Category: Statues

Online Canadian Art Gallery Will Show Your Art No Charge

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SEO of the Art World

The process of getting a good page rank on Google, Yahoo & man is called search engine optimization and is really beat handled by the webmaster of your gallery page. It is that persons’ job to bring traffic to your page that is looking for your particular kind of art.

The great part about having your art shown on-line is, of course, that millions of people from all over the world have access to your artwork 24/7. All you, the artist, needs to do is get their photos, biography & description uploaded to their on-line gallery and then respond to customers requests to purchase prints, info or original artwork.

Most on-line galleries will charge the artist a monthly fee of anywhere between $10 & $hundreds, but once in awhile you will find a website offering to host your art gallery page for free. In the internet world, it is a good idea to have your artwork in many different locations as well as articles written about you and your work should be submitted to well know human edited article sites.

Artists, don’t waste any more days thinking about getting your original artwork out there. Get in touch with the on-line art gallery scene. It’s easy and it’s necessary to your career as an artist.

The news is good if you are a new artist with contemporary artwork but don’t know how to go about exhibiting or showing your art to the world. It’s sometimes free and very easy to post your work to on-line art galleries and even have your own art gallery page where you are the featured artist with a biography and art listings on exhibit and for sale.

The best gallery to choose is one that has a real person administering the site every day and also one that is known for a specific genre, region of origin or artist style/medium. Right now, if you are a Canadian artist, a great gallery choice would be one that specializes in Canadian artists. When an art buyer is searching on-line for Canadian art, they will get your Canadian artist page as a search result.

We will be happy to display your artwork on http://circleofconfusion.ca, just contact us via the Contact form on our site!

The Art Gallery of Ontario

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Toronto’s great gallery of art

The setting for the unrivaled and magnificent collection of Henry Moore sculptures dates from 1974 and was designed by the artist himself. Bronzes, plasters, and plaster maquettes are displayed in a large space with natural light entering the ceiling. The gallery’s collection of Henry Moore’s works contains several “Reclining Figures,” one of the sculptor’s favorite themes.

The European collections include many old masters, among them Brueghel the Younger, Tintoretto, Rembrandt, Frans Hals, de la Tour, and Poussin. The evolution of Canadian art can be followed, both in Quebec, with fine pictures by artists such as Joseph Legare and James Morrice, and most comprehensively of all, in English Canada, where there is a splendid selection of works by the Group of Seven and their associates.

Toronto’s great gallery of art, strong in Canadian and european art, has been enriched and extended many times since the early 20th century, when it inherited the splendid Georgian mansion, The Grange. It is at present undergoing a major expansion to house the Thomson Collection of about 2,000 works given to the gallery by Canadian millionaire and art collector, Kenneth Thomson.

Inuit Art

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Traditional Culture and Values

While much Inuit art is “about” traditional culture and values, it is also very much an expression of the experiences, values and aesthetics of individual artists who have had to come to grips with rapid and profound change in the second half of the twentieth century. Inuit art is often “autobiographical;” even if specific events are not always depicted, and it reflects the life histories of its makers as well as their artistic talents.

The artists had no romantic notions about art-it was a way to survive, and they accepted the new vocation unquestioningly. The ones less fitted for making sculpture took other jobs whenever possible.

These visitors to the North introduced some new trade goods, especially rifles and tobacco, flour and tea, the nomadic lifestyle of the Inuit hunters remained fairly untouched by the intruders. In the late 1940s most Inuit still lived in small family camps, used dogsleds for travel, lived in igloos during the winter, and divided their time between trapping white fox and hunting.

Was it any wonder that people grabbed with such fervour the opportunity to make a living through carving? This was their way out of humiliating dependence, all the harder to bear since they had enjoyed total freedom and independence before.

Contemporary Inuit art has made its creators and their culture famous throughout the world. Memories of life on the land are still fresh, especially for older Inuit, and the past is very much alive in Inuit culture.

If we want to appreciate Inuit art from this period, we need to be conscious of its context. Here was a group of people dispossessed and displaced, out of their element, trapped in a small community with other Inuit groups with whom they had never before had occasion or desire to associate.

The astonishing fact is that this art, born out of economic necessity, has such evocative power. Its appeal lies in its honesty and stark simplicity. Having focused imaginations and minds not burdened with the redundant images that flood people living in an industrialized world-these were pre-television times-these self-taught artists created images of stunning visual power and archetypal significance-reason for celebration.

