The Gibbes Museum of Art, a beacon in the American South since its establishment in 1858, announces the gift of $500,000 usd/ $700,550 cad from Robert and Christina Brinkman in honor of one of the Museum’s headline exhibition spaces.
The Robert and Christina Brinkman Gallery encompasses 1,600 square feet, and hosts a variety of exhibitions presented throughout the year ‒ including the national traveling shows the Museum brings to Charleston, and the award-winning original exhibitions created by the Gibbes’ curatorial team. This gift will help fund ongoing renovations, future enhancements, and improvements to the Museum.
Pictured above: Robert & Christina Brinkman with Angela Mack (the President & CEO of the Gibbes Museum)
“The Gibbes Museum of Art is honored by this generous gift from Robert and Christina Brinkman,” says Angela Mack, the Museum’s President and CEO. “The Brinkmans have adopted Charleston as their home, and demonstrated their incredible passion for the visual arts by choosing to celebrate the work of our Museum. Their generosity reflects a personal commitment to impacting the arts in our community,” adds Mack.
“From the moment we moved to Charleston, we were immediately drawn to the Gibbes Museum,” says Robert Brinkman. “The visual arts are always a special priority for us, and the Gibbes Museum engages with art lovers in a meaningful way that makes a difference.”
“We hope that others will join our family in championing the Gibbes Museum,” says Christina Brinkman. “We love the work this museum team is doing, which allows so many people to make personal connections with art.”
Pictured above and below: the Robert and Christina Brinkman Gallery at the Gibbes Museum of Art
The Brinkmans are collectors of contemporary art, and are originally from Rochester, New York. They made Charleston their home three years ago. Christina serves on the Gibbes Museum’s Collections Committee. Prior to his retirement, Robert Brinkman was the Chairman of Brinkman International Group, which specializes in precision machining and machine tool building.
Waterline, finger lakes- Porcelain. C. Brinkman
Christina Brinkman is a celebrated artist currently known for her ceramics, porcelain and metal work. She has worked as an artist all her life, and has artist studios in Charleston and Rochester. Her art is featured in museum collections, and in private and corporate collections. View Christina Brinkman’s works at christinabrinkman.com and on her artist page on Instagram.
About the Gibbes Museum of Art
The Gibbes Museum of Art, a beacon in the American South for arts and culture since 1858 when the Museum’s art collection was founded as the Carolina Art Association, is heralded as one of the earliest and most longstanding arts institutions in the United States. The Museum’s collection spans 350 years, and features some of the country’s most celebrated artists ‒ including contemporary, modern and historical works. With world-class rotating exhibitions and a dynamic visiting artist residency program, the Gibbes is a southern museum with a global perspective. The Museum’s mission is to enhance lives through art by engaging people of every background and experience with art and artists of enduring quality, providing opportunities to learn and discover, to enjoy and be inspired by the creative process.
Another fab article from our friends at Kommandostore. Rugmaking has been such a long-standing tradition that historians typically say, “thousands of years”. In other words, it predates the British Monarchy, Roman Empire, and hell, even the Persian Empire’s conquest of Afghanistan. Unfortunately for just as long, the surprising beauty of her landscapes has been blood-stained. For example, many have attempted to invade Afghanistan, and many have died trying.
From ancient Alexander the Great’s conquests to the United States “Operation Enduring Freedom” there sure have been a lot of wars, and a lot of rugs. But what began during Soviet occupation of Afghanistan in the USSR’s twilight years was quite odd indeed. Propaganda rugs with anti-soviet figures like Ahmad Massoud* begun to circulate, and with the soviet occupiers taking great interest in these rugs as bring-back mementos, they got a taste of capitalism.*This guy’s story is a great subject for an email or video on it’s own, let us know if you’d like to see something like that.
Massoud seen wearing his iconic combo of a Pakol cap, white checkered “shemagh” scarf and military-style jacket. On the right is one of the war rugs that depicts him — definitely one of our favorite designs we’ve been able to source.
In response to the newfound demand, artisans begun to introduce common sights of the battlefield onto their rugs: Kalashnikovs, Helicopters, BTRs & BRDM-2s, and of course plenty of tanks. The soviet soldiers, naturally as young lads, couldn’t get enough of it. I mean, come on, who wouldn’t want a beautifully made rug with a tank on it? And so even through Russia’s Irish exit from Afghanistan, patterns were passed down and a whole new style was born: The War Rug.
A common misconception about the rugs that we’ve seen is that there’s any form of malice whatsoever from the rug-makers in making these. This is obviously & completely false. And we say that because once the American occupation began, rugs depicting the World Trade Center being hit by the highjacked airplanes began to circulate despite most Afghan people not even knowing what the event or it’s ramifications meant. You guys have certainly spoken the loud part quietly because the 9/11 rugs are our best sellers. We’re just listening to demand, don’t blame us. Skillfully as they do, the rugmakers themselves often have no idea what they’re weaving, they just follow the popular patterns circulating bazaars and embellish with whatever colors, extra elements, and often hilarious mis-woven English words they want.
Other common (and less controversial) sights include the Opium poppy, American operations like the battle of Tora Bora, and now even the war in Ukraine. What began as a memento and accidentally controversial form of art has truly blossomed into a celebrated slice of Afghanistan’s culture since the 80s. And luckily, even with increasing popularity, all the rugs are still handmade the way they should be. It’s probably hard to shake a tradition that predates your Grandma’s Grandma’s Grandma’s Grandma’s Grandma’s history book entries after all.
Our friends at BonusFinder Canada decided to find out which Canadian province has the highest chance of spotting a UFO. To do this, experts analyzed data from the National UFO Reporting Centre State Report Index to determine the volume and duration of sightings across the country. Data gathered for this study dates back to 1998.
BonusFinder Canada also spoke to Nick Pope, who investigated UFOs for the British government, for his thoughts on the data and recent sightings.
Top Canadian Provinces for October UFO sightings
Rank
Province
Count of UFO sightings in Octobers since 1998
1
Ontario
199
2
Saskatchewan
150
3
British Columbia
93
4
Alberta
57
5
Quebec
32
6
Manitoba
21
7
New Brunswick
20
8
Nova Scotia
19
9
Prince Edward Island
3
=10
Newfoundland and Labrador
2
=10
North West Territories
2
=10
Yukon
2
11
Nunavut
1
Ontario was the province with the best chance of spotting a UFO this past Halloween month,with 199recorded sightings across October since 1998. In fact, the month of October has seen 89% more sightings than the month of October in neighboring Manitoba since 1998. A recent sighting on October 29, 2022, right before Halloween, featured a circular UFO documented in Orangeville. The report claims an abundance of visual evidence, including hundreds of standard photos and high-definition HDR images captured with astro cams.
In second position is Saskatchewan,with 150 recorded sightings in October since 1998. The month of October has seen 87% more sightings than the month of October in Nova Scotia since 1998. On October 11, 2016, three sightings were documented. The first, lasting five minutes in La Ronge, featured seven moving lights across the northern sky. The second and third occurred in Saskatoon, both cylindrical in shape and lasting two minutes each.
Securing a spot in the top three, British Columbia boasts 93 UFO sightings in the month of October. B.C also has 39% more sightings in October than fourth place and neighboring province, Alberta. The most recent sighting took place in Surrey on October 30, 2021, featuring a circular object observed for a duration of 5 minutes.
In fourth place is Alberta with 57 sightings across the month of October, followed by Quebec with 32 sightings across the month of October.
Canadian provinces with the most UFO sightings
According to BonusFinder Canada, Ontario has had the highest number of total alleged UFO sightings in Canada at 2,416, each of which lasting an average of 14.42 minutes. Most of these sightings consisted of seeing bright or flashing lights in the sky. In one particular sighting, a Scarborough resident spotted two objects flying together at high speed on the 6th July last year. Other sightings included an orange-red circle flying North to South over Toronto in 2021.
Following on is British Columbia (1,163 UFO sightings), Alberta (665 UFO sightings), Quebec (305 UFO sightings)and Manitoba (241 UFO sightings).
Former government investigator shares his thoughts
Nick Pope, who investigated UFOs for the British Government, said “This comprehensive new information paints a fascinating picture of the modern UFO mystery, at a time when the subject is making the news all around the world. The new data will be of interest to anyone intrigued about UFOs, and might even assist NASA, the Department of Defense, and the U.S. intelligence community, who are all working on UFO studies where identifying possible hotspots could be useful.
“These league tables of states and nations are really interesting, and while one has to control for population size – more people, more potential witnesses if there’s something strange in the sky – the information is exactly the sort of data that can help identify UFO hotspots. This, in turn, could give us some useful clues about the true nature of the phenomenon. A scientific, data-led approach to the UFO mystery is essential if we’re to get to the bottom of what’s going on in our airspace.
“One of the big surprises was the average duration of sightings. People have this idea that UFOs are here one minute, gone the next, with sightings lasting only a few seconds, and with witnesses getting only a brief glimpse.
The new data shows that people are seeing UFOs for much longer periods of time than is commonly realized, which is why we’re getting more and more photos and videos, as people have time to take out their smartphones.
The location of all 5,447 sightings, the duration of the sightings and descriptions of each were matched to each region they were seen in, to find an average number of sightings per region. Each province in Canada was ranked according to the number of UFO sightings.
Superhero movies used to dominate the box office but these days we are seeing a slip of sorts. But whatever genre is at the top, recent advancements in technology are allowing studios to produce high quality special effects that captivate viewers in ways that other films just can’t. Perhaps this is because we all secretly hope we too have a special power. If you could have one superpower, what would it be?
Flight? Invisibility? Time travel?
Our friends at Ranker, the #1 destination for crowdsourced rankings of everything, has released the results of its public poll asking voters to rank the superpowers they most wish they had. Healing Ability won the majority of the votes. It may not be as sexy as the ability to fly, but can you imagine not having to worry about healthcare? For the Silo, Jillian Nannery.
The international poll (now closed) was based on 193,000 votes on 141 superpowers. The results are as follows:
1. Healing Ability (eg- The Wolverine) 2. Teleportation 3. Time Manipulation (eg- Dr. Who) 4. Shapeshifting (eg- Plasticman) 5. Invincibility (eg- Sue Richards) 6. Flight (eg- Supergirl) 7. Super Speed (eg- The Flash) 8. Mind Control (eg- Jean Grey) 9. Super Intelligence (eg- Howard the Duck.. okay this one might be a stretch) 10. Super Strength (eg- She Hulk)
In addition, the poll results revealed:
-Millennials voted time manipulation as #1
-Women voted Teleportation as #1
What super power would you want to add?
About Ranker:
Ranker is a data-driven media company, the #1 online destination for opinion-based, crowdsourced rankings of everything. The company’s technology is centered on user engagement, turning its lists into the “best possible rankings” via the wisdom of crowds. Supplemental- Wikia’s Superpower listing
Installation view of Torkwase Dyson, Errantry, 2024, at Art Basel Unlimited. Image courtesy Gary Yeh / ArtDrunk.
Chicago Gallery
GRAY is pleased to present Torkwase Dyson: Of Line and Memory, the artist’s first solo exhibition in GRAY’s Chicago gallery. Installed over three distinct spaces, the exhibition debuts a monumental sculpture in steel and painted wood, an immersive installation of new paintings, and new cast glass and wood constructions. Of Line and Memory opens at GRAY Chicago with a public reception for the artist on November 8 and remains on view through January 25, 2025.
Dyson works across the disciplines of painting, drawing, installation, and sculpture, distilling the spatial and affective residues of diasporic histories to envision new modes of environmental liberation. Through an improvisational process of mindful abstraction, which she calls “Black Compositional Thought,” Dyson seeks to create work that is fluid, abstract, poetic, and open to possibility. “If there is systemic oppression, there must be systemic liberation,” says the artist, “and I am in that zone… trying to condition myself in this relationship of a transhistorical liberation practice.”1
Of Line and Memory draws from years of research and Dyson’s own spatial memory of navigating the waterways and urban architecture of Chicago. Using the South Shore Cultural Center, a lakeshore landmark with rich historical and architectural significance, as a point of departure, Dyson extracts, reduces, and refines architectural and visual cues into geometric shapes and painterly abstractions. According to the artist, “Of Line and Memory asks, as we move through dramatic and ever-changing geographies, what memories are stored in these new and improvisational choreographies?”
Down-down, 2018 Exhibited inTorkwase Dyson, 2021-22 Hall Art Foundation Schloss Derneberg Museum, Holle, Germany
An immersive, dynamic interplay of materials emerges throughout the exhibition. The Clearing, a cantilevered steel, wood, and graphite sculpture in two parts, balances monumental, curved shapes upon the weight of rectangular steel bases. Dyson’s new paintings unlock a sense of “state change” between thinly poured layers of deep blues and reds, opaque blacks, and the shapes and lines of geometric abstraction. Likewise, her Hypershape constructions in glass and graphite-coated wood balance the solidity of wood and graphite with the translucence of cast glass.
Of Line and Memory underscores Torkwase Dyson’s deep commitment to transforming complex histories of diasporic and urban landscapes into powerful abstractions. The artist states: “the topography echoes familiar and enigmatic ecologies in my consciousness without the promise of stability. Embracing this indeterminacy, I think through how the transhistorical ethos of infrastructure space, both visible and invisible, resonates in liberation and world-building.”
ABOUT TORKWASE DYSON
American interdisciplinary artist Torkwase Dyson (b. 1973 Chicago) combines expressive mark-making and geometric abstraction to explore the continuity between ecology, infrastructure, and architecture. Working across the disciplines of painting, sculpture and architecture, Dyson deconstructs, distills, and interrogates the built environment, exploring how individuals, particularly black and brown people, negotiate, negate, and transform systems and spatial order. Throughout her work and research, Dyson confronts issues of environmental liberation and envisions a path toward a more equitable future.
