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National Gallery of Canada receives a $22.8-million gift of iconic contemporary artworks from Bob Rennie and The Rennie Family Français

National Gallery of Canada receives a $22.8-million gift of iconic contemporary artworks from Bob Rennie and The Rennie Family Français

Cision Canada16-06-2025

OTTAWA, ON, June 16, 2025 /CNW/ - The National Gallery of Canada (NGC) announced today a $22.8-million major gift to Canadians of 61 artworks, featuring some of the most iconic artists in contemporary art history, by noted Vancouver-based businessperson and philanthropist Bob Rennie, a Distinguished Patron of the National Gallery of Canada Foundation, and The Rennie Family. This latest donation by Mr. Rennie and family brings the total value of their gifts to the NGC to now exceed more than $35 million, comprising over 260 artworks donated since 2012. Rennie was named to ARTnews' Top 200 Collectors list of 2024.
"Bob Rennie's extraordinary contribution to the nation supports our mission of making great art accessible to all Canadians, from coast to coast to coast, through partnership and collaboration," said Paul Genest, Chair of the Board, and Jean-François Bélisle, Director and CEO, of the National Gallery of Canada. "The Rennie Collection, one of the largest collections of contemporary art in the country, has evolved over the years to focus on works tackling issues of identity, social commentary and injustice. We are most grateful to Mr. Rennie for this major donation and for his trust in us to share stewardship of these works on behalf of Canadians. We also want to acknowledge the National Gallery of Canada Foundation, who works tirelessly to cultivate relationships with philanthropic partners who share our passion to bring people together, especially in these divisive times, through shared experiences through art."
"I started collecting over 50 years ago when I was 17. The core of the collection has been put together by Carey Fouks and myself," said Bob Rennie. "We have always thought about custodianship, which is about making sure that artists are seen and their voices are heard beyond their life and beyond my life. This is foundational to the collection. The National Gallery of Canada shares our values and our intentions. Values of preservation, conservation and allowing the works to travel to museums and venues, which are not only across Canada but within the broad reach of relationships the Gallery has cultivated across the world. My family is very proud of this moment—a moment to protect artists' legacies with this gift to our nation."
Bob Rennie was notably Chair of Tate Modern's North American Acquisitions Committee, President of Tate Americas and a member of the Executive Committee of the Tate International Council. Rennie also served as Chair of Acquisitions and Trustee at the Art Institute of Chicago. He is currently Chair of the Collectors Committee at the National Gallery of Art in Washington, D.C.
The donation notably comprises 40 works by Rodney Graham. With a practice spanning 50 years, Graham (1949-2022) was born in Abbotsford, British Columbia. The works by Graham span nearly four decades, ranging from major installations, lightboxes, paintings and rare early works to multiples produced over many years that enhance insights into his oeuvre.
Three works by Ai Weiwei will complement the three current pieces in our collection by the celebrated Chinese contemporary artist.
Coming to the Gallery is British artist Yinka Shonibare's full-room installation of 6,600 books celebrating the Americas' diverse immigrant population, which identifies over 150 Americans of notable achievements in all fields, including some who were either born in Canada or have direct Canadian descendants.
The donation also includes 10 works by Mona Hatoum and pieces by Dan Graham, two artists who have strong connections with Canada.
American Dan Graham had a long and close history with our country having exhibited, lectured and made some of his earliest video works in the 1970s at the Nova Scotia College of Art and Design, and through his long friendships and creative exchanges with Vancouver-based artists such as Rodney Graham, Ian Wallace and Brian Jungen.
Similarly, in the 1980s, internationally acclaimed British-Palestinian artist Mona Hatoum created a series of videos during multiple residencies at the Western Front in Vancouver and exhibited at a number of Canadian institutions through the years.
Reflecting the strong social justice component of the Rennie Collection, monumentally scaled works will bring Meleko Mokgosi, Toby Ziegler, Allora and Calzadilla, Gilbert & George and art collective Tim Rollins and K.O.S. into the Gallery's collection for the first time.
One of the National Gallery of Canada's core missions is to make art accessible to all Canadians, no matter where they live in the country. The addition of these works to the collection, thanks to this major gift, will enable the Gallery to make them available to Canadian and international museums, as was the wish of the donor and the Gallery's management.
About the National Gallery of Canada
Founded in 1880, the National Gallery of Canada is among the world's most respected art institutions. As a national museum, we exist to serve all Canadians, no matter where they live. We do this by sharing our collection, exhibitions and public programming widely. We create dynamic experiences that allow for new ways of seeing ourselves and each other through the visual arts, while centering Indigenous ways of knowing and being. Our mandate is to develop, preserve and present a collection for the learning and enjoyment of all – now and for generations to come. We are home to more than 90,000 works, including one of the finest collections of Indigenous and Canadian art, major works from the 14 th to the 21 st century and extensive library and archival holdings.
About the National Gallery of Canada Foundation
The National Gallery of Canada Foundation is dedicated to supporting the National Gallery of Canada in fulfilling its mandate. By fostering strong philanthropic partnerships, the Foundation provides the Gallery with the additional financial support required to lead Canada's visual arts community locally, nationally and internationally. The blend of public support and private philanthropy empowers the Gallery to preserve and interpret Canada's visual arts heritage. The Foundation welcomes present and deferred gifts for special projects and endowments. To learn more about the National Gallery of Canada Foundation, visit ngcfoundation.ca.

