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 Arts Council of the Central Okanagan 140-1735 Dolphin Ave, Kelowna, BC V1Y 8A6 Kelowna BC Canada V1Y 8T8 Email: Click Here. Elke Lange, Executive Director Telephone: 250.861-4123 Produced in association with the Okanagan Institute
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LATEST ARTS NEWS
Below are the latest news items included on this website in all categories. If you are interested in a particular category, click on the menu items at the top.Art on the Way - AGSO Exhibitions October, 2007
Art on the Way - October, 2007 - Main Gallery Exhibitions - Continuing to November 10
Agnes Martin: On A Clear Day
The Art Gallery of the South Okanagan is proud to welcome back to the Okanagan, Agnes Martin who spent a number of summers here during the 1920s. Born March 22, 1912 in Macklin, Saskatchewan, the daughter of a wheat farmer, Agnes moved to Vancouver two years later after the death of her father. In 1932, she moved to the United States, where she enrolled in classes at Western Washington College at Bellingham, later earning a degree in art education at Columbia University. During the late 1940s she taught painting at the University of New Mexico, and became an American citizen. In 1952 she received her MA from the University of New Mexico and later moved to the artists' colony at Taos, New Mexico. This move was short lived and at the suggestion of gallery owner Betty Parsons, Agnes moved to New York in 1957, where she became one of the first artists to set up in the abandoned waterfront lofts on Coenties Slip in lower Manhattan. The following year saw her first solo show at the Betty Parsons Galley which garnered much critical acclaim and brought invitations to participate in numerous important and ground breaking exhibitions. It was here that Agnes suddenly found her community and the glare of the international spotlight.
In 1967 Agnes Martin left New York and returned to New Mexico where she made the conscious decision to give up painting. "Every day I suddenly felt I wanted to die and it was connected with painting," she said later. "It took me several years to find out that the cause was an overdeveloped sense of responsibility." Over the next seven years she constructed an adobe house and studio on a lonely mesa near Taos, New Mexico, studied Eastern philosophy, wrote on art and lectured. This self-imposed isolation was intended to remove the burden of endless distractions and the inescapable impediments necessary for the clearing of her mind to achieve an "egoless" art embodying beauty, freedom, and happiness. This enforced period of artistic inactivity and contemplation was part of the artist's rigorous path toward finding truth in her art.
Agnes Martin's monumental thirty print suite, On a Clear Day was commissioned in 1973 by New Yorkís Parasol Press. As with all of her mature work, the prints take as their subject matter the grid, rendered with an astonishing diversity of expression, focused with severe rigor yet compositionally and interpretatively open. Of her grids, Martin famously said, "My formats are square, but the grids are never absolutely square; they are rectangles . . . . When I cover the square surface with rectangles, it lightens the weight of the square, destroys its power." Elsewhere, she explained that the grid came to her as an inspiration. "I was thinking about innocence, and then I saw it in my mindóthat grid . . . . So I painted it, and sure enough, it was innocent."
Martin's grid of rectangles, as one critic noted, "eradicated the hierarchical balancing of parts. The effect was not only a surface in perfect equilibrium, but one that epitomized unity and wholeness." While early on her grid was interpreted as a purified analog of nature, Martin vigorously rejected this reading. "My work is anti-nature," she declared. "[It] is about emotionónot personal emotion [but] abstract emotion. It's about those subtle moments of happiness we all experience." She succinctly defined art as "the concrete representation of our most subtle feelings."
Grander in conception than any of Martin's paintings, On a Clear Day condenses through multiplication thirty ways of constructing a grid, of expressing happiness, beauty, freedom, and the impossibility of, though yearning for, perfection. Its individual parts, recalling the number of days in a month, imply the passage of time. Its title declares the long-sought-for clarity the artist had struggled to find in the barren New Mexican desert. One of the great works of graphic art of the late twentieth century, On a Clear Day announces with luminous clarity and conviction Martin's return to aesthetic wholeness.
This monumental and groundbreaking set of prints secured Martinís position as one of the most important figures of postwar American art and at the time of her death she was one of the highest priced living artists. Her work can be found in major collections around the world. The exhibition is accompanied by Mary Lanceís moving documentary, Agnes Martin: With my Back to the World, which was filmed in the artistís studio from 1998 ñ 2002.
