adplus-dvertising
Connect with us

Art

Vancouver council denies art program funding for vulnerable drug users

Published

 on

The majority on Vancouver city council have voted not to approve $7,500 in funding for an art program on the Downtown Eastside, citing – in part – the need to “send a message” to the organization facilitating the drop-in.

At Tuesday’s meeting, council was presented with a staff report recommending a combined $4,351,340 in arts and culture grants, to be distributed to 209 organizations.

Coun. Brian Montague, who is with the majority ABC party, asked staff about a particular line item in the report that proposed funding the Vancouver Area Network of Drug Users’ art table. His concern, he said, was that the organization failed to deliver what it promised when it was given a sizeable grant to clean up East Hasting Street last year.

“Was the fact that the city terminated that funding to this group last year factored into the decision to grant them more money?” Montague staff.

300x250x1

In response, cultural manager Cherryl Masters said the particular program was funded last year and met all of the criteria.

“The criteria is really about impact in the community,” she said.

“This project was well received by the community peer assessors in terms of offering some low income residents of the Downtown Eastside some opportunities to have a voice, be creative, to be off the streets and maybe access some other resources that VANDU provides,” she continued.

The termination of the $320,000 street cleaning grant, Masters said, was not relevant to assessing VANDU’s ongoing eligibility to receive funding for the art program.

“That was a very new activity for them. We knew we were trying something new and it didn’t work out. In this situation, this is a program that they have run before and and it was successful. We do have confidence in this particular program,” she said.

AMENDMENT TO DENY FUNDING 

When it came time to vote on the staff report and its recommendations, Montague introduced an amendment to approve everything but the $7,500 for VANDU.

“I have concerns about the guidelines that were used to recommend the grant based on past performance,” Montague said.

“I personally don’t have confidence that they would deliver the program and service and I disagree with the funding for the organization.”

Green Party Coun. Pete Fry was the first of the three non-ABC members to speak out against the amendment, saying the grant itself is modest and that it promotes art as a mode of healing and self-expression.

“I think it would be a mistake to deny this $7,500 for folks to express themselves in the midst of this disastrous overdose crisis,” he said.

“We’re talking about a drug crisis, which since it was declared a public health emergency in 2016 has claimed more than 10,000 lives in British Columbia. So when we talk about art as a vehicle of expression, we’re talking about people in a population who have really suffered some pretty catastrophic losses in that community.”

ABC councillors were unanimous in their support of the amendment, all citing the street cleaning grant as evidence that the organization should not be entrusted with more public money.

“I know this is only $7,500 we’re talking about and I am a big supporter of the arts and culture sector. But we have to draw the line somewhere, and I believe – as a council – we need to send a message,” Coun. Peter Meiszner said.

Coun. Sarah Kirby-Yung said that what was at stake was more than a single grant.

“I think it is incumbent upon us as stewards of public funds that the principle of responsible use of public money is upheld,” she said.

A ‘POLITICAL’ DECISION?

OneCity Coun. Christine Boyle, like Fry, spoke against the amendment, saying the funding was modest and concurring with Fry that the organization was being singled out. She also questioned the motivation for the move.

“This is a small grant for a project that they have delivered successfully in the past and that has had a meaningful impact in the past. I support this grant. I don’t support the amendment to remove it and I will also say I am concerned about the politicization of eliminating small grants for very vulnerable residents like this on the floor of council,” she said.

“We are nickel and diming a small, frontline organization that really is serving those most at risk and a community that has been witnessing their friends and neighbors die in unbelievable numbers in recent years,” she later added.

VANDU, as Fry noted during the meeting, does engage in political activity by organizing protests and rallies and pushing for changes to drug policy. More recently, at the municipal level, the group’s activism has included campaigning against the election of Mayor Ken Sim and members of his party – as well as speaking out against particular policies and promises such as increasing funding for the Vancouver Police Department.

Montague is a former officer and spokesperson for the department.

“VANDU have done some political things that have possibly created a scenario where we’re, we’re looking at VANDU through a different lens,” Fry said.

“this is a decision that is being put forward and supported by the majority of one political party at this council. You can interpret that as you will,” he later said.

Sim, voting in support of the amendment, said he was doing so to send a message about accountability and responsibility, not to single out one organization.

“The expectation at the City of Vancouver is when you do business with the City of Vancouver, we are going to hold you up to a higher level of accountability. And so that’s why I will support this motion. It has nothing to do with VANDU per se,” he said.

“It’s a privilege not a right to be able to do business with the City of Vancouver. And that’s the type of culture that we want to lead here while I’m in office.”

728x90x4

Source link

Continue Reading

Art

Art and Ephemera Once Owned by Pioneering Artist Mary Beth Edelson Discarded on the Street in SoHo – artnet News

Published

 on


This afternoon in Manhattan’s SoHo neighborhood, people walking along Mercer Street were surprised to find a trove of materials that once belonged to the late feminist artist Mary Beth Edelson, all free for the taking.

Outside of Edelson’s old studio at 110 Mercer Street, drawings, prints, and cut-out figures were sitting in cardboard boxes alongside posters from her exhibitions, monographs, and other ephemera. One box included cards that the artist’s children had given her for birthdays and mother’s days. Passersby competed with trash collectors who were loading the items into bags and throwing them into a U-Haul. 