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SALTZMAN: Stream for less
SALTZMAN: Stream for less

Toronto Sun

time2 hours ago

  • Toronto Sun

SALTZMAN: Stream for less

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Coast Salish art is in demand and transforming Vancouver's public art sphere
Coast Salish art is in demand and transforming Vancouver's public art sphere

Globe and Mail

time4 hours ago

  • Globe and Mail

Coast Salish art is in demand and transforming Vancouver's public art sphere

For decades, Indigenous artists from Vancouver's local nations who wanted to make a living found the main path to success was to create something that looked like what non-Indigenous people recognized as 'their' art. Totem poles. Face masks or murals with stylized Haida- or Kwakiutl-like designs from British Columbia's north. Baskets. More totem poles. But now the city and its local nations are seeing an explosion of interest in and commissions for Coast Salish art, a style that is distinct from the totem poles and face masks typical of more northern nations. Coast Salish territory reaches from the Columbia River in Oregon and covers the Lower Mainland and parts of the Fraser Valley and Vancouver Island. Public installations of these styles are slowly transforming the look of Vancouver and offering residents a new awareness of the very different regional art traditions among B.C. Indigenous bands and nations. Those new art pieces are reviving traditional local styles and forging new approaches. 'I think I've created a new visual identity in my practice, through contemporary Coast Salish design,' says James Harry, a 35-year-old Squamish artist whose work was recently installed at the entrance to the prominent new PCI Developments rental and office tower going up at Broadway and Granville. In collaboration with his creative partner Lauren Brevner, he is mounting the artwork on a two-storey high column, a blend of metal and charred cedar. The work is a representation of SínulhKa, the double-headed serpent that is prominent in Squamish legends. It's meant to be just one of many elements of Coast Salish representation in Vancouver's Broadway Plan, which has a 'Cultural Ribbon' planned for the northern edge of the area crucial to the revitalization of one of the city's main east-west arteries. Mr. Harry also just had a major piece mounted on the waterfront in Squamish, and a work at the new public pool in New Westminster was installed this year. He's doing commissions that will see his work displayed at the new SHAPE Properties development in Burnaby, B.C., and a retirement home in South Granville. He sees all of his art as more than decorative objects. The works are meant to help people understand the underlying history and culture of the city. 'I want to get it out there,' says Mr. Harry. 'The work will do social and political work over decades.' That's the hope of many who are involved in the new tide of local Indigenous art in the region. 'What I'm seeing is there's a recognition that Coast Salish identity has been absent from city planning and public-realm development,' says Ginger Gosnell-Myers, who was Vancouver's first Indigenous-relations manager and now works on a variety of consulting and community-building projects. 'It's a form of reconciliation and it's ensuring people in the Lower Mainland know whose distinct territories they are on.' Unusual Lawren Harris painting showing in Nova Scotia to mark William Davis centenary One of the earliest Coast Salish artists to get commissions to work locally was Susan Point, a Musqueam printmaker and sculptor who started doing small pieces in Vancouver – metal medallions embedded in sidewalks, storm sewer covers – in the mid-'90s to mid-2000s. The Vancouver airport was also an early adopter of her work. Now she's ubiquitous: A wooden gateway, titled People Amongst the People, in Stanley Park (2008); The Story of Life, a mural in pre-cast concrete funded