One of today’s most innovative artists, Dyson’s work has been the focus of solo exhibitions at ‘T’ Space Rhinebeck, New York; Mildred Lane Kemper Art Museum, St. Louis, Missouri; New Orleans Museum of Art, Louisiana; Colby College Museum of Art, Maine; Graham Foundation for Advanced Studies in the Fine Arts, Chicago, Illinois; Schuylkill Center for Environmental Education, Philadelphia, Pennsylvania; Suzanne Lemberg Usdan Gallery, Bennington, Vermont; Hall Art Foundation, Derneburg, Germany; and Serpentine Galleries, London, UK.
Group exhibitions and biennials include the Liverpool Biennial, Liverpool, UK; Bienal de São Paulo, Brazil; Desert X, California; California African American Museum, Los Angeles; The Museum of Modern Art, New York; Studio Museum in Harlem, New York; Whitney Museum of American Art, New York; The Drawing Center, New York; Corcoran School of the Arts and Design, Washington DC; Smithsonian National Museum of African Art, Washington, DC; and Wexner Center for the Arts, Columbus, Ohio, among others. Her architectural sculpture Liquid Shadows, Solid Dreams (A Monastic Playground), commissioned for the 2024 Whitney Biennial, is on view at the Whitney Museum of American Art’s fifth floor terrace through February 9, 2025. Torkwase Dyson will create the conceptual design for The Costume Institute’s Spring 2025 exhibition, Superfine: Tailoring Black Style, at The Metropolitan Museum of Art.
Public collections include the Art Institute of Chicago, Illinois; Hall Art Foundation, Reading, Vermont; Hirshhorn Museum and Sculpture Garden, Washington, DC; The Long Museum, Shanghai, China; Mead Art Museum, Amherst College, Massachusetts; Mildred Lane Kemper Art Museum, St. Louis, Missouri; Smith College Museum of Art, Northampton, Massachusetts; Smithsonian National Museum of African American History & Culture, Washington, DC; Studio Museum in Harlem, New York; and Williams College Museum of Art, Massachusetts. Dyson studied sociology and social work at Tougaloo College, Mississippi, and received a Bachelor of Fine Arts in Painting from Virginia Commonwealth University and a Master of Fine Arts in Painting from Yale School of Art. Dyson lives and works in Beacon, New York.
PUBLICATION The exhibition will be accompanied by a fully illustrated catalogue, to be published in 2025.
ABOUT GRAY
GRAY is a globally recognized team of art professionals devoted to fostering the development of historically important artists’ careers and to building outstanding art collections. Founded in 1963, GRAY has established its reputation as a resource for Modern, Postwar, and Contemporary art with prominent private and institutional clients worldwide. Known for producing critically acclaimed exhibitions and programming from its galleries in Chicago and New York, GRAY represents a roster of internationally recognized artists such as McArthur Binion, Torkwase Dyson, Theaster Gates, David Hockney, Rashid Johnson, Alex Katz, Ellen Lanyon, Jaume Plensa, Leon Polk Smith, and Evelyn Statsinger.
1 Torkwase Dyson, lecture, SAIC Visiting Artists Program, School of the Art Institute of Chicago, March 7, 2023.
Featured image- Tuning (Hypershape, 311-520), 2018, exhibited in Torkwase Dyson 2022 Hall Art Foundation, Schloss Derneberg Museum, Holle, Germany
TED talks, YouTube rants and Mr. Peanut, the mascot for Planters Peanuts, are all signs of just how highly valued the art of oratory is today.
“Yep, even Mr. Peanut (voiced by Robert Downey Jr.) has been seen in Planters ads over the past couple of years giving TED-style presentations; people are spending top dollar to attend a well-presented speech with useful information from an inspired perspective, and the best speakers may be regarded fairly as today’s rock stars,” says expert speaker coach Jane Atkinson, author of “The Wealthy Speaker 2.0”.
“The ability to command a fee is a sign that you’ve made it as a speaker. However, as with rock stars, it’s a long way to the top if you’re just starting. But if you have something to offer then you can reach that fee status, and there’s a reliable path to follow.”
The three phases to becoming a paid speaker.
•Ready. “Picking a lane” in your topic is the first step to becoming not only a paid speaker, but a wealthy one, too. Ask yourself the questions, “What topic do I want to be known for five years from now?” and “Will someone pay me for that information?” When looking to hire a speaker to deliver a keynote speech for a conference, who will be picked from a pool of experts – a jack of all trades or someone who hits the center of the bull’s-eye on a topic? When picking a lane, consider delving into topics including leadership, engagement, corporate culture or communication. This is the phase in which you’ll want to really develop your bona fides, including your material and establishing the goal of how you’d like to help your audience.
• Aim. Here is the marketing phase that cannot be underappreciated. It includes aspects like your website and what you do to drive traffic there, which may include a well-written blog with relevant content, and media exposure. However, the most important way to market yourself is to do a truly excellent job with your actual speech. A good speech for a speaker is like a great pastry for a baker – a quality product speaks volumes itself. There is no better form of marketing than a great speech. Therefore, if you think your speech could use help, take care of it right away. No amount of marketing dollars, no fancy Facebook page and no ultra-cool website can overcome a mediocre presentation. However, when you market yourself, you’ll want to include a number of materials, including your brand, promise statement, photos, a bio illustrating credibility, testimonials and more.
• Fire. Now, you need to identify your target market and determine the best method to reach them. You need to roll out your product and continue to build momentum. Be ready to fire your message to your target market via a public relations campaign strategy. There are multiple ways of effectively getting good attention from the media, but don’t believe all attention is good attention. Carefully consider your press releases. Atkinson says the mistake most speakers make is sending out a press release that does not answer the question: “So what?” They don’t tie it to anything relevant into which the press can sink their teeth. Another way to “fire” is to identify your ideal customer, also called the The Attraction Method, as detailed in the book, “Attracting Perfect Customers: The Power of Strategic Synchronicity” by Stacy Hall and Jan Brogniez.
“If you feel as though you have something to offer audiences via oral presentations, then you probably do,” Atkinson says. “These days, so much content can be had for free online, but that doesn’t take the place of a live experiential presentation. A presentation that is ‘epic’ will remain in your memory for years. The ability to present your content live, and make the presentation worthwhile and relevant, means you can earn a reliable stream of revenue based on what you’re good at.” For the Silo, Jane Atkinson.
Props and good lighting can add dramatic effects like this lecture at Hogwarts.
President Biden awards National Medal of Arts to Alex Katz
Alex Katz has been awarded the 2023 National Medal of Arts. Katz received the award from President Joseph Biden in a private ceremony at the White House.
For a good Canadian analogy- The National Medal of Arts is to art what the President’s Trophy is to NHL hockey teams- it is the highest award given to artists and arts patrons by the American federal government. It is awarded by the President of the United States to individuals or groups who are deserving of special recognition by reason of their outstanding contributions to the excellence, growth, support, and availability of the arts in the United States.
Red Hat (Renee), 2013
Oil on linen
84 x 60 inches
213.4 x 152.4 cm
Past recipients of the National Medal of Arts include Mark Bradford, Ken Burns, Spike Lee, Steven Spielberg, Carrie Mae Weems, and Ruth Asawa.
Alex Katz (American, b.1927) is one of the most recognized and widely-exhibited artists of his generation.
Coming of age between Abstract Expressionism and Pop Art, Katz began exhibiting his work in 1954, and since that time he has produced a celebrated body of work that includes paintings, drawings, sculpture, and prints. His earliest work took inspiration from various aspects of mid-century American culture and society, including television, film, and advertising, and over the past five and a half decades he has established himself as a preeminent painter of modern life, whose distinctive portraits and lyrical landscapes bear a flattened surface and consistent economy of line. Utilizing characteristically wide brushstrokes, large swathes of color, and refined compositions, Katz created what art historian Robert Storr called “a new and distinctive type of realism in American art which combines aspects of both abstraction and representation.”
Tracy, 2008 Oil on linen 48 x 66 inches 121.92 x 167.6 cm
Since the 1950s, Alex Katz’s work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions around the world.
Katz early student work included a series of drawings made on his subway commute from Queen’s to his downtown art classes. These drawings were later painted and have been acclaimed as being proto proto pop art.
His work can be found in nearly 100 public collections worldwide, including the Art Institute of Chicago; the Hirshhorn Museum and Sculpture Garden at the Smithsonian Institution, Washington, DC; the Metropolitan Museum of Art, New York; Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; the Museum of Fine Arts, Boston; the Museum of Modern Art, New York; the National Gallery of Art, Washington, DC; the National Museum of American Art, Smithsonian Institute, Washington, DC; the Philadelphia Museum of Art; The Tate Gallery, London; and the Whitney Museum of American Art, New York, among many others. This story courtesy of friends at the Richard Gray Gallery.
Vogue- Madonna. Girls Aint Nothing But Trouble- DJ Jazzy Jeff & The Fresh Prince. Garage Palace- Gorillaz & Little Simz. Pump Up The Jam- Technotronic. Take Me Home 2016 Remaster- Phil Collins. Hunter- Bjork. Revolution 909- Daft Punk. Purple Hearts- Kendrick Lamar w Summer Walker & Ghostface Killah. What do all of these hit songs (and many more) have in common?
“The Roland TR-909 Rhythm Composer is an iconic drum machine powerhouse that’s defined genres and ignited dance floors since its debut. Known for its instantly recognizable punchy classic drum sounds, the TR-909 delivers that quintessential rhythm that has shaped techno, house, acid, and beyond.” Tone Tweakers.
To say that the 909 is a versatile instrument is an understatement.
Creatively transformed into distinct and unique sonic identities by adding interesting studio effects to its sound samples and through different methods of programming tracks, the differences between rhythm styles and drum sounds between hit songs is amazing .
The drums in Phil Collins’s “Take Me Home” are characterized by a powerful and distinctive gated reverb effect on the snare, creating a dense, atmospheric rhythm that drives the song.
“The laid-back vibe of “Purple Hearts” compliments the snappiness of the vintage TR-909 sound. The drums help carry the smooth groove throughout the song, and the cymbals add some sparkle and shimmer to an otherwise tight percussion sound.” Native Instruments.
909 sighting. Fat Boy Slim’s “You’ve Come A Long Way Baby” liner notes.
The TR-909 drum machine was created in 1984 by the Roland Corporation. Forty years later, it is still a highly sought after drum machine commanding a serious amount of purchase money. For perspective, the cost for the 909 in 1985 was $1,095 usd ($3,502 usd allowing for inflation) but has appreciated substantially in value since then- the 909 regularly sells for double this amount or more, not surprising since it is renowned for its iconic analog drum sounds which have become staples in electronic music genres such as techno, house, and acid. The TR-909’s distinctive sound and easy-to-use interface have made it a classic piece of equipment, shaping the sound of countless tracks and influencing generations of musicians and producers.
Attack of the 500$ Clone
“Great care has been taken in designing the RD-9 to achieve new possibilities in beat creation by reviving a timeless design from one of the most classic drum machines of yesteryear. By taking a fresh and modern approach on a classic drum machine, the RD-9 gives you the power to harness the phenomenal sound of the venerable TR-909 and tap into some new features as well. Colossal bass drums through sizzling hi-hats can be manipulated to take your rhythm performance to the next level. This is an analog beat-making monster.” Behringer
Boston, MA. JEANNIE MOTHERWELL Profoundly FunExistential Crisis, acrylic on cradeled panel, 40″ x 30″ x 2″
M Fine Arts Galerie presents PROFOUNDLY FUN, a solo show of new abstract paintings by artist Jeannie Motherwell. The artist, who trained at Bard College and the Art Students League in NYC, finds inspiration in landscapes—earthly or otherwise. A New York City native, Motherwell spent countless seasons on Cape Cod, a place that continues to maintain a special place in her heart and oeuvre. Just as relevant to her work as the waves, the light, and the bay, are stars, galaxies, and nebulae. Indeed, the act of looking at a Motherwell is to be transported out of the room—in this case, a window-lined gallery in Boston’s SoWa Art & Design district. Where you end up is anyone’s guess. Windward, acrylic on cradeled panel, 20″ x 60″ x 2″
“In exploring space, I try to make space. I am intrigued with complex and expansive space on a flat surface. The painting process I use creates the unexpected for me. By pouring and pushing paint, I can engage in the element of surprise, often using a bright and intense palette, or through my continued passion for black and white. In process, while editing, I employ undulating, bleeding, and layering, as my paintings are often inspired by the mysteries of outer space and what astronauts often refer to as “inner space” (the skies and the sea).” -Jeannie Motherwell PROFOUNDLY FUN features new works in acrylic and oil on clay boards, a fine porcelain surface upon which saturated hues spill, swirl, and seep, with rich contours feathering out into delicious white space. Be Known, acrylic on cradeled panel, 48″ x 36″ x 2″
For the Silo, Madison Maushart. PROFOUNDLY FUN runs until October 31 M Fine Arts Galerie 460 Harrison Ave C24 Boston, MA 02118
Beverly Hills Artist, Energy Guru & Landscape Designer Also Does Dreamy Homes!
Beverly Hills-based architect Brian Tichenor is a man of many talents, widely recognized for original, artful building designs that integrate large-scale residences and their surrounding landscapes. A graduate of UCLA, Tichenor is a member of the architecture faculty at rival school University of Southern California. Some of his most notable projects include the new LA Times Headquarters and Nantworks, a campus of DNA sequencing and R&D labs on reclaimed oil fields in the north Baldwin Hills that use methane capture, solar infrastructure, and co-generation to achieve energy self-sufficiency.
The Artist
In the art world, Tichenor’s colorful watercolors are found in the homes of many art collectors. And Brian has completed more than 100 gardens throughout the world. With his wife, fellow architect Raun Thorp, he is the author of Outside In: The Houses and Gardens of Tichenor & Thorp, published by Vendome Press in 2017.
A ten-acre estate in Alamo, thoughtfully designed by Tichenor, has been listed for sale at $17.75 million usd/ $24.4 million cad.
Known as Lark Ridge Estate, the property includes Tichenor’s trademark landscaping featuring Mediterranean-style gardens, a lion’s-head fountain with Emperador dark marble surround, a dark plaster pool, and an octagon-shaped spa, complemented by the property’s stunning views of Mt. Diablo and the surrounding valley.
