The Canada Prize for the Arts may be the most important thing to happen to the cultural landscape in this country, ever.
…And yet many in the arts, especially in Quebec, are crying. Image: osmoothie.com
Considering that our country’s visual arts have been viewed as a cultural backwater (probably by ourselves, mainly) ever since the American Armory Show of 1913 passed us by, it’s about time that the spotlight shone on Canada.
Ok, ok, we know it’s not a prize specifically for Canadians. But the bigger picture is what matters. Canada will be seen as a place where relevant culture happens.
A major problem for Canada is that our world-class artists often have to go abroad to receive proper recognition. This is why the cuts to travel grant programs were so deplored by cultural organizations and artists – click HERE for past VoCA coverage of government arts cuts.
Even within Canada, we don’t promote ourselves very successfully. Our geography is partly to blame. The Quebec Triennale caused barely a ripple in Vancouver, and who knows if the artistic hotbed that is Winnipeg is recognized in Halifax?
Of course, national prizes like the Sobey Award and the RBC Painting Competition do a fair amount to unite artists from across Canada, but they tend to be for the art-interested public.
What is the matter, VoCA would like to know, with the people (hello, Quebec) who are against this new prize? Yes, things are changing. Yes, programs are being shut down as others are being launched, and this is a major issue. But there is only so much money, and now that Harper has made the cuts, it’s a good thing that some people are stepping up for arts and culture.
VoCA has long appealed to the private sector to step up and support the arts in light of Government cuts. Now two Toronto businessmen have taken the initiative, and have convinced – amazingly – Harper’s government to support it.
VoCA things it’s about time that the cultural community supports it, too.
Read the full story HERE.
Read about the outcry HERE
Read Russell Smith’s perspective in the Globe and Mail HERE
NOTE: London’s Brit Insurance Designs of the Year is the Design Museum’s annual exploration of the most innovative, interesting and forward-looking new work in design of all kinds, from around the world.
The exhibition presents around 100 projects which are a selection from those nominated by a group of internationally respected design experts, curators, critics, practitioners, enthusiasts in seven categories – architecture, fashion, furniture, graphics, interactive, product and transport.
This year’s shortlist included the West8 + DTAH, Spadina Wavedeck for Toronto’s waterfront. Check it out on the website HERE.
Andrea Carson writes on contemporary art, architecture and design...
12 comments ↓
“Considering that our country’s visual arts have been viewed as a cultural backwater (probably by ourselves, mainly) ever since the American Armory Show of 1913 passed us by, it’s about time that the spotlight shone on Canada.”
Care to expand?
“What is the matter, VoCA would like to know, with the people (hello, Quebec) who are against this new prize? ”
Umm, nothing is the matter with them. They would prefer to see Prom Arts and Trade Routes restored.
Well I’m talking about the fact that Canada was slow to pick up on Modernism when work like Duchamp etc was introduced to America at the Armory Show. This was due to the fact that we were far away, I think and therefore unaware of the impact it would cause. But I think it had huge ramifications for the Canadian art scene, as compared to the American scene through the latter half of the 20th century
I think they should stop complaining and embrace this new prize, because it seems to me that it WILL benefit Canada
Or is there more to it ?
You’ve linked to Russell Smith but not to the article above Smith’s in The Globe which reports that some organizations (notably Stratford Festival and Ballets Jazz de Montreal) have been listed as “partners” in the proposal for the Canada Prize without their consultation. With the ” firm details” of the prize not expected until 2010, it’s no wonder organizations and individuals alike are viewing it with caution/suspicion. Frankly I don’t understand how it can be part of an economic stimulus budget when it’s clearly still something that is only in development.
The article I’m referring to is by James Bradshaw btw, front page of the Review section.
There is a danger with this prize – that it sends the message the Canadian government values imported culture more than it supports the one generated at home on the world stage…no?
Who is going to attend the gala? Ben Mulroney on the red carpet, coat check, valet parking, flowing champagne and canapes by one of our world class chefs will certainly not be there for the scant few who are recognized as artists in this country.
The Armory show did not quite pass us by, as David Milne was one of the artists (only Canadian) in that amazing exhibition. One critic felt Milne was one of the 12 top artists to exhibit. Of course the sad part of this story is that Canada barely acknowledged him for this accomplishment. Still to this day he should be one of the most expensive and collected artists in Canada, but is considered “somewhat odd”.
Re; complaints from Quebec and the prize funding, since the Liberals have been gone, the pipeline of funding has been shut off, in the west the pipeline was never open for years and years, so we never saw that funding. I guess change is never acceptable.
I do find that 25 million for a prize although nice, possibly even thoughtful if it does cover the country coast to coast ( we shall see), but the fact that good galleries can no longer access any funding to do proper business in other markets, is very disturbing. The lack of funding for catalogues production and promotion is disturbing. In general the fact that somehow the business of art is not considered a “function” of art’s
and artists success is disturbing.
A final comment would be, I really am concerned about the fact that the current government needs better advisory from professionals in the business of art, museum professionals, and arts groups of consequence, to formulate better policy and funding distribution. They should seek it out, people are there.
My perspective on this is primarily in Visual Art.
That was a most fair an accurate appraisal.
MAshley – Your comment reminds me that the government also ousted its much-needed external advisors in science. I guess it doesn’t like professional advice, period? Shameful.
Also, currently visiting other markets in Spain at ARCO, I note very little recognition when mentioning being from Toronto/Anglo Canada. People would often respond “Oh, I know some French Canadians.” Which alone I think speaks to the value of investing in travel and overseas promotion as Quebec has traditionally done with both federal and provincial monies.
Also, very few Canadian artists were represented at ARCO. Royal Art Lodge and Rita McBride were the only ones I can think of off the top of my head, though I will dig through my notes. Coincidence?
Also just remembered Rafael Lozano Hemmer was at Haunch of Venison’s booth. Will dig through my notes and do a post soon on the full list.
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