The ReEncounter artists would like to thank their collectors, who have made it possible for the group to support this year's main New Regionalism projects:
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| We would like to acknowledge: Edenshaw Develepments Inc., (Mississauga, Ontario) for funding a full one-third of this year's youth excursion; Highlander Marine Services, (Haida Gwaii) for making the trip possible 'at cost'; and The Stone and Sky Music & Arts Series, for hosting our events on Pelee Island and making our celebration of Regionalism there a reality. A special thanks to The Nihilist Spasm Band, for making the long journey to Pelee to participate in this important event. |
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A small 'elite among the middle-class'. |
As Baby Boomers down size – and a smaller, less-affluent middle-class takes that generation's place – independent art itself is in jeopardy. Free expression is an essential component of free and democratic society, but free expression is not possible without independent art and culture.
In a famous 1939 essay, the world's most aclaimed art critic famously stated that art 'actually belongs' to 'an elite among the ruling class'.* He went on to explain that this group had 'abandoned' its role in the 'development' of culture for the 'masses', suggesting that the 'ruling class' should once again take back their art. This happened, in the early fifties >>> READ MORE Sign up for the next update, and a preview of this story. |
Regionalists, by contrast, insist that art belongs to everyone; and in this cultural struggle, independent art is the resistance. If the society in which we live is truly democratic, then Regionalists might be regarded as the 'official opposition'. Everyone has a stake in the preservation of a strong and vibrant independent culture and, to this end (we must assume), Canadian Art magazine, in a 2016 article*, posed to the Question: 'What should an art movement look like?' Most movements in art, in the late-modern and postmodern periods, might more accurately be described as fashion trends; for in an age of apolitical art, art was not intended to address real world issues or precipitate change. Regional artists however (prior to 1953) regularly made change possible by addressing issue that were in the interest of society as a whole – without, as some have charged, producing 'kitsch' . Artists have traditionally been catalysts of change, but it has been said (in many different ways, by numerous commentators) that the aim of postmodernism was, from the beginning, to convert 'active citizens into passive consumers'. This assessment by Eleanor Heartney in her book, Postmodernism (from the 'Movements In Modern Art' series), is perhaps the most powerful; for if this is true, art can no longer serve as a call-to- action, or gather the support required to make a difference in the wider world. A small 'elite among the middle-class', therefore, has never been more important; if the tradition of independent Regional art is to endure and, once again, bring about positive change in the world. However, a small number of collectors, are starting to make their art acquisitions based on new criteria, while Regional artists – in the process of reclaiming their traditional role in society - are providing new 'ways and means' for the population as a whole to support an art that represents the interests of the people. We hope that you will join us, and become a sponsor or partner in this important venture. |
Shop local, buy Regional and MAKE A STATEMENT |
* Clement Greenberg 'Avant-garde and Kitsch' |
* Canadian Art magazine, August 22, 2016. Mireille Eagan: 'Kym Greeley and the New Newfoundland Painting' |