The Onley Gallery
Judith Foster: Tracing the Seasons
Judith Foster was born in Three Rivers, Michigan in 1930. Upon high school graduation, Judith moved to New York where she entered the Pratt Institute graduating in 1952 with a degree in fine arts. She quickly gained a considerable reputation as a master printmaker mastering the labour intensive process of mezzotint. In an artist statement from 1982 Judith wrote of her work, ìAlthough the works in this exhibition vary widely in style and media, they share a common purpose: to express the dynamic interrelationships between all living things, visible and invisible, physical and psychic Ö When dealing with philosophical themes, I use non-objective forms to express realities of thought and feeling which cannot be perceived with the eye. Visual equivalents must also be found for those invisible units of energy which constitute so-called empty space and interact with life forces emanating from all living creatures.î
The coexistence of these fixed and flexible states of being has its counterpart in the Zen ìcoexistence of oppositesî concept: mind and matter are one and the same thing. In terms of Western traditions and classical physics, such a statement seems absurd; however, recent micro-physical experiments have proven the existence of ìillogicalî truths, which are comparable to those of ancient Eastern religions.
These works provide an interesting contrast to the prints of Agnes Martin as their lives crossed on more than one occasion and they both shared a similar sensibility. While Agnes Martin had spent her summers in the Okanagan during the 1920s, Judith Foster moved to Oliver in 1975 and became a mentor for many of the regionís artists. Judith Foster died in the year 2000 at the age of 69 leaving behind an impressive legacy of work which continues to enchant people today. The works in this exhibition have been generously donated to the AGSOís Permanent Collection by Judithís longtime friend Anna Vakar and provide a small sampling of this important artistís best-known work.
Project Room
R. John Eckstein: Perceptual Painting
John Eckstein is an art teacher living and working in Kitimat, B.C. and was a recent participant in the Toni Onley Artist Project, a nine day Artist-in-Residency program organized annually by Island Mountain Summer School of the Arts in Wells, B.C. The program introduced the artist to an exercise called ìPerceptual Paintingî and it was this alternative way of working which led to a major breakthrough for John. Perceptual Painting involves no preliminary drawing or under painting but treats the perceived subject matter as shapes which are painted on the surface as flat areas of colour in order from the largest to the smallest with no attention to detail. Using a large brush and working with only a grey scale forced the artists to abandon fine detail and to loosely interpret the forms before them. This method of painting offered a faster, looser approach which allowed more confidence in perception of the subject matter and less reliance on the need for detail and exactness. This exhibition features a number of works created during and after Johnís residency along with a small selection of previous works which give a sense of his growth as an artist. John continues to favor a small format reducing the composition to the bare essentials and creating luminous uncluttered paintings which provide the viewer with an invitation for personal reflection.
Education Space
Joel Reid: Portraits
Joel Reid began taking courses in the fine arts program at Thompson Rivers University after graduating from high school and has continually developed his unique style experimenting with a variety of new mediums including oils, acrylics, gesso, cardboard, charcoals, paint-sticks and washes. Joelís work is entirely drawn from his imagination, illustrating the visual imagery, ideas and concepts, which have deep rooted and special meaning to him. Drawing on the traditions of abstract expressionism, his raw and emotionally charged paintings are not intended to duplicate or replicate anything he has seen but are a synthesis of visual imagery drawn from African American heritage and popular culture. The graphic quality and signature of urban graffiti artists is evident but Joelís works are more introspective and deal with inner personal turmoil rather than the harsh realities of living on the streets of the inner city. The push and pull in his work comes from the juxtaposition of the calm figurative elements against the emotional void creating a tense and deceptively simple composition which confronts and challenges the viewer. The ever-present turmoil evident in his work is emblematic of the need and struggle we all face in trying to find balance and calm in an ever increasingly chaotic world. To learn more about the artist and view selections of his work, please visit his website: www.joelreid.ca.
Art Gallery of the South Okanagan
199 Marina Way, Penticton, B.C. V2A 1H3
Tel: (250)493-2928 Fax: (250)493-3992
agso@shawbiz.ca www.galleries.bc.ca/agso/
Agnes Martin: On A Clear Day
The Art Gallery of the South Okanagan is proud to welcome back to the Okanagan, Agnes Martin who spent a number of summers here during the 1920s. Born March 22, 1912 in Macklin, Saskatchewan, the daughter of a wheat farmer, Agnes moved to Vancouver two years later after the death of her father. In 1932, she moved to the United States, where she enrolled in classes at Western Washington College at Bellingham, later earning a degree in art education at Columbia University. During the late 1940s she taught painting at the University of New Mexico, and became an American citizen. In 1952 she received her MA from the University of New Mexico and later moved to the artists' colony at Taos, New Mexico. This move was short lived and at the suggestion of gallery owner Betty Parsons, Agnes moved to New York in 1957, where she became one of the first artists to set up in the abandoned waterfront lofts on Coenties Slip in lower Manhattan. The following year saw her first solo show at the Betty Parsons Galley which garnered much critical acclaim and brought invitations to participate in numerous important and ground breaking exhibitions. It was here that Agnes suddenly found her community and the glare of the international spotlight.