Three houses sit on the grounds, protected by private gates. The 9,812-square-foot main house includes six bedrooms and nine bathrooms. The two-story mansion is the classic Mediterranean with a red-tile roof. Exquisitely designed for indoor-outdoor living, the floor plan offers grand-scale entertaining spaces, casual living areas, sitting rooms, private bedroom retreats, enormous walk-in closets, spa-like bathrooms, dual-executive-office spaces, a gym, and a media room.
French doors, extensive use of Venetian gold from Italian artisans, antique fireplaces, rock crystal chandeliers, and custom onyx-and-marble countertops impart an air of decadent luxury. Each room is unique, with truly stunning wall coverings, including parchment and gold-leafed wallpaper in the executive office, pearlized Venetian plaster walls in the master suite, custom hand-painted grass-cloth walls in the family room, and a fireplace from New York’s Plaza Hotel. Miele appliances, state-of-the-art AV & security systems, motorized shades, and a computerized lighting system offer the ultimate in high-tech living.
The 917-square-foot carriage house provides a one-bedroom/one-bathroom guest home with a full kitchen and laundry room over an impressive nine-car secondary garage. The 718-square-foot tennis house offers a similar one-bedroom/one-bathroom layout with a kitchenette. Perfect for entertaining, the tennis house opens onto the full-sized lighted tennis court with a basketball hoop and the entertainment deck with a two-way fireplace. An outdoor kitchen and bar, ample poolside lounging areas, and resort-inspired amenities are sure to charm even the most discerning guests.
Located 28 miles south of San Francisco, Alamo is a suburban community known for its bucolic feel and relaxed atmosphere, close enough to San Francisco and Silicon Valley for a comfortable commute but secluded from the hustle and bustle of the city. Lark Ridge Estate sits just above the Iron Horse Regional trail, beloved by walkers, runners and cyclists. Numerous parks and wilderness areas surround the community, which has not yet been heavily developed. Celebrities who call Alamo home include Olympic gold medalist Kristi Yamaguchi, MLB record-setter Mark McGwire, and Oakland Raiders owner Marc Davis.
The listing is held by Dana Green of Dana Green Team of Compass, Lafayette, California.
Akikazu Nakamurabegan his professional journey as a quantum chemist, having graduated from the Department of Applied Chemistry at Yokohama National University. However, it wasn’t long until he turned to the shakuhachi for his future career.
Akikazu studied under numerous shakuhachi masters, including Katsuya Yokohama. He then went on to study composition and jazz theory at Berklee College of Music, USA, graduating summa cum laude. He finished his tertiary studies at the New England Conservatory of Music as a scholarship student in the Master of Music Composition and the Third Stream program.
His compositions are diverse and include orchestral music, choral music, chamber music, big band music, and traditional Japanese music.
He has established a performance method that makes full use of overtones, multiphonics, the traditional Japanese breathing technique of ‘Missoku’, and his own originally developed method of circular breathing, which involves exhaling and inhaling at the same time.
ミソク
While staying true to the traditions of the Komusō monks and collecting, analyzing, and performing their repertoire, he also performs rock, jazz and classical music using a (previously unknown to the English-speaking world) Japanese Zen breathing technique of Missoku. Realizing that others will benefit from this technique and use it to pave a path towards a peaceful and mindful life, he has shared this zen secret of Japanese culture in this comprehensive book.
Missoku
The interest in all things Japan, as well as the increasing effort to center both physical and mental health as a core value of any flourishing society, leads to the nexus explored in this book, Missoku, a unique breathing method that has been handed down through Japanese Zen tradition.
Missoku is a form of breathing in which the pelvis is tilted and the abdomen is in an expanded state. It’s proven to be effective in sports, martial arts, dance, theatre, and playing musical instruments. The benefits to overall health and stamina are bountiful. One incentive includes an increase in respiration capacity, which in turn stimulates the brain, balances autonomic nerves, and improves immune defenses.
These 5 Hot-Rodders Forged the Legacy of the Flathead
The impact of Ford’s flathead V-8 on the hot rod scene is undeniable. But the individuals that immortalized this engine—and, along the way, laid the foundation for the hot-rod scene—are the real heroes.
photo- Brandan Gillogly
n the early 1900s, horsepower was almost exclusively for the Gatsbys of the world. Ford’s flathead V-8, introduced in the depths of the depths of the Great Depression, changed all that. But it needed some help from car obsessives, who went on to invent what we now know as hot-rodding. Learn about them below, then check out Preston Lerner’s deep dive on the Flathead and its impact here.—Ed.
While it’s not without its flaws, the Ford flathead V-8 marked a significant milestone in the history of American performance. Ford’s mass production of the flathead opened up racing to a whole new audience and helped an industry flourish. Ford wasn’t alone, however, as the factory-built flathead was just a building block. Several individuals, through their own innovation and business acumen, were able to build flathead V-8s to horsepower levels that pushed boundaries of speed, developed a massive segment of our hobby, and forged long-lasting businesses, many of which are still with us today. Here are five pioneers of the aftermarket that used the flathead V-8 to cement themselves and their companies in American culture.
Ed Winfield
Magnifico
1901-1982
Known as “The Father of Hot-Rodding,” Winfield got his first job in a blacksmith shop when he was just eight. By the time he was 11, he was stripping down the neighbor’s Model T to shed weight and make it faster. Two years later, he was working on carburetors in Harry A. Miller’s Los Angeles shop where Barney Oldfield’s groundbreaking Golden Submarine race car was being built. With a knack for machinery and an intimate knowledge of engines, Winfield started his own carburetor company in 1919 and began grinding cams the following year. His carburetors were used on eight of the ten Indy 500 winners from 1933-1946, the only exception was Wilbur Shaw, who had won with a Winfield-fed Shaw/Offenhauser engine in 1937 and switched to Maserati power for his wins in 1939 and 1940.
Winfield did it all, from serving as a riding mechanic and racing at Ascot Speedway to working with major automakers in developing engines. Winfield also helped a young Ed Iskendarian with cylinder head work. He was inducted into the Indianapolis Motor Speedway Hall of Fame in 1983 and the Motorsports Hall of Fame in 2011.
Vic Edelbrock Sr.
Magnifico
1913-1962
Already an established mechanic, Vic Edelbrock Sr. designed the Slingshot intake manifold for flathead Ford V-8s in 1938 and tested it on his own 1932 Ford roadster on Southern California’s dry lakes. After WWII, Vic moved into a new shop in Holywood and designed his first cast aluminum cylinder head for flathead V-8s. Also in 1946, Edelbrock created its first catalog of speed parts, and soon its products were found on cars competing in virtually every form of racing, whether it was on the 1/4-mile, on circle tracks, or America’s dry lakes. His son, Vic Jr., took over the business after his passing and expanded the business to include fuel injection and superchargers. Vic Jr. passed away in 2017, but the company continues to make performance parts. To this day, the company makes Victor and Victor Jr. cylinder heads and intake manifolds that keep their legacy alive.
Stu Hilborn
Magnifico
1917-2013
Born in Canada, Hilborn came to southern California in time to graduate high school and attend junior college in Los Angeles before enlisting in the Army Air Corps (you’re going to notice a trend here). While working on aircraft, Hilborn began scheming up a new way to feed fuel to engines, and once he was back in Southern California, he built a dry lakes racer that would prove his constant-flow fuel injection could compete and win against carburetors. The sleek racer was the first to eclipse 150 mph on the dry lakes and graced the fourth cover of Hot Rod magazine in April, 1948.
Hilborn continued to modify and improve his fuel injection design, and in 1952 Bill Vukovich drove the Fuel Injection Special in the Indy 500, where he led 150 laps and was just nine laps from the finish when a steering issue sidelined the car. That was tough luck for Vukovich, but 22-year-old Troy Ruttman passed him and took the win. Rutman, like Vukovich, was running Hilborn fuel injection, as were the remaining drivers on the podium. You can think of Hilborn’s mechanical fuel injection taking over for Winfield’s carburetors, as the individual throttle body system became the induction of choice for America’s top racers, dominating the Indy 500 for decades, claiming 34 victories along the way. Hilborn stacks appeared on road racers of all kinds, and the company’s two-port units could be found atop supercharged drag cars as well, but it all started with the dry lakes flathead.
Alex Xydias
Magnifico
1922-2024
Alex Xydias passed away earlier this year at the age of 102, leaving behind an impressive legacy of business achievement and generosity. His name is synonymous with the So-Cal Speed Shop, the Burbank speed equipment emporium he founded after leaving the Army Air Corps in 1946. The most famous product of that enterprise is the iconic belly tank lakester that graced the January 1949 cover of Hot Rod magazine after it ran using Ford V-8-60 power. The So-Cal Speed Shop followed on the success of the lakester with a sleek streamliner that would go on to be powered by a Mercury flathead that would push the car to 210.8962mph, the fastest time of Speed Week 1950, earning Xydias back-to-back spots on the coveted Hot Rod trophy, and the first in excess of 200mph.
Xydias forged relationships with speed parts manufacturers and helped get race-winning parts into the hands of southern California hot-rodders through his shop, but So-Cal Speed Shop also sold parts across the country through its mail-order catalog, using the fame of his racing success to get more enthusiasts involved by proving what the flathead was capable of.
Ed Iskenderian
Magnifico
1921-
Ever a hot-rodder, Ed Iskenderian’s T roadster was and continues to be an influential build, but there’s a reason he’s known as the Camfather. Shortly after returning from United States Army Air Corps service during WWII, Iskendarian was eager to return to building engines, particularly flatheads, but the booming demand vastly exceeded supply. He didn’t waste time waiting for other cam grinders to catch up. Instead, Isky, already experienced with tool and die work, purchased a machine and converted it to grind cams. Not only were his camshafts effective, but Isky was a talented marketer, coining the term “5-Cycle Cam” to describe his camshafts that used valve overlap and the escaping exhaust gases to scavenge the incoming intake charge. In addition to his many pioneering valvetrain advancements, Isky is also credited with selling logo t-shirts before anyone else.
Iskendarian cams are still used by some of the quickest and fastest racers today.
Featured image via –Historic Vehicle Association For the Silo, Fabian Hoberg / Hagerty.
If your old enough to remember big ass tube tv’s or roof antennas dangling on the roofs of the neighborhood houses then consider this- theme songs from those TV shows can immediately bring back memories and nostalgia from your childhood or teenage life. That is pretty powerful stuff right? One of the reasons why many theme songs continue to be so memorable is because they’re truly unique, written and performed by top-notch musical talent.
But which iconic tune has had the most influence over the years?
By exploring IMDb’s 100 greatest TV theme songs, our friends at Spin Genie have revealed the composers and musicians who have accumulated the most success for their contribution to iconic TV series. Using this data we will analyze the total streams, monthly listeners, and estimated earnings in CAD dollars for the appropriate TV show theme tune.
We will also judge the TV series by reviewing IMDb ratings and Rotten Tomatoes scores, as well as the annual searches for each theme song. Sound fair? Let’s dig in.
PS If you have some spare time in between binging on your favorite TV shows, check out the latest online slots available on Spin Genie.
The most successful TV theme songs:
The Sopranos
Woke Up This Morning – Alabama 3
Royalty score: 8.43 out of 10
In first place is “Woke Up This Morning”, a song by British band Alabama 3 from their 1997 album Exile on Coldharbour Lane. Best known as the opening theme song for the American television series The Sopranos. “Woke Up This Morning” has over 37.9 million streams on Spotify, with estimated earnings of $231,206, and the band has 320,321 monthly listeners. The Sopranos is one of the most influential TV dramas, smashing IMDb ratings with a score of 9.2 out of 10. On Rotten Tomatoes, the drama received a 96% audience rating and recorded 24,600 annual worldwide searches for its theme song as of July 2024.
Get a Life
Stand – R.E.M.
Royalty score: 7.57 out of 10
Following up in second place is “Stand”, a song by American alternative rock band R.E.M., released as the second single from the album Green in 1989. It was used as the theme for the 1990-1992 Fox sitcom Get a Life, starring Chris Elliott. The theme song has amounted to 46.6 million Spotify streams with earnings of almost $284,100.
Get a Life is one of the top-rated TV series on our list, recording a perfect 100% audience rating on Rotten Tomatoes. The show also performed well on IMDb, with ratings of 8.1 out of 10.
The Fresh Prince of Bel-Air
The Fresh Prince of Bel-Air – DJ Jazzy Jeff & The Fresh Prince
Royalty score: 7.07 out of 10
DJ Jazzy Jeff & The Fresh Prince’s “The Fresh Prince of Bel-Air” rounds out the top three, heard in 1990 as the theme song for the NBC sitcom The Fresh Prince of Bel-Air. The lyrics were composed by rapper and sitcom star Will Smith, performing under his stage name, the Fresh Prince, with Jeffrey Townes producing the song under his stage name DJ Jazzy Jeff. Originally, composer and producer Quincy Jones pitched the song, but Smith wrote the lyrics after reading up on an episode script. Jones immediately loved it and accepted it as the theme song.
Further findings:
The song “The Fresh Prince of Bel-Air” from the sitcom of the same name is the most streamed theme song on Spotify, with a total of 123.2 million streams.
The Sopranos achieved the best IMDb rating of 9.2 out of 10, making it the highest-reviewed TV show.
M*A*S*H, an American war comedy-drama television series that aired on CBS from 1972 to 1983, has the most-searched-for theme song with almost 200,000 people searching for it. It’s a song that was written specifically for the show by Johnny Mande and Michael Altman and is called “Suicide Is Painless”.
Kirsty Harris depicts the most iconic man-made event that might take place in a landscape: the detonation of the atom bomb.
Often working at scale, Harris confronts her audience with a vision of awe and beauty. Mushroom clouds hang over desolate expanses of the Nevada desert, provoking contemplation at the intersection of humanity, brutality, technology and nature.
Harris’s practice is steadfast; her paintings are informed by deep research, and this arduous process is echoed in depictions of a split-second event painted over a period of several months.
