National Arts Centre | Centre national des Arts’ Post

Oracles Prophesying the 2024 Art Market in the attached article: My Three Cents: (i) Buy art from those who are uplifting humanity - they deserve your investment more than anyone else; (ii) Support BIPOC, LGBTQIA+ & Women who have dedicated their lives to being full-time working artists - they struggle the most; (iii) and, buy pieces that have the power to shift narratives and inspire the world - We all need it - desperately - right now more than ever before. Lesley, Atma & Alchemy Art

Our CAA Advancing Art & Design Committee for Women in the Arts has been working hard to bring you our quarterly exhibition picks! Please see below the Winter Picks from our sub-committee; Natalie Marsh, Stacey Kalkowski, Maeghan Donohue, McCoy, Jodi Lynn, Elizabeth (Betsy) Hawley, Toni Pepe, Tanya Augsburg, and Jehan M Mullin. CAA Committee for Women in the Arts (CWA) WINTER PICKS: The exhibitions selected for the CWA Winter Picks address issues of visibilities and invisibilities, particularly concerning artists coming from communities that have historically been marginalized for reasons that include race, ethnicity, region, religion, sexual identity, and gender. Works on view in the exhibitions on this list collectively evince a diverse set of creative practices, making visible the dynamic cultural production of groups that are often overlooked in art histories past and present. Artists represented include makers of previous eras whose works have been elided in accounts of their time periods as well as contemporary practitioners whose works grapple with continuing invisibilities—in the art world and beyond. The set of exhibitions on this Picks list underscore the critical importance of these artists and their works, insisting on their visibility.  Exhibitions have been organized by the regions where the hosting venues are located. These regions are by no means meant to be comprehensive and reflect Picks submissions by CWA members and colleagues. We are always looking to broaden the scope of these seasonal lists–please consider submitting exhibitions, lectures, grants, residencies, and other events and opportunities to future lists!

In my newest article for Elephant Magazine, I sat down with British-born, Polish gallerist Sarah Kravitz to explore the rise of a new Eastern European art scene and take stock of her recent collaboration with Ghanaian artist, curator and philanthropist Joseph Awuah-Darko. Sarah Kravitz: I have been following Joseph Awuah-Darko’s Noldor Artist Residency for a long time. They have this wicked, Brutalist architecture space, the Institute Museum of Ghana, which hosts the most cutting-edge contemporary African art programme I have ever seen: it is the first independent artist residency for contemporary African artists across the continent and the diaspora. I asked him to join forces on a project focusing on Western African and Central as well as Eastern European art and he was instantly up for it. There has never been any creative exchange between these geographical areas before. Considering the state of today’s migration from sub-Saharan Africa across Europe, it is a conversation that needed to happen. Besides being an interesting dialogue from an artistic point of view, it was also an opportunity to establish a relationship between the regions. Working with Joseph enabled me to realise how much our experiences align; our parents share the same (mis)understanding of art. Art has never been at the forefront of culture in Poland, where I come from. This partnership coincided with the surfacing of a new chapter in my practice: this year Joseph and I will be holding the first exhibition of African artists in Poland – an important first. Gilda Bruno: How will this forthcoming show feed into Poland’s political climate? SK: Poland has been under right-wing rule for the last eight years: abortion was made illegal again and a lot of progressive laws were scrapped. It was a massive step back. Now they have a new coalition government which is hopefully going to facilitate the development of this project. I can see Poland changing – it is an ideal time to lay the foundations for a more diverse Polish arts scene. It is not just about finding ways of supporting underrepresented artists, though, but also about connecting with a new wave of collectors, leveraging the strong economic growth of the last few years. On the one hand, you have the social turmoil, a fertile, breeding ground for artists to express themselves, which unveils their own beautiful worlds. On the other, an economy that has been growing steadily for the last two decades, leading to the rise of a new type of collector. Read more at:

Georgia O’Keeffe is widely regarded as one of the greatest and most influential modernist artists of the 20th century. Her innovative and groundbreaking style led her to be dubbed the Mother of American Modernism. Check out this article to learn about the life and legacy of Georgia O’Keeffe. #GeorgiaOKeeffe #art #artist #painter #modernart #americanart #arthistory #americanmodernism #arthinkal #arthinkalmagazine #SubstackNewsletter #substack

Meet Hong Kong-born art gallerist and curator, Pearl Lam. She sits down with Spear's to talk about the impact of Chinese culture on art, her former career as a property developer and the strengthening Asian art market. 'The Asian market is growing, but the balance of power remains tilted to the West. The format of museums and art galleries is established by the West, the most prominent art fairs are in Europe and the largest market is in America,' Lam says. 'In Asia, it’s in vogue to talk about Western art, and buyers follow the trends Americans set. For instance, African contemporary art is taking off across the USA so Asian buyers have followed suit. Is this pattern likely to change? Possibly, but it’s all about confidence. When the Asian market gains this confidence, they’ll realise they don’t need to follow; they can lead.' Click the link below to read the full article.

Drawing on Muholi’s photography and the indigenous “felt theory” how do these marginalized communities make visible the collective trauma they have suffered?   DRAFT/STUDY TIPS Introduction The representation of marginalized communities and their collective trauma through visual art is a powerful medium of expression and resistance. Zanele Muholi’s photography, coupled with the indigenous “felt theory,” provides a profound lens through which the visibility of such trauma can be explored. Muholi, a South African visual activist, uses photography to document and celebrate the lives of Black LGBTQIA+ individuals, thereby creating a narrative that challenges the erasure and marginalization of these communities. The indigenous "felt theory," a concept rooted in indigenous knowledge systems, emphasizes the embodiment and communal experience of trauma and resilience. This essay critically examines how Muholi’s photography and the indigenous "felt theory" collaborate to make visible the collective trauma suffered by marginalized communities, providing a platform for both healing and resistance.

Why It Matters

2023 has been a landmark year for contemporary art, with Yayoi Kusama eclipsing David Hockney as the highest-grossing artist. A recent Hiscox report highlights not just these shifts, but the rising tide of female representation in the #art world, showcasing significant strides toward gender parity. Discover how these evolving dynamics are reshaping the contemporary art market and what this means for #artists and #investors alike. Fascinating times are ahead in the art industry, and staying informed is key to navigating this vibrant landscape. #ContemporaryArt #ArtInvestment #GenderParity #MarketTrends

👋 Meet Le'Ecia Farmer! 🌍 🧩 Artist Statement: My work visually explores the soft and fluid edges around collective existence, migration, grief, symbiosis, and sustainability. My work suggests that the fragmented parts of the Black diaspora experience are inevitably moving towards convergence and reformation (and therefore are inevitably whole at each and every stage and in each and every realm). ✍️ 🧶 My pieces are journal entries, poems, or essays that take the form of paintings, textiles, bioplastics, garments, and film. They are an active shaping of personal and inter-generational processing. They are an activation of symbiotic relationships and collective power. With my art, I use various materials, symbols, and subjects - extracting and experimenting with their form as well as the charged connotations that they carry with them. I am drawn to materials like cotton, wool, raffia, naturally dyed fabric, and vintage fabric. These materials carry our stories, as we do them. For me, sustainability is an ancestral ideology that cannot be separated from aesthetics. #theMetropole #CommunityBuilding #SeattleArtist #BlackArt #TextileArt #Sustainability #SustainableArt

Great article about the show in Detroit, Mighty Real Queer Detroit "I'll Be Your Mirror," includes images of several artists from the show, including my, "Marine Corps Uniform c1970," 2000: 23 BW Photographs of strangers on Miami Beach wearing my father's Marine Corps Uniform. #portraiture #art #artist #photography #portraitphotography #conceptual #conceptualart