In 1967 Agnes Martin left New York and returned to New Mexico where she made the conscious decision to give up painting. "Every day I suddenly felt I wanted to die and it was connected with painting," she said later. "It took me several years to find out that the cause was an overdeveloped sense of responsibility." Over the next seven years she constructed an adobe house and studio on a lonely mesa near Taos, New Mexico, studied Eastern philosophy, wrote on art and lectured. This self-imposed isolation was intended to remove the burden of endless distractions and the inescapable impediments necessary for the clearing of her mind to achieve an "egoless" art embodying beauty, freedom, and happiness. This enforced period of artistic inactivity and contemplation was part of the artist's rigorous path toward finding truth in her art.
Agnes Martin's monumental thirty print suite, On a Clear Day was commissioned in 1973 by New Yorkís Parasol Press. As with all of her mature work, the prints take as their subject matter the grid, rendered with an astonishing diversity of expression, focused with severe rigor yet compositionally and interpretatively open. Of her grids, Martin famously said, "My formats are square, but the grids are never absolutely square; they are rectangles . . . . When I cover the square surface with rectangles, it lightens the weight of the square, destroys its power." Elsewhere, she explained that the grid came to her as an inspiration. "I was thinking about innocence, and then I saw it in my mindóthat grid . . . . So I painted it, and sure enough, it was innocent."
Martin's grid of rectangles, as one critic noted, "eradicated the hierarchical balancing of parts. The effect was not only a surface in perfect equilibrium, but one that epitomized unity and wholeness." While early on her grid was interpreted as a purified analog of nature, Martin vigorously rejected this reading. "My work is anti-nature," she declared. "[It] is about emotionónot personal emotion [but] abstract emotion. It's about those subtle moments of happiness we all experience." She succinctly defined art as "the concrete representation of our most subtle feelings."
Grander in conception than any of Martin's paintings, On a Clear Day condenses through multiplication thirty ways of constructing a grid, of expressing happiness, beauty, freedom, and the impossibility of, though yearning for, perfection. Its individual parts, recalling the number of days in a month, imply the passage of time. Its title declares the long-sought-for clarity the artist had struggled to find in the barren New Mexican desert. One of the great works of graphic art of the late twentieth century, On a Clear Day announces with luminous clarity and conviction Martin's return to aesthetic wholeness.
This monumental and groundbreaking set of prints secured Martinís position as one of the most important figures of postwar American art and at the time of her death she was one of the highest priced living artists. Her work can be found in major collections around the world. The exhibition is accompanied by Mary Lanceís moving documentary, Agnes Martin: With my Back to the World, which was filmed in the artistís studio from 1998 ñ 2002.
The Onley Gallery
Judith Foster: Tracing the Seasons
Judith Foster was born in Three Rivers, Michigan in 1930. Upon high school graduation, Judith moved to New York where she entered the Pratt Institute graduating in 1952 with a degree in fine arts. She quickly gained a considerable reputation as a master printmaker mastering the labour intensive process of mezzotint. In an artist statement from 1982 Judith wrote of her work, ìAlthough the works in this exhibition vary widely in style and media, they share a common purpose: to express the dynamic interrelationships between all living things, visible and invisible, physical and psychic Ö When dealing with philosophical themes, I use non-objective forms to express realities of thought and feeling which cannot be perceived with the eye. Visual equivalents must also be found for those invisible units of energy which constitute so-called empty space and interact with life forces emanating from all living creatures.î
The coexistence of these fixed and flexible states of being has its counterpart in the Zen ìcoexistence of oppositesî concept: mind and matter are one and the same thing. In terms of Western traditions and classical physics, such a statement seems absurd; however, recent micro-physical experiments have proven the existence of ìillogicalî truths, which are comparable to those of ancient Eastern religions.
These works provide an interesting contrast to the prints of Agnes Martin as their lives crossed on more than one occasion and they both shared a similar sensibility. While Agnes Martin had spent her summers in the Okanagan during the 1920s, Judith Foster moved to Oliver in 1975 and became a mentor for many of the regionís artists. Judith Foster died in the year 2000 at the age of 69 leaving behind an impressive legacy of work which continues to enchant people today. The works in this exhibition have been generously donated to the AGSOís Permanent Collection by Judithís longtime friend Anna Vakar and provide a small sampling of this important artistís best-known work.