– Zavier Ellis for the Saatchi exhibition 2023
Buster Jangle, Easy, 50 x 60 inches, 2016
CBP: Your paintings reconstruct photographic documents of the atomic bomb tests, often in the Nevada desert, in a range of exhibition display formats. Can you introduce the core themes of your work?
KH: I am interested in the way these events from history disrupt and scar those barren landscapes. These swirling, bubbling apparitions are like curses or spells that we’ve cast on ourselves, so violent.
My work might feel confrontational, maybe abrupt at first, then hopefully unravelling into something more. I am also drawn in by the stories and myths that run alongside the scientific nature of the subject. We all know that beauty doesn’t have a moral duty to be inherently good. It’s something I think about, the push and pull of awe. The tests made in the desert are so fascinating, the photographs are very rich, colourful, and vivid, due to the way the light refracts and the type of film used. These practice runs at annihilation are so beautiful – it’s unreal. It’s dark.
Georg, oil on un-stretched linen, 59 x 79 inches, 2023
CBP: You talk about early memories and family history in attending CND rallies as a child. Can you discuss this influence on the subject of your painting today?
KH: As I was becoming more and more interested in landscape painting I noticed they all have something occurring, could be farmers, the sun setting, a stormy sky, a battle, a tiny stream. Alone at Tate Modern I was looking at a painting of a single cloud by Richter and then suddenly something clicked in my head. I was walking around, eyes wide with a slack jaw, thinking “oh wow this is what I must do. Paint mushroom clouds.”
The anticipation of piling onto a coach and ending up somewhere waving my homemade banner and singing and chanting at CND protests are evocative memories from my childhood. In our doorway at home, visitors were welcomed by a massive poster of Thatcher & Reagan parodied in a Gone With The Wind movie-style poster, complete with a billowing mushroom cloud in the background. We collected protest badges and leaflets and the atmosphere was potent and thrilling, but I didn’t catch on to what we were shouting about until later. So it was always there in me. A weird relationship with the subject matter.
Plowshare, oil on linen, 80cm x 60cm, 2024
CBP: Many years ago I visited a small museum in the National Museum of Nuclear Science & History, Albuquerque, New Mexico near the atomic bomb test sites. The original photographs of the test bombs were shown alongside reportage photographs of the real bombs and their impact (I think). Also displayed was a fascinating comic book type narrative depicting the daily life of the factory workers who built the bomb and their families. I recall being quietly absorbed by the experience, though I questioned what it was I was looking at, in terms of archive material, as a museum display, and how it made me feel.
When you research and paint your subject, how do you negotiate what you feel about the source material and its transition into you what you are painting? Has it changed over time?
KH: It feels like science fiction.
Through the extensive documentation of nuclear detonations, I can view how these expansive entities change millisecond to millisecond, from the fireball to the pure white cloud left hanging at the end. In my publication, Completely er, unfolding itself (2019), I transcribed the first live official television broadcast of an atomic explosion – given the code name ‘Charlie’ – in 1942. The reporters struggle, grasping for the language to describe the mushroom cloud in front of them – and I get where they were coming from.
We are in such close proximity right now to digital versions of war. Scrolling through instagram you have temu trying to sell you some shitty plastic drawers and then 1 second later a mother holding her tiny dead child wrapped in tarpaulin, and worse. It’s so brutal.
I keep thinking how can we be doing that to ourselves, can they never see themselves in the faces of the people they kill and torture. Nothing is worth this brutality.
I guess my brain is always negotiating how much to watch in order to feel informed but not go reeling into despair, like all of us.
Blue Danube, Oil paint on lightbox tondo, 80cm x 80cm x 11cm, 2023
CBP: In 2007 Mark Wallinger created ‘State Britain’, for the Tate, a meticulous recreation of real-life antiwar demonstrator Brian Haw’s banned protest camp outside the Houses of Parliament. Rather than importing elements of the real camp as a readymade, Wallinger chose to painstakingly recreate it as a painted facsimile. This solitary studio activity would have given him time to reflect on its impact, the life sacrifice Brian Haw made, and what he as an artist was recreating.
How does time and the meticulous process of painting your subject impact on the meaning of the work for you?
KH: Like the women at Greenham Common, Brian Haw was the artwork, the awesome spectacle. Inconvenient clutter. The resilience is truly remarkable. Wallinger’s piece pays tribute to this but, a little like the fake Lascaux caves. Good if you can never see the real thing, but there’s no point looking up close. I found the political implications of it very interesting.
Large paintings take me such a long time, it’s ridiculous.
I have to continually change my vantage point. If it’s possible I turn the painting upside down, take photos of it and desaturate it. Stand up painting, sit down painting. Up the ladder, sat on the floor. I always imagine the next one will be more straightforward but in 25 years, that has never happened, so why would it now? But while there is much anxiety balled up in the action of painting, it is also a hypnotic and calming process. Studying a millisecond of time for so long. I don’t know if it matters to anyone else how long I’ve looked at the painting or the source material, but the act of looking is so important to me. Displaying a painting on your wall at home, you might not realise it but with so much flashing and moving imagery invading our lives (with invitation) a semi-permanent, static, image has a big impact. I love it when there are different layers of meaning to dive into, even if they are not explicit your subconscious will identify them. Looking at an artwork every day builds up a special relationship and enriches the way my mind moves.
Buster Dog,oil on glass, 25cm x 20cm x 4cm, 2021
CBP: Scale feels important both in terms of the impact of your subject for the viewer and your immersion into it when painting it. Can you talk about this aspect of the work?
KH: When you start a painting, there are near unlimited decisions to make. One I used to have trouble with was how big it should be. So I started to use data to construct systems that help me decide. In my paintings, often each square inch (or centimetre) of linen represents a certain number of tons of TNT. This in turn is the unit of measurement chosen, by the military, to denote the yield of the detonation.
These hidden codes might reward an inquisitive viewer.
Really, what I want to do is make paintings so vast that that’s all they see and think about for a moment.
Investigating ideas of scale in a different way: Since 2013 I have been adding to and updating an audio composition entitled How I Learned to Stop Worrying (1945-2024). It is a musical account of every officially recorded nuclear explosion detonated between 1945 and the present day: each different instrument represents a country that partook; each month in history lasts a second on the recording; each note played depicts a single bomb. Eight musicians contributed to the piece and it was quite an epic translation of data to plot out the notes.
Grapple, oil paint on glass, table, 75cm x 50cm x 60cm, 2023
CBP: Can you reveal some of the mark making techniques and tools you use in your painting.
KH: On my larger paintings I staple the linen flat to the wall and then prime it with clear primer. This enables me to really push on the canvas without worrying if I will hit the crossbar. I would love to be laying down decisive, thick, final brush marks, but what comes out is me dabbing layers and layers of thin oil paint, leaving it to evaporate and then repeating the process. My paintings are usually very matt which somehow feels right given that I’m painting dust clouds and sand half the time.
I painted a lot of small paintings on glass during lockdown.
There was something comforting about the contained nature of those pieces. It is quite a different process but still I am basically dabbing on paint until it gets thick enough to create some depth. In a development from these smaller pieces I created a much larger light box piece, Blue Danube, 2023. It plays with the notions of nuclear tourism, emitting its own light in a kind of perverse advert.
Nevada, oil on board, 30cm x 40cm, 2024
CBP: Your titles are short but ranging from factual to enigmatic, how do title your work?
KH: Hard to explain how some titles come to me. A lot of the detonations use people’s names for code names, a bit like cyclones.
Some of my favourites:
“The instrument is not the Music” is the title of a tapestry where the image is a female scientist inspecting and testing a metal instrument. A still from a British documentary it shows the intricate process in a factory where workers unknowingly fabricate the components that will eventually be assembled to create an atomic bomb. tbf my boyfriend came up with that one. He is great at titles if I get stuck.
“Blue Danube” I liked because it is a river (starting in the Black Forest and ending in the Black Sea) a piece of classical music and a bomb. All the Bs, the Beautiful Blue Danube.
Always noting potential titles down in my phone notes, I also dedicate time to skim reading when I need quite a few titles at once. They always come!
Installation shot at Saatchi Gallery 2023, Charlie, oil on un-stretched linen, 112 x 69 inches, 2017
CBP: Can you talk about your studio practice routine when carrying out archival research?
KH: There is the National Archives (UK) and Internet archives (USA) which I find very useful. I trawl through images via the normal channels and in addition watch out for vintage postcards on ebay, old photographs that people have sent me from their Uncle or Grandad’s collection. Declassified documents made into pdfs. We have a decent projector at home now so it’s great to watch documentaries on a large screen. Sometimes I take screenshots from military footage so the freeze-frame I choose may not have been studied widely. It’s interesting how in some images, due to the way the camera has responded, the sky looks black and the clouds are bright white. I have some exciting opportunities coming up, some top secret documents that someone is going to let me look through. And I’d like to work out ways to access small archives. There is one in particular in Germany that looks amazing.
At the moment I’m looking for glow.
Teapot HA, oil on un-stretched linen, 64cm x 51cm, 2019
CBP: What projects are you working on at the moment?
KH: I have time to settle into the studio right now and test out some things I have been thinking through. Last year was a busy one with a solo show at Studio KIND and a big group show at Saatchi Gallery. I am looking forward to a group show in London with some top painters (heroes) next year. Plus a possible group show in New York, just waiting to find out. I also have a soft focus vision of a show in the UK in a massive derelict space. It will be nice to hibernate like a little bear in my studio this winter and come back with new energies.
Sanctuary II, oil on un-stretched linen, 302cm x 217cm, 2018
Kirsty Harris b. 1978 Raised in Yorkshire, artist and curator based in east London.
Co-founder of Come Quick Disaster and on the steering committee for Mental Health Arts organisation – Broken Grey Wires.
Recent solo and 2 person shows include; 2023 THAT LETHAL CLOUD, StudioKIND, Braunton, Devon, UK., HEAVY WEATHER, Splice, Perseverance Works, London, UK. 2022 INTERVENTION, DIY performances during the 59th Venice Biennale, Venice, Italy.
Recent group exhibitions include; 2024 LATRINE’S HAUS OF ART, Vane Gallery, Gateshead, UK. SEX SELLS – BEYOND THE HISTORICAL MATRIX, Semjon Contemporary, Berlin, Germany, HOW LONG IS FOREVER, Galerie 37, Schöneberg, Berlin, Germany. BEYOND THE GAZE – RECLAIMING THE LANDSCAPE, Saatchi Gallery, London, UK. Curated by Zavier Ellis. 2023 A GENEROUS SPACE 3, Huddersfield Art Gallery, Yorkshire, UK. Invited by Karl Bielik, TWO PLUS TWO MAKES FOUR, Auxiliary Warehouse, Middlesbrough, UK. Curated by Broken Grey Wires, THE SUBVERSIVE LANDSCAPE, Tremenheere Gallery, Cornwall, UK. Curated by Hugh Mendes. X – Contemporary British Painting, Newcastle Contemporary Art, UK. Curated by Narbi Price. 2022 ROYAL ACADEMY SUMMER EXHIBITION, Royal Academy, London, UK.
OPP officers stand near the scene of a shooting where one Ontario Provincial Police officer was killed and two others were injured in the town of Bourget, Ont. on May 11, 2023. The Canadian Press/Patrick Doyle
Violent crime is surging in some of Canada’s major cities, with sexual assault rates showing the largest increase over the short and long term, according to a new report.
Sexual assault cases climbed in eight of nine major cities over the past seven years, with Ottawa being the exception to the trend, according to a study [read the full report at the end of this post] by the Macdonald Laurier Institute (MLI). The incidence of sexual assault has risen since 2016 in Vancouver, Calgary, Edmonton, Winnipeg, Toronto, Montreal, Peel, Ont., and York, Ont., with the last nearly doubling from 2016 to 2023.
“In recent years there has been a surge in violent crime across Canada as a whole,” says the report authored by Dave Snow and Rickard Audas, senior fellows at MLI. “We found that violent crime was increasing in many cities in the short-term, most notably for sexual assaults and robberies.”
Winnipeg and Edmonton recorded the highest number of sexual assault cases during the seven-year period. In 2023, Edmonton had a sexual assault rate of 108.64 cases per 100,000 people, while Winnipeg saw a rate of 107.76. Toronto followed at 97.8 cases.
The rate in Peel, on the other hand, was 52.15 cases last year, the lowest among all major cities.
The study’s goal was to analyze crime trends at a local level. To do so, the authors looked at 10 years of police-reported violent crime records from nine major cities, which they say account for one-third of the Canadian population.
They considered four crime categories: homicide, aggravated assault, sexual assault, and robbery. They did not include Vancouver data on sexual assault because of differences in how it reports the crime, they noted.
Winnipeg: Highest Robbery Rates
The robbery rate in Manitoba’s capital last year was nearly triple that of every other major city, at 305.82 cases per 100,000 population, according to the report. The rate has increased by more than 50 percent since 2016, decreasing slightly from 2019 to 2021, and reaching a peak in 2023.
The authors noted the rate decline coincides with the years of pandemic lockdowns.
The second highest robbery rate last year was in Edmonton, which had less than half that of Winnipeg, at 106.01 cases per 100,000 population. Alberta’s capital city had the second highest rate for the entire period, while Montreal and Toronto have followed closely in recent years.
By contrast, York reported the lowest robbery rates since 2016 among all major cities, with 31.66 cases last year. Ottawa and Peel also reported lower rates than other cities.
Edmonton: Highest Rates of Aggravated Assault
Edmonton’s aggravated assault rate in 2023 was more than four times that of any other major Canadian city except Winnipeg, said the report, at 38.72 incidents per 100,000 population compared to Winnipeg’s 22.81.
Aggravated assault refers to injuring, maiming, disfiguring, or endangering someone’s life, according to the Criminal Code of Canada.
The aggravated assault rate from 2016 to 2023 was highest in Edmonton, where it’s been rising steadily over the last decade, according to the study. Winnipeg had the second highest rates in the study period.
The authors said that despite being Canada’s largest city, Toronto has experienced “a considerable decline” in its aggravated assault rate over the last decade, with 8.29 cases in 2023.
