Clyfford Still, PH-125 (1948-No. 1)  from 1948. Estimated between US$25 million and US$35 million, the work is a rare instance of the artist’s output coming to market: Approximately 95 per cent of everything he ever created resides in the Clyfford Still Museum in Denver.

There’s also a Richard Diebenkorn, Ocean Park No. 40 from 1971, estimated between US$20 million and US$30 million, which Macaulay says Marion acquired in the early 1980s.

An abstract painting by Gerhard Richter from 1992 “is a bit of an outlier,” Macaulay says, insofar as Marion purchased in 2012 at Sotheby’s fairly late in her life. “It’s representative of her lifelong passion for collecting,” he says, “in that she never stopped.”

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Marion bought the work for US$16.9 million; currently, it’s estimated between US$14 million and US$18 million, an estimate that reflects a softening of Richter’s market.

Similarly, Sotheby’s will be selling a Warhol Double Elvis from 1963, which carries an estimate of US$20 million to US$30 million. The Warhol market has been depressed for more than half a decade, Macaulay acknowledges, but cautions against reading into overall numbers too much.

“Yes, there’s been an absence of many big prices [for Warhol] for a number of years,” he says. “But that’s not exclusively representative of demand, it’s also ‘Well, where is the supply for outstanding, top-tier early 1960s icons of pop art?’ And it’s pretty thin.”

Bloomberg.com

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