by the Port of Vancouver near the North Vancouver terminals (2014); Salish Gifts made out of concrete, bronze and stone at the Marine Gateway development in south Vancouver (2015); the Water Guardians at Hazelgrove Park in Surrey, a stylized red metal lily pad with frogs (2016). Ms. Point has said in the past that Coast Salish art went unrecognized and uncelebrated for many years because it came from areas where the new colonists to British Columbia settled heavily. Preserving the stories and treasures of the Nuxalk nation Since those early years, demand has boomed for Coast Salish artists from a range of sources. A small group of private developers has worked to integrate art into their projects, the Grant family's PCI Developments in particular. The developer is planning to incorporate more Coast Salish elements around the future Emily Carr SkyTrain station and not necessarily just physical art pieces. Recordings of storytelling or music may be included. More works are expected in the same area: Onni Group, Low Tide Properties (the real-estate operation of Lululemon founder Chip Wilson) and Vancouver Community College also all have building projects in the works. BC Housing has commissioned work from Squamish artist Debra Sparrow, who will weave two blankets that will be translated to the façade of the new First United social housing building on East Hastings street. The B.C. government office planning the Broadway subway says it will incorporate Indigenous art at stations – but there is no word on whose work yet. The many Indigenous-led development projects around the region, from Lelem near UBC lands, Kwesem in Burnaby, Jericho and Heather lands in Vancouver, and the Senakw development next to the Burrard Bridge are all incorporating the work of local artists. City governments are also piling in, taking care to include bands and nations whose territory they are on. In Surrey, four different pieces by Kwantlen artist Phyllis Atkins adorn various parks and public places. In May, Katzie artist Rain Pierre celebrated the unveiling of his art piece featuring painted bears on glass at Maple Ridge's Albion Community Centre. But Vancouver is the most active. The city's public-art program has seen six civic art projects by the Musqueam, Squamish and Tsleil-Waututh launched in the last four years, along with 16 private-development projects. Among them, sculptures of ravens by Coast Salish artist Thomas Cannell will sit atop a new rental apartment building on the city's west side. The city's art program also has four artworks from other Indigenous nations under way and another two completed at private developments in various places. 'Everybody has a sense there's a lot going on but no one knows the total scope,' says Eric Fredericksen, the head of Vancouver's public art program. And the sudden crush is actually leading to some unintended consequences. Cory Douglas, an Indigenous art consultant who has been hired by the city to develop concepts for the Broadway Plan, said there are about 300 Squamish artists in the Lower Mainland but only a dozen or so working in the Coast Salish art tradition, so those few artists are being swamped with potential commissions. The new direction is also changing the demand for Indigenous artists who aren't Coast Salish members. 'It's pushing out urban Indigenous – there's not as much work for them,' said Ms. Gosnell-Myers about the many artists from bands and nations outside the Lower Mainland who now live in Vancouver. 'They don't have a town or an economy to support them and now there's less opportunity for them. Still, there is excitement that Vancouver is becoming a living gallery for the new work that goes far beyond the conventional forms of public art. 'We have canoe carving, song, performance, painting, weaving,' says Mr. Douglas. 'All of these are being used as an inspiration. 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All aboard… for chills
All aboard… for chills