York had the lowest rates since 2016, followed by Peel and Montreal. For The Silo, Carolina Avendano/The Epoch Times.
Those who are in the Armed Forces and the general population of Anime fanatics seem to overlap too often to be coincidence. What one armed forces deployment in Okinawa, Japan does to you…
Remember who you’re fighting for. For us, It’s always been Ankou team. Yukari is best girl.
To take a few educated guesses: there’s some of you who are still in denial about liking anime, some of you who are seething with rage that anime even exists in the first place, and probably a few older fellows who are about to be extremely confused. (we’re sorry)
BUT For those of you who already know what’s up: here’s the skinny- basically this post is just a heads up on a sale of all things anime at the kommandostore. Yep that store. Impressive surplus and new military style clothing and ephemera. That shit looks good and holds up. It is tough.
So what about the anime sale?
No codes, human instrumentality, getting isekai’d by truck-kun, or magical-girl transformations needed to take full advantage this weekend. Whether you’ve deliberately sought it out or stumbled upon it on accident, there’s no running from the appeal of anime merch. It’s fun, colorful, sassy, sexy, suggestive and playful. The perfect sort of addition to a pack or helmet cover or laptop or whatever. You get the idea. Maybe you didn’t even know that the kommandostore, known for high quality new and surplus military clothing and items even did that kind of stuff and are just finding out now? If that’s the case, know that all the merch is done in collaboration with Atamonica and is our magnum opus.
The founder of Anduril loves it so much that it’s officially licensed, but that’s a story for another day…
Anduril- transforming US & Allied military capabilities with advanced technologies.
So regardless of if you’re ready to disappoint and confuse your loved ones, or if you’re in the ironic denial phase of being an Anime-watcher ONE OF US! ONE OF US! ONE OF US! We hope you enjoy all the deals with us this weekend.
Just throw it all in your cart and we’ll do the hard work while you finish catching up on the seasonal shows/Vtuber VODs/manga… 2D > 3D (´･ω･`) We love the anthropomorphized missiles so much it’s unreal. Go follow Atamonica. For the Silo, Jarrod Barker.
There could be a number of reasons why you are looking to sell coins in Toronto. Maybe you inherited a whole bunch and you aren’t quite sure what to do with them – or maybe you are collector and want to sell off a few for a bit of extra money. You could also be someone who found a stash of old coins at home and are wondering if any are rare and can be worth something.
In either case, it’s important that you go to a trusted source that can ensure you are getting the right value for your coins. If you visit Muzeum.ca/pages/coins you will see that they offer free evaluations by experts who can tell you if you have something worthwhile on your hands.
What They Buy
This Toronto storefront of the famous Great Canadian Roadshow will buy Canadian and American coins, but because of their large network of collectors they are able to take any kind of gold or silver coin off your hands.
Gold Coins
Worldwide from any nation (Austrian, Mexican, etc.)
American – Gold Eagle, Liberty Head, Indian Head
Olympic
Centennial
Royal Canadian Mint
Silver Coins
Worldwide from any nation (Austrian, Mexican, etc.)
Canadian dated 1968 and Earlier
American dated 1964 and Earlier
JFK Half Dollars 1969 and Earlier
British Coins dated 1946 and Earlier
They will also buy numismatic, commemorative, proof, and uncirculated coins.
What Makes a Coin Valuable?
There are a number of factors that go into what makes coinage valuable – precious metal content being one of them. If coinage is made of gold or silver it will be worth money purely based on the fact that it is made of precious metals.
Typically, Canadian and American coins from the mid-1960s and earlier were made of silver, making them more valuable than coinage dated later. This is because after the Great Depression it became harder to make coins out of silver, so they began to make them out of bronze, copper, and/or steel.
But even then some coins like the Canadian 1948 silver dollar (dubbed the “King of Canadian Silver Dollars”) can be worth a lot of money simply because so few of them were minted. In fact, though 18,780 coins were minted only a few are said to have survived. Therefore, rarity is another determining factor of coinage value.
Another factor is the design of the coin and whether or not there were any errors in its production. Take, for instance, the 1906 Canada “Small Crown” Quarter where the crown was printed in error with a smaller crown than what it should have. These few misprints can be worth almost $1,000.
Finally, coinage maintains its value when it is well taken care of. A scale of 1 to 70 is used to determine the grade of a coin. Mint condition, uncirculated, or dated coinage is usually rated between 65 and 70.
Only One Way to Be Sure
After all is said and done, the only way you can tell for sure how much your coins might be worth is by taking them in to get evaluated. An expert will be able to check whether your items are authentic based on multiple factors including weight, precious metals, design, and minting.
In our louder and louder world, says sound expert Julian Treasure, “We are losing our listening.” In this short, fascinating talk, Treasure shares five ways to re-tune your ears for conscious listening — to other people and the world around you.
Julian Treasure studies sound and helps people and businesses to listen, speak and use sound well. This talk was presented at an official TED conference. For the Silo, David J. Hensley.
Transcript
00:03 We are losing our listening. We spend roughly 60 percent of our communication time listening, but we’re not very good at it. We retain just 25 percent of what we hear. Now — not you, not this talk, but that is generally true. 00:18 (Laughter) 00:19 Let’s define listening as making meaning from sound. It’s a mental process, and it’s a process of extraction. 00:27 We use some pretty cool techniques to do this. One of them is pattern recognition. (Crowd noises) So in a cocktail party like this, if I say, “David, Sara, pay attention” — some of you just sat up. We recognize patterns to distinguish noise from signal, and especially our name. Differencing is another technique we use. If I left this pink noise on for more than a couple of minutes, (Pink noise) you would literally cease to hear it. We listen to differences; we discount sounds that remain the same. 00:56 And then there is a whole range of filters. These filters take us from all sound down to what we pay attention to. Most people are entirely unconscious of these filters. But they actually create our reality in a way, because they tell us what we’re paying attention to right now. I’ll give you one example of that. Intention is very important in sound, in listening. When I married my wife, I promised her I would listen to her every day as if for the first time. Now that’s something I fall short of on a daily basis. 01:28 (Laughter) 01:29 But it’s a great intention to have in a relationship. 01:32 (Laughter) 01:34 But that’s not all. Sound places us in space and in time. If you close your eyes right now in this room, you’re aware of the size of the room from the reverberation and the bouncing of the sound off the surfaces; you’re aware of how many people are around you, because of the micro-noises you’re receiving. And sound places us in time as well, because sound always has time embedded in it. In fact, I would suggest that our listening is the main way that we experience the flow of time from past to future. So, “Sonority is time and meaning” — a great quote. 02:08 I said at the beginning, we’re losing our listening. Why did I say that? Well, there are a lot of reasons for this. First of all, we invented ways of recording — first writing, then audio recording and now video recording as well. The premium on accurate and careful listening has simply disappeared. Secondly, the world is now so noisy, (Noise) with this cacophony going on visually and auditorily, it’s just hard to listen; it’s tiring to listen. Many people take refuge in headphones, but they turn big, public spaces like this, shared soundscapes, into millions of tiny, little personal sound bubbles. In this scenario, nobody’s listening to anybody. 02:51 We’re becoming impatient. We don’t want oratory anymore; we want sound bites. And the art of conversation is being replaced — dangerously, I think — by personal broadcasting. I don’t know how much listening there is in this conversation, which is sadly very common, especially in the UK. We’re becoming desensitized. Our media have to scream at us with these kinds of headlines in order to get our attention. And that means it’s harder for us to pay attention to the quiet, the subtle, the understated. 03:23 This is a serious problem that we’re losing our listening. This is not trivial, because listening is our access to understanding. Conscious listening always creates understanding, and only without conscious listening can these things happen. A world where we don’t listen to each other at all is a very scary place indeed. So I’d like to share with you five simple exercises, tools you can take away with you, to improve your own conscious listening. Would you like that? 03:55 Audience: Yes! 03:56 Good. The first one is silence. Just three minutes a day of silence is a wonderful exercise to reset your ears and to recalibrate, so that you can hear the quiet again. If you can’t get absolute silence, go for quiet, that’s absolutely fine. 04:13 Second, I call this “the mixer.” (Noise) So even if you’re in a noisy environment like this — and we all spend a lot of time in places like this — listen in the coffee bar to how many channels of sound can I hear? How many individual channels in that mix am I listening to? You can do it in a beautiful place as well, like in a lake. How many birds am I hearing? Where are they? Where are those ripples? It’s a great exercise for improving the quality of your listening. 04:40 Third, this exercise I call “savoring,” and this is a beautiful exercise. It’s about enjoying mundane sounds. This, for example, is my tumble dryer. 04:49 (Dryer) 04:50 It’s a waltz — one, two, three; one, two, three; one, two, three. I love it! Or just try this one on for size. 04:58 (Coffee grinder) 05:07 Wow! So, mundane sounds can be really interesting — if you pay attention. I call that the “hidden choir” — it’s around us all the time. 05:16 The next exercise is probably the most important of all of these, if you just take one thing away. This is listening positions — the idea that you can move your listening position to what’s appropriate to what you’re listening to. This is playing with those filters. Remember I gave you those filters? It’s starting to play with them as levers, to get conscious about them and to move to different places. These are just some of the listening positions, or scales of listening positions, that you can use. There are many. Have fun with that. It’s very exciting. 05:46 And finally, an acronym. You can use this in listening, in communication. If you’re in any one of those roles — and I think that probably is everybody who’s listening to this talk — the acronym is RASA, which is the Sanskrit word for “juice” or “essence.” And RASA stands for “Receive,” which means pay attention to the person; “Appreciate,” making little noises like “hmm,” “oh,” “OK”; “Summarize” — the word “so” is very important in communication; and “Ask,” ask questions afterwards. 06:18 Now sound is my passion, it’s my life. I wrote a whole book about it. So I live to listen. That’s too much to ask for most people. But I believe that every human being needs to listen consciously in order to live fully — connected in space and in time to the physical world around us, connected in understanding to each other, not to mention spiritually connected, because every spiritual path I know of has listening and contemplation at its heart. 06:46 That’s why we need to teach listening in our schools as a skill. Why is it not taught? It’s crazy. And if we can teach listening in our schools, we can take our listening off that slippery slope to that dangerous, scary world that I talked about, and move it to a place where everybody is consciously listening all the time, or at least capable of doing it. 07:07 Now, I don’t know how to do that, but this is TED, and I think the TED community is capable of anything. So I invite you to connect with me, connect with each other, take this mission out. And let’s get listening taught in schools, and transform the world in one generation to a conscious, listening world — a world of connection, a world of understanding and a world of peace. 07:29 Thank you for listening to me today.
The Bloc Québécois is ready to wheel and deal with Prime Minister Justin Trudeau’s government in exchange for support during confidence votes now that the Liberal government’s confidence and supply agreement with the NDP has ended.
That support won’t come cheap, the Quebec-based Bloc said, and the sovereigntist party led by Yves-François Blanchet has already drawn up a list of demands.
In an interview ahead of the opening of Monday’s party caucus retreat in the Outaouais region, Bloc House Leader Alain Therrien said his party is happy to regain its balance of power.
Alain Therrien
“Our objectives remain the same, but the means to get there will be much easier,” Therrien said. “We will negotiate and seek gains for Quebec … our balance of power has improved, that’s for sure.”
He called the situation a “window of opportunity” now that the Liberals are truly a minority government after New Democratic Party Leader Jagmeet Singh tore up the confidence and supply deal between the two parties last week, leaving the Bloc with an opening.
While Pierre Poilievre’s Conservatives have promised multiple confidence votes in the hope of triggering a general election, the Bloc’s strategy is not to rush to the polls and instead use their new-found standing to make what they consider to be gains for Quebec.
A Bloc strategist who was granted anonymity by The Canadian Press because he was not authorized to speak publicly stated bluntly that the NDP had officially handed the balance of power back to the Bloc. The Bloc is taking for granted that when a federal election is held in about a year or less, it will be a majority Conservative government led by Poilievre, whose party has surged in the polls for over a year and has been ahead in the rest of Canada for over a year.
Quebec won’t factor so much in that win, the source added, where the Bloc will be hoping to grab seats from the Liberals and where the Conservatives hope to gain from the Bloc.
“It’s going to happen with or without Quebec,” the source said. “They (the Conservatives) are 20 points ahead everywhere in Canada, with the exception of Quebec, and that won’t change … their (Conservative) vote is firm.”
It is not surprising that the Bloc sees excellent news in the tearing up of the agreement that allowed the Liberals to govern without listening to their demands, said University of Ottawa political scientist Geneviève Tellier.
Geneviève Tellier
“The Bloc only has influence if the government, no matter which one, is a minority,” she explained. “In the case of a majority government, the Bloc’s relevance becomes more difficult to justify because, like the other parties, it can oppose, it can hold the government to account, but it cannot influence the government’s policies.”
On the Bloc’s priority list is gaining royal recommendation for Bill C-319, which aims to bring pensions for seniors aged 65 to 74 to the same level as that paid to those aged 75 and over.
A bill with budgetary implications that comes from a member of Parliament, as is the case here, must necessarily obtain royal recommendation before third reading, failing which the rules provide that the Speaker of the House will end the proceedings and rule it inadmissible.
The Bloc also wants Quebec to obtain more powers in immigration matters, particularly in the area of temporary foreign workers, and recoup money it says is owed to the province.
The demands concerning seniors’ pensions and immigration powers are “easy, feasible and clear,” Therrien said.
“It’s clear that it will be on the table. I can tell you: I’m the one who will negotiate,” he added.
The Bloc also wants to see cuts to money for oil companies, more health-care funds for provinces as demanded by premiers and stemming or eliminating Ottawa’s encroachment of provincial jurisdictions. For The Silo, The Canadian Press.
This exhibition explores the imagery of the Himalayan Buddhist devotional art through over 100 paintings, sculptures, textiles, instruments, and an array of ritual objects, mostly dating between the 12th and 15th centuries.
