The Walrus has a good interview with Simon Brault, author of No Culture, No Future, the new book that exploresthe fact that the arts are a necessity, not a luxury.

As he puts it, the book is a “call to action” - for Brault, it’s up to everyone to communicate with one another to promote and encourage the arts.

Image: cormorantbooks.com

Here is some of what Brault has to say in the interview:

“When you look in the papers, the conversation around arts and culture is reduced to the economy or to presenting a particular cultural product. It’s not a broad conversation about what arts and culture bring to people — to children, to people who are lonely, to people who have a need for expressive life.”

“Every human being has a relationship with the arts. The fact that we are ignoring that — and trying to lecture people as if they are completely ignorant, as if they are completely disconnected from everything we believe in – is a big problem.”

“I read, I think, I write, but mostly I act. And I try to act with people around me. I still believe that ideas can change the world. I know it can sound like a very romantic vision — but it’s not so romantic because things are changing… ”

Author Simon Brault. Image: cormorantbooks.com

I haven’t read the book, but I’m looking forward to it.

If you want to know more on Brault’s thoughts vis a vis the arts in Canada (and the world), buy the book HERE.

The finalists for the 2010 Sobey Art Award were announced today. The artists, selected by a jury from each region of Canada, are competing for the Award’s $50,000 top prize. Bendan Tang may be the newest kid on the block, but our money’s on Duke & Battersby or the excellent Daniel Barrow, who was passed over in 2008.  Do we have wonderful artists in this country, or what?

The 2010 Sobey Art Prize shortlist:

• West Coast and Yukon: Brendan Lee Satish Tang

A work by Brendan Lee Satish Tang. Image: illusion.scene360.com

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We returned from Vancouver to the news that Brian Jungen has won the $25,000 2010 Gershon Iskowitz award at the AGO, and that the $50,000 Sobey Art Prize longlist has been announced.

Vanessa Paschakarnis, Shield for a Human, 2009. Bronze. Image: erhard-metz.de

Most regions have a pretty clear shortlister for the Sobey (I’m thinking either Isabelle Pauwels or Jeremy Shaw from the West; Daniel Barrow from the Prairies; Diane Borsato or Jon Sasaki from Ontario and Duke and Battersby from the East) but Quebec has a tough choice between Pascal Grandmaison, Patrick Bernatchez, BGL, Adad Hannah and Karen Tam.

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Ok, ok people, you pummeled VoCA for THIS post, with many comments…

Tell VoCA what you want. Image: smh.com.au

Some agreed, saying “I feel like this this revulsion I’m experiencing is the desired effect: Trecartin would endeavour to highlight contemporary culture’s more outlandish aspects by combining them all into one loathsome beast” and “bad taste, as well as bad technique are the point! Maybe that’s the case here.”

But most blasted my “poorly poorly argued and supported judgments,” my “impatience with the work’s rigor, (that) shows a complete misunderstanding for the medium, and is lazy criticism,” suggesting that perhaps “sometimes aggressively queer work makes (me) feel uncomfortable.”

There have also been numerous suggestions and comments from readers sent to me off the blog.

So, I want to say that I hear you.

I welcome your comments on what you’d like to see in a critical art blog, below.

Thanks!

In Edmonton, a writer’s despair over provincial arts cuts is both convincing and less so on Government arts support.

“Alberta artists have taken the latest news of a 15-per-cent cut (to the arts) in their stride”, says Marliss Weber in SEE magazine.

Andrew Rucklidge, Sleeper, 2009. Image: courtesy the artist.

She continues, “Art allows us to express ourselves, which is an innate human desire. Without access to art, without the ability to write and draw and act and make music, or consume all of the above, we seriously limit the effectiveness of our communication abilities. We also limit our ability to persuade, to entertain, to connect with each other.”

Can’t argue with that.  She makes some good points in her article, and yet, while cities need the arts in order to thrive, her insinuation that the arts will cease without government support is troubling.

Read the full article HERE.

There will always be art, with or without government support and there should be absolutely no doubt about that.

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Here are some photos take this past weekend in Edmonton by friend-of-VoCA, Qasim Virjee of Design Guru. For info on the gallery, including The Murder of Crows by Janet Cardiff and George Bures Miller as well as Francisco Goya’s infamous print suites: Los Caprichos (1799) and The Disasters of War (1810-1820), which traveled from the National Gallery of Canada, please click HERE.

And for more on the gallery architecture, by Randall Stout Architects, please click HERE.

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It’s kind of interesting that the new Art Gallery of Alberta, which is slated to open on January 31st, will be collaborating with the National Gallery of Canada to bring works from the NGC to Alberta audiences.

Goya Disasters of War, 1810 - 20. Image: tate.org.uk

It’s a great idea that bridges the Canadian geographic gap nicely and brings excellent exhibitions to Edmonton. The first featured exhibition will be the beautiful, brutal Goya: The Disasters of War and Los Caprichos, which will run until May 30th.

Read the full article HERE.

Here are a few good art-world happenings coming up:

Edward Burtynsky, Oil Fields #22, Cold Lake Production Project, Cold Lake, Alberta, 2001. Image: arttattler.com

• Photographer Ed Burtynsky is planning a new traveling exhibition on the theme of Oil that will be on at the soon-to-be opened Art Gallery of Alberta in 2010

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“With their artists competing on an international stage, Canadians can no longer complain of their country as a cultural backwater nor luxuriate in the nostalgic charm of provincialism. In art as in political, social and economic activities, Canada is fully involved in the world of today,”
– Dr. R. H. Hubbard, former Chief Curator of the National Gallery of Canada.

Guido Molinari, Untitled, 1964. Image: artnet.com

Walking down Bloor Street in Toronto last night, we stopped at a bookshop’s outdoor display and there, right in front of us, on sale for $1.99, was a copy of Canadian Art Today, originally published in 1970 by Studio International.

Edited by William Townsend, a professor at the University of London, the slim book is filled with contributions from Canada’s art elite at the time: R.H. Hubbard, then chief curator of the National Gallery of Canada, Doris Shadbolt, then curator of the Vancovuer Art Gallery, curators Dennis Reid, Pierre Theberge and David Thompson.

“Canadian artists were dependent for generations on the artistic traditions of France and England and it is only since the last war that contemporary American influences have made a decisive impact,” writes Townsend.

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Thomas Kneubühler: Tresspass Act
and
J. Stanton: Art Paraphernalia for a Modern World
Latitude 53, Edmonton
7 August – 5 September, 2009

Thomas Kneubühler, Access Denied, Le Black Jack Resto Bar (Guard#7)
Image: thomaskneubuhler.com

Kneubühler’s artist project comprises a traditional gallery show, and more interestingly, a series of large billboard-sized outdoor photographs of security guards displayed on the sides of buildings.

“North America is preoccupied with security,” says the artist: “In the gallery exhibition, we see industrial zones and office buildings, places that are deserted at night time. The viewer can peak through the windows, yet becomes a trespasser himself while being watched by security cameras and guards.”

Surveillance is a timely and interesting topic, but in this format it doesn’t really succeed as it should.

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