“It’s her last show,” joked her son, Nick Edelson, who had arranged for the junk guys to come and pick up what was on the street. He has been living in her former studio since the artist died in 2021 at the age of 88.

300x250x1

Naturally, neighbors speculated that he was clearing out his mother’s belongings in order to sell her old loft. “As you can see, we’re just clearing the basement” is all he would say.

Cardboard boxes in the street filled with an artist's book.

Photo by Annie Armstrong.

Some in the crowd criticized the disposal of the material. Alessandra Pohlmann, an artist who works next door at the Judd Foundation, pulled out a drawing from the scraps that she plans to frame. “It’s deeply disrespectful,” she said. “This should not be happening.” A colleague from the foundation who was rifling through a nearby pile said, “We have to save them. If I had more space, I’d take more.” 

Edelson’s estate, which is controlled by her son and represented by New York’s David Lewis Gallery, holds a significant portion of her artwork. “I’m shocked and surprised by the sudden discovery,” Lewis said over the phone. “The gallery has, of course, taken great care to preserve and champion Mary Beth’s legacy for nearly a decade now. We immediately sent a team up there to try to locate the work, but it was gone.”

Sources close to the family said that other artwork remains in storage. Museums such as the Guggenheim, Tate Modern, the Museum of Modern Art, the Brooklyn Museum, and the Whitney currently hold her work in their private collections. New York University’s Fales Library has her papers.

Edelson rose to prominence in the 1970s as one of the early voices in the feminist art movement. She is most known for her collaged works, which reimagine famed tableaux to narrate women’s history. For instance, her piece Some Living American Women Artists (1972) appropriates Leonardo da Vinci’s The Last Supper (1494–98) to include the faces of Faith Ringgold, Agnes Martin, Yoko Ono, and Alice Neel, and others as the apostles; Georgia O’Keeffe’s face covers that of Jesus.

Someone on the streets holds paper cut-outs of women.

A lucky passerby collecting a couple of figurative cut-outs by Mary Beth Edelson. Photo by Annie Armstrong.

In all, it took about 45 minutes for the pioneering artist’s material to be removed by the trash collectors and those lucky enough to hear about what was happening.

Dealer Jordan Barse, who runs Theta Gallery, biked by and took a poster from Edelson’s 1977 show at A.I.R. gallery, “Memorials to the 9,000,000 Women Burned as Witches in the Christian Era.” Artist Keely Angel picked up handwritten notes, and said, “They smell like mouse poop. I’m glad someone got these before they did,” gesturing to the men pushing papers into trash bags.

A neighbor told one person who picked up some cut-out pieces, “Those could be worth a fortune. Don’t put it on eBay! Look into her work, and you’ll be into it.”

Follow Artnet News on Facebook:
Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

Adblock test (Why?)

728x90x4

Source link

Continue Reading

Art

Biggest Indigenous art collection – CTV News Barrie

Published

 on


[unable to retrieve full-text content]

Biggest Indigenous art collection  CTV News Barrie

728x90x4

Source link

Continue Reading

Art

Why Are Art Resale Prices Plummeting? – artnet News

Published

 on


Welcome to the Art Angle, a podcast from Artnet News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join us every week for an in-depth look at what matters most in museums, the art market, and much more, with input from our own writers and editors, as well as artists, curators, and other top experts in the field.

The art press is filled with headlines about trophy works trading for huge sums: $195 million for an Andy Warhol, $110 million for a Jean-Michel Basquiat, $91 million for a Jeff Koons. In the popular imagination, pricy art just keeps climbing in value—up, up, and up. The truth is more complicated, as those in the industry know. Tastes change, and demand shifts. The reputations of artists rise and fall, as do their prices. Reselling art for profit is often quite difficult—it’s the exception rather than the norm. This is “the art market’s dirty secret,” Artnet senior reporter Katya Kazakina wrote last month in her weekly Art Detective column.

In her recent columns, Katya has been reporting on that very thorny topic, which has grown even thornier amid what appears to be a severe market correction. As one collector told her: “There’s a bit of a carnage in the market at the moment. Many things are not selling at all or selling for a fraction of what they used to.”

300x250x1

For instance, a painting by Dan Colen that was purchased fresh from a gallery a decade ago for probably around $450,000 went for only about $15,000 at auction. And Colen is not the only once-hot figure floundering. As Katya wrote: “Right now, you can often find a painting, a drawing, or a sculpture at auction for a fraction of what it would cost at a gallery. Still, art dealers keep asking—and buyers keep paying—steep prices for new works.” In the parlance of the art world, primary prices are outstripping secondary ones.

Why is this happening? And why do seemingly sophisticated collectors continue to pay immense sums for art from galleries, knowing full well that they may never recoup their investment? This week, Katya joins Artnet Pro editor Andrew Russeth on the podcast to make sense of these questions—and to cover a whole lot more.

Follow Artnet News on Facebook:
Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

Adblock test (Why?)

728x90x4

Source link

Continue Reading

Trending