“Tibetan Dharma drum, one of the eight dharma instruments of Tibetan Buddhism, is one of the dharma instruments in Tibetan Buddhism. There are many kinds of dharma instruments, such as big drum, bronze drum, waist drum, crank drum, jie drum and gapala drum. Mainly used in buddhist celebrations, religious festivals, living Buddha sitting on the bed, kaiguang ceremony and other major festive activities. The drum hammer of a crank drum is bent, like a bow.
The drum is about one meter in diameter. When chanting, the lama holds the drum handle in his left hand and hits the accompaniment with a crank drum hammer in his right hand. Kala drum, also known as “zama ru” in Tibetan, is made of wood, ivory and human skulls. The falbala is played with the diamond bell.” rugrabbit.com
This dazzling visual experience provides a roadmap for understanding Himalayan Buddhist worship through early masterworks, juxtaposed with a newly commissioned contemporary installation by Tibetan artist Tenzing Rigdol.
From emmanuelgallery.org- “Tenzing Rigdol’s imposing buddha silhouettes greet the viewer in their recognizable cross-legged seated positions—a posture often associated with meditation and peace—and with a stunning visual effect enhanced by the use of silks and fire imagery. The work brings vivid colors and interesting patterns to the eye, but the fires seemingly emerging from the bodies of the buddhas are also direct acknowledgements of the 155 Tibetans who have self-immolated since February 27, 2009.
In an ultimate act of sacrifice, these Tibetans set themselves on fire with the hope of bringing attention to the oppression currently faced by their society under the laws of the Chinese government. And yet, the buddhas seem peaceful, even welcoming in their balanced postures, their calming presences perfectly harmonized by an artist well-versed in representing both destruction and construction.
The contradictions on display are meant to challenge the viewer. They are simultaneously safe and subversive: beautiful to look at, devastating to comprehend. They are emblematic of this ambitious imagery created by Tenzing Rigdol, a Tibetan artist who has never set foot in Tibet.”
The Met exhibition is made possible by the Placido Arango Fund and Lilly Endowment Inc.
Additional support is provided by the Florence and Herbert Irving Fund for Asian Art Exhibitions and the E. Rhodes and Leona B. Carpenter Foundation.
Almost three and a half decades ago, a mysterious and strikingly beautiful aircraft touched down on a dusty airfield in the Nevada desert.
The F-117 Nighthawk
Since its public reveal decades ago (consider that development started in the 1970’s on this amazing machine), the Nighthawk served with quiet distinction through the latter half of the Cold War, the first Gulf War, a kerfuffle in Yugoslavia, and the invasion of Iraq in 2003. Despite and official ‘retirement’ in 2008, the F-117 still gets spotted in the skies over Nevada where it is rumored to serve as an ‘agressor aircraft’, helping to train pilots.
What’s the F-117 about?
With it’s cyberpunk like profile and stunning angles, the F-117 Nighthawk instantly captured the public’s imagination and birthed a lot of UFO /UAP stories, especially in the late 1980’s and early 1990’s when it’s unusual shape confused expectations of what an aircraft could and should look like. A radical departure from the retro-aerodynamic curves of traditional aircraft design, the F-117’s odd shape serves a singular purpose.
Stealth.
The Nighthawk was conceived by Lockheed’s Skunk Works, a secretive development team responsible for some of the most capable aircraft of the 20th century. Designed to slip through deep Soviet territory, the Nighthawk incorporated radical new technology to achieve an incredibly small radar and thermal signature. Hard edges, radar-absorbing coatings, a unique twin-tail, and special endinge cowlings reduced the aircraft to the size of a sparrow on Soviet radar. The Nighthawk was deemed fully operational in the early 1980’s and nearly a decade her pilots and crew flight night sorties in complete secrecy. Seven years later, the USAF and the Department of Defense decided the Nighthawk would work better as a deterrent if the world knew about it and it’s capabilities.
Plans were made to reveal the aircraft to the world at Nellis AFB on April 21, 1990. Those of us who saw this event live on television will always remember the shock and awe inspiring gasp it created- nothing like it had ever been seen before and it surely looked like something from a science fiction novel or movie. On a hot spring day, a flight of two F-117s landed in front of thousands of cheering spectators, kicking off one of the most memorable air shows in US history. After opening the show, the F-117s sat quietly on the tarmac surrounded by an entourage of armed airmen and curious onlookers. Although little was said about the new “stealth fighters”- blimps, fighter jets, and mock dog fights continued the day’s entertainment in style.
Even with talks of ‘spending prioritization’ and ‘doctrinal appropriateness’, the Nighthawk has endured, in it’s own special way, for nearly 40 years. Everything about the F-117 that made it great in the 1980’s still captivates us today. It’s razor-sharp edges, futuristic technology, and it’s family tree of stealthy cousins (foreign and domestic). Here is hoping many more years of this little black triangle up in the sky… via our friends at kommandostore.com
Art is, or it should be, about more than simply making marks on a surface or manipulating materials into pleasing–or indeed displeasing–shapes…. perhaps the avant-garde or kitsch. A true artist benefits immeasurably by knowing about the history that has created the universe they traverse.
Ever wonder what all that academic talk is that curators like to use so much? Do you find it pretentious or worse?
Art Theory informs in so many ways, tracing the paths that have led to a particular moment or movement. A foundational understanding of the schools of thought, the histories, the thinkers who have wrought the ground you stand on as an artist today enriches not only your own mind but your work as well.
One such thinker who made a significant impact on the art world in the 1940s was Clement Greenberg. In 1939, Greenberg published one of his seminal works Avant-Garde and Kitsch. The essay not only launched Greenberg to nearly overnight notoriety, it also sparked a major development in the art world as a whole.
The essay begins with the following statement:
“One and the same civilization produces simultaneously two such different things as a poem by T.S. Eliot, and a Tin Pan Alley song, or a painting by Braque and a Saturday Evening Post cover. “
Click on the following scan to open the full essay in PDF form-
Click me to read full essay.
Greenberg goes on to classify Avant-Garde as those things that are untouched by the decline of taste and meaning in a society (a poem by T.S. Eliot or a painting by Braque) while Kitsch is the title bestowed on the rest of the clutter that appeals to the masses and asks nothing in return other than their money (a Tin Pan Alley song or a Saturday Evening Post cover).
The Portuguese-Georges Braque-1911.
For Greenberg, Avant-Garde situated itself outside the influences of both capitalist and communist influences that were gradually dampening society’s ability to appreciate any depth of meaning.
Greenberg wrote several other important essays over the course of his life and career. He was a strong proponent of Modernism being the last best hope for the preservation of integrity in art. Jackson Pollock and Willem de Kooning were among those he deemed the saviors of art in their time.
Understanding who Clement Greenberg was and why his influence matters is just one piece of the complex puzzle of being a well-rounded artist. There are libraries worth of books out there that will break down every bit of art theory and history you ever need to know.
Of course, who has time to read all that? How can you know where to begin? Who and what are some of the most important influences that have shaped the art world as it stands today and how are you meant to sort them out from the crowd? For the Silo, Brainard Carey.
Several individuals in the UK have been sentenced to prison for posts they made online as authorities crack down on recent protests that led to race-motivated crimes. The laws that were used for the arrests in the UK compare as strikingly similar to Canadian laws dealing with online speech, including both existing legislation and the proposed Bill C-63. Why It Matters: Bill C-63, which has received second reading, significantly changes the laws governing online content in Canada.
“It’s alarming that the bill [C-63] enables individuals to anonymously file complaints with the Canadian Human Rights Commission against those they deem to be posting hate speech. If found guilty, the Canadian Human Rights Tribunal can impose fines of up to $70,000 cad and issue takedown orders for the content in question.
“If the courts believe you are likely to commit a ‘hate crime’ or disseminate ‘hate propaganda’ (not defined), you can be placed under house arrest and your ability to communicate with others restricted.” revolver.news
Via eurocanadians.ca/ The People’s Choice by Sean Adl-Tabatabai: The Trudeau government has introduced a potentially Orwellian new law called the Online Harms Bill C-63, which will give police the power to retroactively search the Internet for ‘hate speech’ violations and arrest offenders, even if the offence occurred before the law existed. This new bill is aimed at safeguarding the masses from so-called “hate speech”.
Revolver.news reports: The real shocker in this bill is the alarming retroactive aspect.
Essentially, whatever you’ve said in the past can now be weaponized against you by today’s draconian standards. Historian Dr. Muriel Blaive has weighed in on this draconian law, labeling it outright “mad.” She points out how it literally spits in the face of all Western legal traditions, especially the one about only being punished if you infringed on a law that was valid at the time of committing a crime.
The Canadian law proposal is outright mad. It is retroactive, which goes against all our Western legal tradition, according to which you can be punished only if you infringed a law that was valid at the time when you committed a crime: “And it isn’t just stuff you’ve posted after the new law comes into force you can get into trouble for – oh, no – but anything you’ve posted, ever, dating back to the dawn of the internet. In other words, it’s a gold-embossed invitation to offence archaeologists to do their worst, with the prospect of a $20,000 cad reward if they hit paydirt. The only way to protect yourself is to go through all your social media accounts and painstakingly delete anything remotely controversial you’ve ever said.”
“Although, that won’t protect you from another clause in the bill – and this is where it trips over into as yet unimagined dystopian territory. If the courts believe you are likely to commit a ‘hate crime’ or disseminate ‘hate propaganda’ (not defined), you can be placed under house arrest and your ability to communicate with others restricted. That is, a court can force you to wear an ankle bracelet, prevent you using any of your communication devices and then instruct you not to leave the house. If the court believes there’s a risk you may get drunk or high and start tweeting under the influence – although how is unclear, given you can’t use your phone or a PC – it can order you to submit regular urine samples to the authorities. Anyone who refuses to comply with these diktats can be sent to prison.”
By externalizing the defense of free speech to the right and extreme right and by endorsing repression, the liberal left is playing a very dangerous game here. For those of us who are NOT on the right and extreme right, this is rather disheartening… The left is actually shooting itself in the foot and will come back whining, ‘amazed’ that ordinary people are so ‘ungrateful.’ Indeed it seems to have forgotten that the rule of law implies to solve disagreements in the voting booth rather than by silencing those who disagree with us. How can it hope to get the support of the public for this insanity?
An online X user recently shared that his wife wrote a letter to every Canadian MP concerning this chilling bill, and only one MP responded. He posted MP Rachel Thomas’s reply, which many are now calling one of the most insightful and well-crafted summaries on this alarming issue.
My wife wrote to all Canadian MP’s about our opposition to the Online Harms Bill C-63. MP Rachael Thomas of Lethbridge is the only one who wrote back … It is the best written summary of issues I have seen yet. Long, but here it is…
“Thank you for writing to me regarding Bill C-63, the Liberal’s latest rendition of their online harms legislation.
While the federal government has touted this bill as an initiative to protect children, it does little to accomplish this noble cause, and a great deal to inhibit freedom of speech. Permit me to outline the bill in more detail.
There are four key parts to the bill: Part 1 creates the Online Harms Act; Part 2 amends the Criminal Code; Part 3 amends the Canadian Human Rights Act, and Part 4 amends An Act respecting the mandatory reporting of Internet child pornography by persons who provide an Internet service. I will focus on the first three parts of the bill in the rest of the letter.
Part 1: The bureaucratic arm will consist of three entities: the Digital Safety Commission, Digital Safety Ombudsperson, and Digital Safety Office. These new offices are made up almost entirely of Cabinet appointees and are given powers to receive and investigate complaints concerning harmful content, collect data, and develop more regulations. The Chairperson of the Digital Safety Commission would be voted on by Parliament. The Digital Safety Commission may investigate complaints and hold hearings regarding violations of the Act. The commission may act with the power of the federal court and may authorize any person to investigate compliance and non-compliance.
Penalties for violating an order of the commission or hindering anyone they authorize depend on whether a regulated service or individual commits the violation. The maximum penalty for a violation is not more than 8% of the gross global revenue of the person that is believed to have committed the violation or $25 million, whichever is greater. Cabinet and the Digital Safety Commission can make further regulations concerning the Commission’s powers and financial enforcement (fines).
Setting up a bureaucratic arm will do little-to-nothing to protect children. The last thing our system can handle right now is a stack of new complaints. It can’t even handle the existing ones.
Part 2: Bill C-63 creates a new hate crime offence that will make any offence under the Criminal Code, or any Act of Parliament, an indictable offence and punishable to life in prison if the offence was motivated by hatred. A definition of ‘hatred’ is introduced in s. 319(7), which is defined to mean ‘the emotion that involves detestation or vilification and that is stronger than disdain or dislike.’ s. 319 (8) includes the clarification that the communication of a statement does not incite or promote hatred, for the purposes of this section, solely because it discredits, humiliates, hurts or offends.
Furthermore, the bill increases the punishment for an offence in s. 318 (1), advocating genocide, to imprisonment for life. The current punishment is up to 5 years. The bill also increases the punishments for offences in s. 319 (public incitement of hatred, wilful promotion of hatred, wilful promotion of antisemitism) from up to 2 years to not more than 5 years.
Alarmingly, a peace bond is created for ‘fear of hate propaganda offence or hate crime.’ This will allow a person to seek a court-ordered peace bond if they reasonably fear that someone will commit a hate propaganda offence or hate crime against them in the future. If you’ve watched the movie “Minority Report” you know how scary this is.
Part 3: The bill reinstates Section 13 of the Canadian Human Rights Act, which empowers officials at the Canadian Human Rights Commission and Canadian Human Rights Tribunal to make subjective determinations as to what forms of expression constitute hate speech, and they may also decide on remedies including fines. This will allow any individual or group in Canada to file complaints with the Canadian Human Rights Commission against users who post ‘hate speech’ online, with an accused facing fines of up to $50,000.
The legislation defines hate speech as content that is “likely to foment detestation or vilification of an individual or group of individuals on the basis of such a prohibited ground.” In other words, the content doesn’t necessarily have to directly express vilification; it only needs to be assessed as “likely to” vilify someone by a human rights tribunal. Section 13 is a punitive regime that lacks procedural safeguards and rights of the accused that exist in criminal law. Truth is no defence, and the standard of proof that will apply to Section 13 is “balance of probabilities,” not “beyond reasonable doubt,” as exists in a criminal case.