When James Houston, a young adventurous artist from Toronto, landed in Inukjuak in Arctic Quebec in 1948 he was presented with one of these whittlings and, with the eye of the artist, recognized its beauty. Tile stage or the enthusiastic reception of contemporary Inuit art was set.

By combining biographical and cultural elements with an appreciation of the communicative power and beauty of individual works, we may begin to truly understand and appreciate the complexity-and the miracle-of Inuit art.

The North has been Canada’s last frontier. Until the Second World War – it had remained largely ignored by the rest of Canada, except for the adventurous and very bold. Since the mid-1700s a succession of explorers looking for the Northwest Passage, of whalers looking for oil, Hudson’s Bay traders looking for fox pelts as well as missionaries looking for souls ventured into the North and met its inhabitants, the Inuit.

Against this background of rapid cultural change, contemporary Inuit art came into being. For two hundred years Inuit hunters had, whenever possible, bartered little souvenir items with any of the groups finding their way into the North.

For a variety of strategic and political reasons the federal government of Canada started to take an active interest in the welfare of its northern citizens. In 1939 a ruling of the Supreme Court had accorded Inuit the same rights to health, welfare, and education as Canadian Indians. In 1955 a selection of children were sent to Chesterfield Inlet to be taught by the Grey Nuns until, in 1959, federal day schools were built across the North.

Making art provided a solution. All the superb skills, honed over centuries in the struggle for survival-knowledge of Arctic animals, an astonishing visual memory, infinite patience and perseverance-could be applied to making a sculpture.

Making art also helped to survive emotionally. It was also a way of regaining control over their lives.

Against this background of rapid cultural change, contemporary Inuit art came into being. If we want to appreciate Inuit art from this period, we need to be conscious of its context. Contemporary Inuit art has made its creators and their culture famous throughout the world. Memories of life on the land are still fresh, especially for older Inuit, and the past is very much alive in Inuit culture. Given the spontaneous nature of the art, however, perhaps we may be forgiven if we are occasionally seduced into believing that Inuit continue to live the life that they portray, and often glorify, in their textiles, sculptures and graphics.

One of the reasons the Canadian government felt compelled to intervene was the receipt of reports from visitors to the North about the deteriorating conditions among the Inuit, partially caused by the fact that the price for white fox had plummeted on the world market. The main means for procuring cash had dried up for Inuit trippers.

Canadian First Nations Art

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Wild Man and the Wild Woman of the woods

Two of the more interesting characters from the Northwest coast Canadian First Nations art world include the Wild Man and the Wild Woman of the woods. These two are often portrayed in very dramatic looking masks carved by Northwest coast Canadian First Nations artists.

The Wild Man of the woods from Canadian First Nations art is called Bak’was and is a small human-like creature who lives in the forest. The Wild Man is also considered the chief of ghosts and spirits of people who drowned are often hovering near him. If one eats some of the Wild Man’s food, one will turn into a being just like him.

The Wild Man of the woods from Canadian First Nations art is called Bak’was and is a small human-like creature who lives in the forest. In contrast to the Wild Man, the Wild Woman of the woods or Dzunuk’wa as she is known, is a giant powerful and fearsome figure twice the size of humans. Interestingly enough, even though the Wild Woman represents the dangerous and dark side of the forests, she is also a bringer of wealth for some Northwest coast Canadian First Nations tribes.

She is not considered very bright and usually the children are able to outsmart her in escaping. Interestingly enough, even though the Wild Woman represents the dangerous and dark side of the forests, she is also a bringer of wealth for some Northwest coast Canadian First Nations tribes. A Wild Woman mask can be considered somewhat of a status symbol that only some rich and powerful Northwest coast Canadian First Nations families have.

In contrast to the Wild Man, the Wild Woman of the woods or Dzunuk’wa as she is known, is a giant powerful and fearsome figure twice the size of humans. Her almost blind eyes are sunken and also large like those of the Wild Man but sometimes they have a red glow. It is said that if children foolishly wander into the forest, the Wild Woman will capture them and eat them.

National Gallery of Canada

The Canadian Museum of Contemporary Photography

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Sunil Gupta – Contemporary Photography

For me personally, Sunil Gupta’s autobiographical photographs were almost shocking in their candor and openness. They talk about the cultural pressures and expectations that face second generation immigrants growing up in a liberal Western environment. Juxtaposed to this external environment is their traditional Eastern family milieu with its strict rules and role expectations, almost imposing a schizophrenic existence on their offspring.

