Have Ron and Susan Crowell seen ItuKiagâtta!
A very nice story about a couple who started out collecting Haida art and then moved further North and East. Personally I like how the Mail Tribune still can use the term 'Indian.'
Closed in August, 2007.
- The Missive, a film by Jarred Coxford - downloaded 228 times
- Ben Hammond live at Zeke's Gallery, the Theremin interlude - 40
- Nancy Nisbet's Exchange Project a film by Scott Lutes - 40
- Asa Boxer reading at Zeke's Gallery last night - 35
- Ben Hammond live at Zeke's Gallery set two - 23
- Ben Hammond live at Zeke's Gallery set one - 23
- Revised Edition at Zeke's Gallery June 19, 2006 - Set one. - 21
- Anita Lahey reading at Zeke's Gallery last night - 18
- The Isaiah Ceccarelli Trio live at Zeke's Gallery - 17
- Letters to Celine by Nathalie Edwards & Brian Davis - 15
Mr. Pound is the chairman of the organization that is doing the accusing, without him there are no accusations.
- A four to one ratio is not abnormal.
- No one has shown that Testosterone helps in any way shape or means.
- WADA cannot guarantee that the sample (or samples) were not tampered with.
- The headlines were written before the 'B' sample was tested.
- There is no climate control at the Hermitage.
- The Riopelle exhibit is one of six other exhibits at the Hermitage 'honoring the meeting of leaders of the Group of Eight countries, which starts in St. Petersburg on July 15.'
- And I wonder how the Riopelle paintings handle 'the cavernous and dazzling 19th- century hall.'
Second off, I'm extremely happy to see that there actually are people who not only have read Benjamin, Diderot, Hegel, Locke, Marx, Rousseau, Schiller, Adam Smith, and some guy named Johann Joachim Winckelmann, but actually find some use for it in real life.
- Rubens from Royal Butt.
- The curator, the connoisseur, the aesthete all end up sounding like Proust's Swann, a brilliant sensitive man who doesn't have a clue why he is drawn to the flowers between Odette's breasts.
- When someone says a work of art is priceless they mean it, not in the sense that it has no value, but that its value is not immediately apprehensible except dialectically, which puts it beyond the ideological competency of most art historians, and of most American economists as well...
- ...From museum workers knowledge rarely flows at all, it's dangled above the reach of the public like a carrot in front of a donkey.
- Krens had a brain like tofu
- The museum of modern art had long stood in the vanguard of noodnicks for its display policies: Years before PowerPoint its permanent collection was laid out in a sequence as rigorous and predictable and dull as everything PowerPoint would eventually provide.
- Cremaster - the show was either the compliment or summation of Cremaster the dreary set of sophomoric and poorly directed movies…
- And because catalogs sold regardless of content there was little interest in catalog content.
- At the Guggenheim information passed through the catalog like beer through a teenager.
- He was trying to culturificate commodities, and he failed.
- It's about delivering numbers, not the numbers themselves.
- Speculating in avant-garde art is like dealing in Argentine pesos: You get a lot of excitement for very little down.
Whenever the Canada Council receives an endowment, one of the priorities is allowing the endowment fund to grow and any endowment revenue above and beyond the cost of the prize (which includes the cost of jurying the prize and other administrative costs) remains in the endowment fund, which is invested as part of the Council's larger investment portfolio.As soon as I hear any new details about the way to apply, win or anything else I'll let you know.
The Council's endowment funds are overseen by an Investment Committee headed by a financial expert (for example, the former chair of our Investment Committee was John Crow, former head of the Bank of Canada). Given the unpredictability of the economy, it is important that the fund be allowed to grow regardless of what happens in the financial markets. If the fund grows sufficiently over the years, the Council may consider increasing the value of the prizes or creating additional John Hobday prizes (i.e. three instead of two) within the endowment. But that is, of course, something to be considered for the future, not for a brand-new endowment fund.
As for the tax benefits of donating to the Canada Council, the Council has charitable status and the tax benefits are the same as they would be for donations to any charitable organization.
Avec Brian Jungen au Musée d'art contemporain et l'art haïda au Musée McCord, les artistes des Premières Nations sont partout à Montréal cet été. C'est la tendance: l'art inuit était déjà à Québec ce printemps (Musée national des beaux-arts), comme Norval Morrisseau, artiste chaman, suivi, cet été, d'Emily Carr, à Ottawa (Musée des beaux-arts du Canada). De vrais artistes. Pendant ce temps, à Paris, on inaugure le Musée du quai Branly, axé sur les arts primitifs.I translate it (albeit badly) as:
With Brian Jungen at MACM, and the Haïda art at the McCord, First Nation artists are all over the city this summer. It is the in-thing: Inuit art has already been to Quebec City this past spring (MBANQ), like Norval Morrisseau the shaman artist, followed by Emily Carr in Ottawa (NGC). Real artists. During this time in Paris, the Branly Pier Museum was opened which is centered on the Primitve arts.Is he calling the art that Brian Jungen, Robert Davidson, Norval Morrisseau and Emily Carr make, art at an early stage of technical development; characterized by simplicity and (often) crudeness? Or am I missing something here? Last I checked the Branly Pier folk were writing things like "le musée du quai Branly sera dédié aux Arts et Civilisations d’Afrique, d’Asie, d’Océanie et des Amériques." Not a single mention of how it was made or any characterization of it. If anything, I'm fairly certain that they are trying to get away from the colonial concept of non-European art.
Un contribution de 41 200 $ pour la réalisation de l'édition 2006 du Prix Pierre-Ayot, du Prix Louis-Comtois et du Prix François-Houdé, visant à mettre en valeur le potentiel d'avenir de créateurs montréalais du secteur des arts visuels et des métiers d'art.(or again for the blokes in the house - The city is giving someone, it isn't said who, $41,200 in order to organize the Pierre Ayot, Louis Comtois and the Francois Houde prizes).