As you have rightly pointed out, Parts 2 and 3 of this bill are a direct attack on freedom of speech and will have a significant chilling effect as people fear the possibility of house arrest or life in prison. Margaret Atwood has gone so far as to say that C-63 invites the possibility of revenge accusations and the risk of “thoughtcrime.”
Furthermore, its alarming that the bill enables individuals to anonymously file complaints with the Canadian Human Rights Commission against those they deem to be posting hate speech. If found guilty, the Canadian Human Rights Tribunal can impose fines of up to $70,000 and issue takedown orders for the content in question. Additionally, the tribunal is granted the authority to shield the identities of complainants and prohibit defendants from disclosing this information if uncovered. In essence, accusers of hate speech will have their identities safeguarded, while those accused face significant financial penalties.
Common-sense Conservatives believe that we should criminalize and enforce laws against sexually victimizing a child or revictimizing a survivor online, bullying a child online, inducing a child to harm themselves or inciting violence. Criminal bans on intimate content communicated without consent, including deepfakes, must be enforced and expanded. Conservatives believe that these serious acts should be criminalized, investigated by police, tried in court, and punished with jail, not pushed off to a new bureaucratic entity that does nothing to prevent crimes and provides no justice to victims. We will bring forward changes to the Criminal Code that will actually protect children without infringing on free speech.
Thank you again for writing to me, and please accept my best wishes.
Warmest regards,
Rachael Thomas Member of Parliament for Lethbridge”
Six Inuit and three Korean artists have been selected to share their drawings as part of a Canadian pavilion during the 15th annual Gwangju Biennale in Korea. It’s the first Canada-Korea collaboration of its kind and is a feature of the 2024-2025 Year of Cultural Exchanges between the two nations.
It’s the second time Inuit artists from West Baffin Cooperative have shared their artwork at the biennale, and builds on the growing relationship between Kinngait Studios and its counterparts in Gwangju, Korea.
Kinngait Studios
Earlier this year, West Baffin Cooperative hosted two Korean cultural delegations in Toronto, Ottawa, Iqaluit, and Kinngait. During the visits they learned more about each other’s cultural practices and found a genuine fascination about the places in which each other respectively live.
Those preliminary cross-cultural exchanges served to inform this year’s pavilion, which ultimately led to the exhibition’s main theme that explores definitions of home.
In some cases, interactions between the artists were observational, about landscape, climate, or traditional attire. Other conversations were more nuanced, about linguistics and speculations around ancient Asia-Arctic migration. There were also intimate moments between the two groups, including demonstrations of identity through cuisine; exchanges of maktaaq and kimchi, palauga, and soju.
Maktaaq- a traditional food of Inuit and other circumpolar peoples, consisting of whale skin and blubber.
There were also political discussions about the still complex and often strained relationship between the government of Canada and Inuit people and those paralleled histories in Korea.
The exhibit features a set of six framed drawings taken from the 2023 pavilion, as a nod to the previous exhibition and a collaborative lithography commissioned for this project.
The six Kinngait artists include: Saimaiyu Akesuk, Shuvinai Ashoona, Qavavau Manumie, Pitseolak Qimirpik, Ooloosie Saila and Ningiukulu Teevee. The three participating Korean artists are Sae-woong Ju, Joheum Lee and Seol-a Kim. For the Silo, Paul Clarke. Featured image- 핏설악 퀴미르픽, 무제(고향과 또 다른 장소들), 2024, 종이에 잉크 Pitseolak Qimirpik, Untitled (Home and Other Places) 2024, ink on paper.
All of modern life is a spectacle. Much of what contemporary man experiences in Western society is a false social construct mediated by images.
These mediated images create desires that can never be fulfilled; they create false needs that can never be met. “Many of our daily decisions are governed by motivations over which we have no control and of which we are quite unaware” (Berger 41). The constant spector of the mediated image creates an endless cycle of desire, consumption, and disinterest, fueling a banality in life that feeds the commodification of life.
Increasingly life itself becomes a commodity and the image more important than the reality it represents. This commodification infiltrates every aspect of human production, including the arts, and finds its pinnacle expression in the work of Damien Hirst. Hirst has carefully crafted a brand identity that has far surpassed the value of his art work in importance and worth. Working in tandem with former advertising executive turned art dealer Charles Saatchi, the spectacle of the Hirst image becomes the commodity. “Reality unfolds in a new generality as a pseudo-world apart, solely as an object of contemplation. The tendency towards the specialization of images-of-the-world finds its highest expression in the world of the autonomous image, where deceit deceives itself” (Debord 143).
No longer is the work of art itself a commodity, but rather the image of the artist (his/her/cis brand) that becomes the commodity.
It is this spectacle that drives the consumer to identify with a particular artist or brand. “The astronomical growth in the wealth and cultural influence of multi-national corporations over the last fifteen years can arguably be traced back to a single, seemingly innocuous idea developed by management theorists in the mid-1980s: that successful corporations must primarily produce brands, as opposed to products” (Klein 4). The image has increasingly infiltrated and dominated the culture and the whole of society and has become “an immense accumulation of spectacles” (Debord 142).
Butterfly by Damien Hirst
Where once the products of labor were the commodity, now it is the spectacle that has become the commodity.
A prime example of this spectacle is Damien Hirst’s sculpture, “For the Love of God.” The sculpture consists of a platinum skull covered with 8,601 diamonds. The sculpture valued at over $100 million usd/ $129.361,000 cad [exchange rate at time of publication] is clearly out of the reach of almost any collector. The sculpture itself is not the art product, rather it is the spectacle that is the product. “Mr. Hirst is a shining symbol of our times, a man who perhaps more than any artist since Andy Warhol has used marketing to turn his fertile imagination into an extraordinary business” (Riding, nytimes.com). Acknowledging that the sculpture is out of reach for the majority of collectors, Hirst offered screen prints costing $2000 usd/ $2,587 cad to $20,000 usd/ $25,870 cad ; the most expensive prints were sold with a sprinkling of diamond dust.
Karl Marx argued that the value of the commodity arose from its relationship with other commodities; its ability to be exchanged for other commodities. Marx used the the production of a table to illustrate his thesis: “…by his activity, man changes the materials of nature in such a way as to make them useful to him. The form of wood, for instance, is altered if a table is made out of it. Nevertheless the table continues to be wood, an ordinary, sensuous thing. But as soon as it emerges as a commodity, it changes into a thing which transcends sensuousness.” (Marx 122)
Hirst’s diamond encrusted skull remains mere diamonds, valuable yes, but still diamonds. However, when coupled with the spectacle of Damien Hirst’s identity, the skull becomes a fetishized commodity capable of selling screen-prints valued in the thousands. The argument can be made that diamonds on their own carry value, and could be commodities themselves, however that doesn’t account for the fact the Hirst was able to sell prints of the skull for over $2000 usd/ $2,587 cad. Nor do the diamonds alone account for the spectacle surrounding the art work; it is Hirst’s brand, his image that creates the spectacle.
“The mystical character of the commodity does not therefore arise from its use-value. Just as little does it proceed from the nature of the determinants of value” (Marx 123). The value of a commodity arises from its spectacle, its ability to be desired. In Marx’s day that desire was its ability to be traded for other commodities; today that value is derived from its association to a brand, an identity, a spectacle. “Art reflects the illusory way in which society sees itself, it reflects the bourgeoisie’s aesthetic ideas as if they were universal” (Osborne 79).
The spectacle feeds itself through the mediating of the image to create desire for status and recognition, through associations.
“The ends are nothing and development is all – though the only thing into which the spectacle plans to develop is itself” (Debord 144). The spectacle’s main objective is self perpetuation. Its aim is totality. It must be noted that Hirst himself did not even create the work of art, but rather employed a studio full of jewelers to execute the sculpture, and printers to produce the prints.
Hirst exemplifies the bourgeoisie capitalist employer who retains ownership over the fruit of the employees’ labor. He is in many ways more akin to a captain of industry than he is to the romantic notion of an artist. “In the early twenties, the legendary adman Bruce Barton turned General Motors into a metaphor for the American family, something personal, warm and human” (Klein 7). Hirst has also turned himself into a metaphor, however, metaphors aren’t always true. This falsehod is at the heart of the issue. The spectacle isn’t concerned with what is true, rather it is concerned with what can be made to appear true. It is this appearance of truth that makes a commodity valuable. This fetishism of the commodity is why gold and silver have value, it is because people gave them value. It is the reason Damien Hirst, or any other brand, has value, because people gave it value.
Damien Hirst cannot be blamed for commodifying art, he is simply following a long tradition of turning objects and products into commodities. The fact that his commodity is his own image doesn’t seem to matter. “Hirst is just playing the game. It is a game played by collectors and dealers at art fairs throughout the year; it is a game finessed as never before by Sotheby’s and Christie’s; it is a game in which, in the words of Nick Cohen, a rare British journalist to trash Mr. Hirst’s publicity coup, ‘the price tag is the art’ ” (Riding .nytimes.com).
That final statement beautifully summarizes the commodification of art, ‘the price tag is the art.’ The fact that the art is obscenely priced, and out of the reach for the majority of collectors, the fact that it is made of diamonds, a precious stone known as the blood stone because of its association with brutal and oppressive regimes, merely adds to its allure, to its spectacle. Damien Hirst is merely playing the game, like many before him. He is a part of the growing culture industry that sells image. Images are the new commodity fetish. Images are the new mysterious commodities exchanged for more the more durable and enduring commodities. The bourgiousie sell their images, which have no real value, to the public which consumes them, in exchange for goods of real value.
“The $200 billion usd/ $270 billion cad culture industry – now North America’s biggest export – needs an every-changing, uninterrupted supply of street styles, edgy music videos and rainbows of colors. And the radical critics of the media clamoring to be ‘represented’ in the early nineties virtually handed over their colorful identities to the brand masters to be shrink-wrapped.” (Klein 115)
Nick Cohen said of Hirst, “[he] isn’t criticizing the excess, not even ironically … but rolling in it and loving it. The sooner he goes out of fashion, the better.” What Cohen fails to realize is that the spectacle is a fashion. And when one image goes out of fashion, another takes its place. Hirst may indeed go out of fashion, but another art brand will take his place, perpetuating the commodification of the arts in increasingly bombastic ways.
Perhaps art has always been a commodity?
In the past patrons would hire artists to paint them into scenes from the gospels. Patrons could be seen on the outskirts of paintings piously praying, thus creating an image of themselves as good and pious Christians. By association with the sacred art, the patron was creating a mediated image. Rulers did this all the time. The Equestrian Statue of Marcus Aurelius is a perfect example. Its a mediating image that communicates power and authority.
But none of these examples reach the level of spectacle and fetishism that is Damien Hirst. While art may have been a commodity in the past, it was never commodified. In other words, while the art itself may have been exchanged for other goods, the artist himself was not treated as a commodity. The art of the past may have served a purpose, it may have contained a mediated message, but it was still a product, and it was the product that was valued, not its brand identity.
The commodification of art creates a unique problem in history. If it is the spectacle that matters, and the artist’s identity that has value, then what value is left in the art itself?
What then separates art from ordinary objects? Is there any aesthetic emotion that remains in the work of art itself, or does the aesthetic emotion dwell completely within the spectacle? These are questions that cannot easily be answered, and ultimately will require the lens of history to answer completely. But they are a pressing concern, for when art is commodified, it may cease to be art and instead become celebrity, product, or worse, advertising. For the Silo, Vasilios Avramidis
Works Cited Berger, Arthur Asa. Seeing is Believing: An Introduction to Visual Communication. New York, NY: McGraw Hill, 2008. Print. Debor, Guy. “Showing Seeing: A Critique of Visual Culture.” The Visual Culture Reader. Ed.Nicholas Mirzoeff. New York, NY: Routelage, 1998. 142-144. Print. Klein, Naomi. No Logo, No Space, No Choice, No Jobs. New York, NY: Picador, 2000. Print. Marx, Karl. “Showing Seeing: A Critique of Visual Culture.” The Visual Culture Reader. Ed.Nicholas Mirzoeff. New York, NY: Routelage, 1998. 122-123. Print. Riding, Alan. Alas, Poor Art Market: ‘A Multimillion Dollar Headcase.’ The New York Times. June 2007, Damien Hirst and the Commodification of Art http://www.visual-studies.com/interviews/moxey.htm
An RCMP officer and a worker look on the demolition of the temporary installation for refugee claimants at Roxham Road Monday, in St. Bernard-de-Lacolle, Que., on Sept. 25, 2023. The Canadian Press/Ryan Remiorz
The closing of the unofficial border crossing Roxham Road last year stemmed the flow of asylum-seekers into Quebec from New York state, but overall numbers are rising in Canada with a spike in those arriving by air. The rise has many reasons behind it and can’t be accounted for by the growing scope of global conflict alone, immigration experts told The Epoch Times.
A major contributor is likely an increase in travel visa approvals.
The government has recently ramped up its visa processing to eliminate a backlog from the pandemic, Montreal immigration lawyer Stéphanie Valois told The Epoch Times. After arriving on travel visas, many people proceed to claim asylum.
Fewer travel visa applicants have been asked to prove they will return home in recent years, said lawyer and York University international relations professor Michael Barutciski in an email. This is also likely contributing to an increase in air arrivals, he said.
From January to June this year, Canada processed just over 92,000 asylum claimants. That’s a lot more than the roughly 57,000 claimants in the same period last year—and 2023 was already a record-breaking year.
By contrast, from 2011 to 2016, the number of claimants Canada received each year ranged from around 10,000 to 25,000. The numbers began to climb thereafter, and Canada’s per-capita intake of asylum-seekers is now comparable to that of Germany, the European Union’s largest host country, according to Barutciski’s analysis of EU figures for a Macdonald-Laurier Institute paper published in July.
Nearly 28,000 claimants arrived via air in the first half of this year, compared with roughly 8,000 by land. This is a reversal of a long-standing trend of land arrivals being far more common, even before Roxham Road became a heavily used route.