Winnipeg Free Press

time9 hours ago

  • Winnipeg Free Press

All aboard… for chills

Linwood Barclay, the U.S.-born, Ontario-based author of many bestselling thrillers and mystery novels, tries his hand at a supernatural thriller oozing with homages to Stephen King in Whistle. Annie Blunt, a bestselling children's book author, is suffering from a traumatic pair of events. Inspired by her popular picture book character Pierce the Penguin, a young boy tries to fly using cardboard wings and plummets to his death. While Annie struggles with feeling responsible for this tragedy, her husband is killed in a hit-and-run car accident. At the behest of her editor, Annie and her young son Charlie retreat to a rented mansion in upstate New York to try and recover some sense of normalcy. The quiet, slow pace of country life seems to be working until Charlie comes across an old model train set. Daniel Crump / Free Press files After setting it up and obsessively running the toy along its track, a number of strange events begin to unfold. And veering away from the cuddly Pierce, Annie's new idea for a character is much darker and more sinister than anything she's attempted before. There's a second storyline woven into the pages of Whistle, one that follows Harry Cook, the chief of police in the small town of Lucknow, Vt. and taking place not long after the Sept. 11, 2001 attacks. Beginning with the mysterious disappearances of two men, a number of odd accidents befall the town, all seeming to somehow connect with the new specialty shop Choo-Choo's Trains and its eccentric owner Edwin Nabler. Fans of Stephen King will likely see a parallel to the 1991 novel Needful Things. Barclay is not shy about how much King has influenced this particular novel, and he includes a number of nods to other King titles including Christine, It and Maximum Overdrive. As well as drawing heavily on Needful Things and its villain Leland Gaunt, Whistle's villain also bears some resemblance to Andre Linoge, the creepy and mysterious bad guy of the 1999 made-for-TV miniseries Storm of the Century, also penned by King. Barclay is clearly a fan and makes no secret of the various influences which have inspired his foray away from thrillers and into supernatural chiller territory. Given that Barclay is playing (at least partially) with a less-modern setting, he might have been better suited to push the timeline back even further, to when model trains were actually popular. There are a couple of half-hearted snipes at video games and other modern toys compared to the precision and uniqueness of the trains, but it seems a stretch that these characters would have taken the slightest interest in this hobby without the supernatural persuasion of Edwin Nabler. Ellis Parinder photo Linwood Barclay And while the titular spooky shop called Needful Things catered to the many tastes of the town residents, Choo-Choo's Trains feels a little too niche for its influence to spread through the whole town. Billed as a spooky chiller, Whistle certainly has elements of horror, but doesn't really evoke many scares. For fans of Barclay's previous oeuvre and other mysteries, this is probably just enough spookiness to remain enjoyable, whereas devoted horror fans may find this one a touch too cozy. And while Barclay uses the split narrative akin to It, breaking the narrative into two branches does cut the tension. In Whistle readers' connection to Annie and Charlie builds, when the narrative suddenly breaks and introduces a whole slew of new characters in Harry's storyline. And because the reader knows Harry's plot takes place 20-some-odd years before Annie's, it can be difficult to invest in that plot. The two plot threads eventually do come together, though it does seem a little forced and relies heavily on coincidence. But like many King novels, Whistle works best when not taken too seriously and simply enjoyed as a thrill ride. A breezy and fun read, Whistle will appeal to fans of vintage Stephen King, particularly the stories set in the Castle Rock region. It doesn't reinvent the formula or introduce anything new, but it might just scratch that particular itch for the type of story King doesn't seem to be as interested in producing anymore. Whistle Keith Cadieux is a Winnipeg writer and editor. His latest story collection, Donner Parties and Other Anti-Social Gatherings, is out now from At Bay Press. He also co-edited the horror anthology What Draws Us Near, published by Little Ghosts Books.

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