It seems that his cultural identity is tenuous at best and Sunil decided recently to move back to India to explore his own cultural background. Even beyond that Sunil indicated that he lives in constant fear that his medical condition will be discovered and that he will be deported from India.

Incidentally Sunil’s father died of a heart attack on a Montreal street in 1986. One particularly gripping photograph shows Sunil’s father’s belongings, money, identification, credit cards, that were removed from his body after his death. It took the authorities three days to notify the family, presumably because his father was assigned to the “immigrant” section of the morgue.

It was rather surprising to me that Sunil Gupta decided recently to move back to a country where, as a gay HIV-positive individual, he is not accepted and it speaks to his overwhelming urge to reconnect with his roots.

It’s a unique place in a unique venue: the Museum is housed in a former railroad tunnel of the Grand Trunk Railroad. As a former railroad tunnel, the Museum’s unique dimensions won’t come as a surprise: it measures 166 meters (545 feet) in length by only 17 meters (56 feet) in width.

Even constructing the Museum entailed significant engineering challenges: due to the narrowness of the site, squeezed in between the Chateau Laurier on one side and the Rideau Canal on the other, construction trucks had to back into the site, edging their way half a mile along a road carved in the limestone and shale cliff face.
I wasn’t only there to explore the unique architectural features of the gallery. The main reason for my visit was an exhibition by Sunil Gupta, whose 2 collections shed light on the immigrant experience.

Both of Sunil Gupta’s series of photographs are highly personal, where he exposes himself (literally), his family members and the dynamics of an immigrant family in North America. His images use colour, atmospheric influences and juxtaposition to express symbolism and speak of an ongoing struggle to find his own personal, cultural and sexual identity at the confluence of Eastern and Western cultures.

My schedule in Ottawa this past weekend was extremely compressed, but there was one place I wasn’t going to miss: the Canadian Museum of Contemporary Photography. As a person with no formal background, yet a keen interest in the visual arts and photography, I have been wanting to visit this museum for a long time. And my Internet research revealed that the Museum is featuring a very special exhibition right now: two photographic series by Sunil Gupta, an Indian-born Canadian citizen, exploring issues of identity, culture and the immigrant experience.
Let me start first with the Museum itself, a rather unique venue in Ottawa with a long history. The Canadian Museum of Contemporary Photography began its life all the way back in World War II as the Still Photography Museum of the National Film Board. Its activities include collecting, publishing and organizing traveling exhibitions and educational programs to foster the efforts and development of Canadian photographers.

The Canadian Museum of Photography is currently also hosting another installation: Imprints: Photographs by Michel Campeau, Marlene Creates, Lorraine Gilbert, Sarah Anne Johnson, and Sylvie Readmen features 19 recent acquisitions that explore nature and its forces as they intersect with the human world.

And my Internet research revealed that the Museum is featuring a very special exhibition right now: two photographic series by Sunil Gupta, an Indian-born Canadian citizen, exploring issues of identity, culture and the immigrant experience.
Sunil Gupta was born in New Delhi in 1953 and came to Montreal with his parents at age 15. Social Security (1988) features Sunil Gupta’s family photographs and his mother’s words to shed light on the story of one immigrant family in Montreal. Sunil Gupta’s second photo collection Homelands (2001 to 2003) includes large-scale diptychs that juxtapose images from his experience in the West with images from his home country in India. For me personally, Sunil Gupta’s autobiographical photographs were almost shocking in their candor and openness.

Sunil Gupta was born in New Delhi in 1953 and came to Montreal with his parents at age 15. Over the years he has also lived in New York City and London and just recently moved back to India. Originally he studied accounting, but later moved into visual arts and photography.

Sunil Gupta’s second photo collection Homelands (2001 to 2003) includes large-scale diptychs that juxtapose images from his experience in the West with images from his home country in India. His exhibition explores highly personal topics, such as Gupta’s homosexuality and the fact that he is HIV positive. Gupta was diagnosed with HIV in 1995.
For me the most powerful image of the collection includes Gupta in front of a mirror, stark naked, facing the camera, with a sliver of his mirror image showing right next to an image of India. My museum guide indicated that Sunil has actually commented that he lives right in that narrow line between East and West.

Social Security (1988) features Sunil Gupta’s family photographs and his mother’s words to shed light on the story of one immigrant family in Montreal. Sunil’s father was forced to work as a security guard and the family experienced a loss of financial security and social status.

Sunil himself is actually gay and had several long-term relationships with men, much to the chagrin of his parents.

The move to Canada was a big disappointment, particularly for Sunil’s father.

National Gallery of Canada