The total number of asylum claimants processed by Canada Border Services Agency and Immigration, Refugees and Citizenship Canada during the first six months of 2017–2024. For 2011– 2016, only annual data is available, so we cut the annual total in half to give a rough estimate for comparison. The Epoch Times
From Land to Air
Roxham Road is an unofficial border crossing between New York and Quebec used by more than 100,000 migrants since 2017. Its use waned after Canada and the United States closed a loophole in their bilateral Safe Third Country agreement in March 2023.
The agreement says anyone seeking asylum must file their claim at the first of the two countries they enter. But the loophole was that this requirement applied only to official border crossings. Now it applies anywhere along the border: Asylum-seekers will be turned back to the United States to make their claims there.
Most of the asylum-seekers in 2023 were from Mexico—about 25,000 of all claimants that year, according to the Immigration and Refugee Board (IRB) of Canada.
The federal government further tightened restrictions on migrants from Mexico in February 2024 by requiring Mexicans to have travel visas.
“This responds to an increase in asylum claims made by Mexican citizens that are refused, withdrawn or abandoned,” said the federal government’s announcement at the time. “It is an important step to preserve mobility for hundreds of thousands of Mexican citizens, while also ensuring the sound management of our immigration and asylum systems.”
Prime Minister Justin Trudeau said in June, after meeting with Quebec’s premier, that his government would “improve the visa system“ in general, but he did not elaborate and it was not a major point of discussion.
The Epoch Times asked Immigration, Refugees and Citizenship Canada for any update or specific plans but did not receive a response as of publication.
“When people apply for a visa, it’s almost impossible to know what their intentions are when they arrive in Canada,” immigration lawyer Valois said. They may be planning to seek asylum, or sometimes the situation changes in their homeland—if a war starts, for example—and they decide to make a claim, she said.
The same is true of international students who file asylum claims, she added. Federal Immigration Minister Marc Miller has expressed alarm regarding international student claims.
The number of international students claiming asylum at Seneca College increased from about 300 in 2022 to nearly 700 in 2023. Claims from Conestoga College students rose from 106 to 450 during that same period.
These increases are “alarming” and “totally unacceptable,” Miller said in February.
As the method of entering Canada to claim asylum has changed, so have the most common countries of origin and the destinations within Canada.
Countries of Origin, Destination
The highest number of claimants so far this year have arrived from India. IRB data on country of origin is only available for January through March. It shows approximately 6,000 claimants from India. The next greatest are those from Mexico (about 5,800), Nigeria (5,061), and Bangladesh (3,016).
Given that the data is limited to only three months, it’s hard to tell how the annual total will compare to 2023. But if the number of Mexican applicants remains steady, Canada may see numbers similar to last year.
However, the number of Haitians and Colombians—which were among the highest in 2022 and 2023—appears to be on the decline. These are also groups that would have come in large numbers through Roxham Road.
The new claimants coming in now are from countries that differ from the top source countries for refugee claims worldwide, Barutciski said, referencing data he analyzed from the United Nations High Commissioner for Refugees.
Canada’s spike is not following global trends, he said, which suggests it may have to do with a perception that Canada’s asylum policies are especially lenient. In other words, Canada is attracting claimants who feel they may not successfully seek asylum elsewhere.
Asylum-seekers are specifically people who arrive in the country without pre-approved refugee status. For example, although Canada has taken in many Ukrainian refugees, Ukraine is not a top source of asylum-seekers.
The majority of claimants so far this year have arrived in Ontario, whereas for years, Quebec was at the centre of the asylum issue.
Quebec has received more claimants than Ontario almost every year since 2016. The only exceptions were 2020 and 2021, but Ontario’s numbers were only slightly higher during those years (a difference of approximately 700 people in 2020 and roughly 1,600 in 2021).
In the first half of this year, Ontario received approximately 48,000 claimants and Quebec received 33,000. British Columbia and Alberta were the next highest recipients, with roughly 5,200 and 4,500 respectively.
How to distribute claimants, along with the federal funds for helping settle them, has been a hot topic.
Quebec received a pledge of $750 million in federal funds in June, and B.C. Premier David Eby was most outspoken about other provinces wanting help as well. Minister Miller replied in June that British Columbia needs to take on more asylum-seekers if it wants more money.
Manitoba and Newfoundland and Labrador have said they are willing to take on some of Quebec’s asylum-seekers.
The Parliamentary Budget Office (PBO) in May put together an estimate of federal costs associated with each asylum claimant from a visa-exempt country.
The average cost for each claimant is $16,500 cad in 2024, the PBO said.
Asylum-seekers are eligible for a work permit, with the processing time to get it about six to eight weeks, according to the Quebec government.
The claims themselves can take years to process. The current projected wait time, according to the Immigration and Refugee Board of Canada, is two years for a refugee claim and one year for an appeal. The backlog of cases has grown over the years to more than 186,000 as of March 31 this year. For comparison, the backlog was approximately 10,000 in 2015.
The proportion of claims that are approved is rising. The data available for 2024 so far, from January to March, shows 82 percent approved—or some 11,000 out of around 13,500 claims ultimately assessed—not counting others that weren’t assessed as they were either abandoned or withdrawn by the claimant.
Similarly, in the 2023 calendar year, roughly 79 percent were approved. That was a steep increase from the 69 percent figure in 2022, and the 71 percent in 2021. If we jump back to 2013, the number was 60 percent, which increased to 64 percent in 2014 and continued to climb.
For the Silo, Tara MacIsaac/The Epoch Times.The Canadian Press contributed to this report.Featured image via alipac.us : A group that stated they were from Haiti line up to cross the U.S.-Canada border into Hemmingford, Quebec, from Champlain in New York, Aug. 21, 2017.
Few Canadians are immune to the rising cost of living, according to a new report from Statistics Canada, with 9 percent of those in the highest income quintile considering using a food bank.
Data from spring 2024 shows that while 42 percent of Canadians are concerned over rising food prices, about 9 percent of those in the highest income bracket report they may have to turn to a food bank or similar community organization for help. That number rises to 14 percent for those in the second-highest income bracket, StatCan said.
A cart is filled with bags of food during a Thanksgiving food drive for the Ottawa Food Bank, at a grocery store in Ottawa on Oct. 7, 2023. The Canadian Press/Justin Tang
Nearly half of Canadians report struggling to meet day-to-day expenses, up 12 percentage points from 2022 to 45 percent.
The survey found that the number of Canadians who feel “quite a bit” or “extremely” stressed over financial issues increased slightly since 2022, from 33 percent to 35 percent this year.
Families with children and those living with a disability are struggling the most, StatCan said.
Fifty-five percent of families with children say rising costs have impacted their ability to cover daily expenses, compared to 42 percent of households without children and 37 percent of single Canadians.
Shrinkflation– a sneaky way of charging more by giving less. General Mills shrunk its “family size” boxes from 19.3 ounces to 18.1 ounces. Justin Sullivan/Getty Images
Those with disabilities are also more likely to be facing financial difficulties, with 57 percent saying they are struggling to meet daily costs, compared with 43 percent of those without a disability.
Housing is one of the biggest concerns Canadians cite, with nearly four in 10 saying they are concerned about their ability to afford a home because of rising prices. The number has risen from 30 percent in 2022 to 38 percent this year.
StatCan found that renters are more uneasy about increasing prices than homeowners, with nearly two-thirds of renters “very” concerned over housing affordability compared with about one-third of homeowners.
Food prices are another top concern for those surveyed, with more than one in five Canadians saying they may not be able to afford groceries. The number has risen to 23 percent, up from 20 percent two years ago.
Of those worried about food prices, 8 percent say they are very likely to need help from an organization such as a food bank. Another 15 percent say they are somewhat likely to need community help.
More than one in four families with children say they expect to turn to food banks and similar organizations, compared to one in five for other household types, StatCan said.
About one-third of Canadians with a disability say they expect to get food from a community organization in the next six months, compared to one in five of those without a disability, the agency said. For the Silo, Chandra Philip / The Epoch Times. The data was collected between April 19 and June 3.
Melding the varied flavors of vegetable-focused cuisine with the nuanced profiles of fine—and even budget—wines can transform a simple meal into an extraordinary dining experience. From the earthy undertones of roasted vegetables to the vibrant zest of fresh herbs, each vegetable dish holds a unique flavor profile that, when paired with the right wine, can be elevated via enhancing flavors and overall meal complexity. Below are expert tips for harmonizing garden-fresh and vineyard-driven delights.
When Garden Meets Grapes: Elevating Vegetable Dishes with Perfect Wine Pairings
Have you ever wondered why a glass of wine tastes so much better when paired with the right dish?
While it’s true for any cuisine, wine pairing for vegetable dishes in particular can be a game-changer—and not just benefitting those living a vegetarian or vegan lifestyle, but rather everyone who enjoys gastro gifts from the garden.
The art of wine pairing, once thought to be reserved for meat and seafood dishes, has evolved to embrace vegetarian cuisine. Understanding how to pair wine with vegetarian dishes is an art that can elevate your dining experience to new heights. Here, we delve into the nuances of wine pairing with vegetarian food, considering ingredients, cooking methods, and seasoning. Whether you are hosting a dinner party or enjoying a quiet meal at home, these tips and examples will help you choose the perfect wine to complement your vegetarian dishes.
Understanding the Ingredients
Vegetarian dishes often feature a variety of vegetables, grains, legumes, and plant-based proteins. Each ingredient brings its own flavor profile, from the earthy tones of mushrooms to the sweetness of roasted bell peppers. When pairing wine, consider the dominant flavors of the dish. For instance:
Mushrooms: Earthy and umami-rich mushrooms pair well with Pinot Noir or Chardonnay. For example, mushroom risotto’s creamy texture and deep umami flavors of a well-made mushroom risotto are beautifully complemented by a Pinot Noir, whose earthy undertones enhance the dish’s richness.
Tomatoes: The acidity and sweetness of tomatoes complement well with Sauvignon Blanc or Chianti. The savory and slightly tangy tomato sauce used in eggplant parmesan pairs excellently with Chianti. Its bright acidity and red fruit flavors balance the dish’s robust flavors.
Greens: Leafy greens like spinach and kale, with their slight bitterness, match nicely with crisp whites like Pinot Grigio or Grüner Veltliner. Take Kale and Apple Salad with Lemon Vinaigrette as an example, the fresh, slightly bitter kale, combined with sweet apple and tangy lemon vinaigrette, pairs beautifully with Grüner Veltliner. The wine’s crispness and slight peppery notes enhance the salad’s flavors.
Root Vegetables: Sweet and earthy root vegetables, such as carrots and beets, pair wonderfully with wines like Merlot or Zinfandel. The sweet, earthy flavor of roasted beets pairs harmoniously with the smooth, fruity notes of Merlot.
Cooking Methods
The way a dish is prepared can significantly influence its wine pairing. Here are some common vegetarian cooking methods and corresponding wine suggestions:
Grilling: Grilled vegetables often have a smoky, charred flavor. Pair them with robust wines like Syrah or Malbec. The smoky, charred flavors of the grilled vegetables find a perfect match in Malbec, whose robust fruit flavors and tannins stand up to the boldness of the dish.
Roasting: Roasting enhances the sweetness of vegetables. Consider wines with a hint of sweetness or spiciness, such as Riesling or Grenache, like Roasted Butternut Squash Soup. The sweet, creamy flavors of roasted butternut squash soup are complemented by the slight sweetness and acidity of Riesling, balancing the richness.
Stir-frying: Stir-fried dishes, especially those with Asian influences, pair well with aromatic whites like Gewürztraminer or light reds like Gamay. The aromatic and slightly spicy flavors in stir-fried tofu or vegetables are enhanced by Gewürztraminer. This wine’s floral and lychee notes, along with its slight sweetness, balance the dish’s flavors.
Raw: Fresh, raw dishes such as salads or crudités benefit from crisp, light wines like Sauvignon Blanc or Rosé. The fresh tomatoes, basil, and mozzarella in a Caprese salad pair nicely with a crisp Rosé, whose acidity and light fruit flavors enhance the dish’s freshness.
Seasoning and Sauces
Seasonings and sauces can dramatically alter the flavor profile of a dish, impacting the wine pairing. Here are some examples:
Herbs: Fresh herbs like basil, cilantro, and mint call for wines that enhance their freshness. Think of Sauvignon Blanc or Vermentino for your favorite Pesto Pasta. The fresh basil in a vibrant pesto sauce pairs beautifully with Vermentino, whose citrusy and herbaceous notes complement the herb’s freshness.
Spices: Spicy dishes, whether it’s a dash of chili or a complex curry, pair well with slightly sweet wines like Riesling or off-dry Chenin Blanc. The heat and aromatic spices in a chickpea curry are balanced by an off-dry Chenin Blanc, whose slight sweetness tempers the spice.
Creamy Sauces: Creamy or cheesy sauces, often found in vegetarian pastas or casseroles, pair excellently with full-bodied whites like Chardonnay or Viognier. The rich, creamy sauce in fettuccine Alfredo finds a perfect match in Chardonnay, whose full body and buttery notes complement the dish’s richness.
Tangy Sauces: Tangy sauces, such as vinaigrettes or lemon-based dressings, match nicely with high-acidity wines like Albariño or unoaked Chardonnay. The tangy lemon and fresh herbs in a quinoa salad pair well with the high acidity of Albariño, enhancing the dish’s bright flavors.
Pairing wine with vegetarian dishes is a rewarding endeavor that opens up a world of flavors. By considering the ingredients, cooking methods, and seasonings, you can create harmonious pairings that elevate your meals. Whether you’re enjoying a simple weeknight dinner or hosting a lavish gathering, these wine and vegetarian food pairings will impress and satisfy you. For the Silo, Sylvia Ba.
Wine consultant Sylvia Ba is a vinicultural expert with the “VinoVoss” AI Sommelier wine search engine and recommendation system developed by BetterAI.
Boston, MA. JEANNIE MOTHERWELL Profoundly Fun 
Existential Crisis, acrylic on cradeled panel, 40″ x 30″ x 2″ 
Windward, acrylic on cradeled panel, 20″ x 60″ x 2″ 