Project Room
R. John Eckstein: Perceptual Painting
John Eckstein is an art teacher living and working in Kitimat, B.C. and was a recent participant in the Toni Onley Artist Project, a nine day Artist-in-Residency program organized annually by Island Mountain Summer School of the Arts in Wells, B.C. The program introduced the artist to an exercise called ìPerceptual Paintingî and it was this alternative way of working which led to a major breakthrough for John. Perceptual Painting involves no preliminary drawing or under painting but treats the perceived subject matter as shapes which are painted on the surface as flat areas of colour in order from the largest to the smallest with no attention to detail. Using a large brush and working with only a grey scale forced the artists to abandon fine detail and to loosely interpret the forms before them. This method of painting offered a faster, looser approach which allowed more confidence in perception of the subject matter and less reliance on the need for detail and exactness. This exhibition features a number of works created during and after Johnís residency along with a small selection of previous works which give a sense of his growth as an artist. John continues to favor a small format reducing the composition to the bare essentials and creating luminous uncluttered paintings which provide the viewer with an invitation for personal reflection.
Education Space
Joel Reid: Portraits
Joel Reid began taking courses in the fine arts program at Thompson Rivers University after graduating from high school and has continually developed his unique style experimenting with a variety of new mediums including oils, acrylics, gesso, cardboard, charcoals, paint-sticks and washes. Joelís work is entirely drawn from his imagination, illustrating the visual imagery, ideas and concepts, which have deep rooted and special meaning to him. Drawing on the traditions of abstract expressionism, his raw and emotionally charged paintings are not intended to duplicate or replicate anything he has seen but are a synthesis of visual imagery drawn from African American heritage and popular culture. The graphic quality and signature of urban graffiti artists is evident but Joelís works are more introspective and deal with inner personal turmoil rather than the harsh realities of living on the streets of the inner city. The push and pull in his work comes from the juxtaposition of the calm figurative elements against the emotional void creating a tense and deceptively simple composition which confronts and challenges the viewer. The ever-present turmoil evident in his work is emblematic of the need and struggle we all face in trying to find balance and calm in an ever increasingly chaotic world. To learn more about the artist and view selections of his work, please visit his website: www.joelreid.ca.
Art Gallery of the South Okanagan
199 Marina Way, Penticton, B.C. V2A 1H3
Tel: (250)493-2928 Fax: (250)493-3992
agso@shawbiz.ca www.galleries.bc.ca/agso/
10 Oct 2007
FRED EAGLESMITH - Oct 15th 8PM at Kelowna Community Theatre-
Americana music favorite Fred Eaglesmith first developed his performing and songwriting skills as a teenaged traveling troubadour, often hopping trains like the legendary hoboes of yore as well as roots music and songwriting icon Woody Guthrie, to whom the New York Press likens Eaglesmith in ìa comparison not to be taken lightly.î
And that complimentary association is bolstered by the esteem that Eaglesmith - whose latest release is the Top 10 Americana album Millyís Cafe - enjoys among his peers. High-profile tastemakers in the know ó fellow musicians like Toby Keith and The Cowboy Junkies as well as film folks like Martin Scorsese and James Caan, to name a few - consider him one of the stellar musical and lyrical talents of our day. He has won a Juno Award - the Canadian Grammy - for Best Roots & Traditional Album and a Canadian Independent Music Award for Folk/Roots Album of the Year. "It is not an overstatement to say that Eaglesmith is one of the finest songwriters in this country," says the New Brunswick Daily Gleaner. "His canon of well over 1000 songs is stunning."
Eaglemsith's music has been described by reviewers as a "blend of aching country and barroom rock" and a "mixture of hard-edged honky-tonk balanced between rock'n'roll and early '60s country music" and evoked critical comparisons to such musical icons as Tom Waits, Steve Earle and even Led Zeppelin, to name a few.
Eaglesmith has for the past four years hosted Roots on the Rails musical train excursions, inspiring and pioneering the rolling music festivals along scenic railroads routes that are a growing phenomenon within the burgeoning trend of musical travel packages.
This year Eaglesmith hosts his rolling music fest as it rides on the Sierra Madre Express into Mexico's Copper Canyon hosted by Tom Russell with Dave Alvin, Butch Hancock, Terry Allen and Laurie Lewis & Tom Rozum; a "Fiddle Train" trip from Vancouver to Toronto hosted by famed Scottish fiddler Alasdair Fraser; and the 2007 Cowboy Train from Toronto to Vancouver with Russell, Ian Tyson and Rambliní Jack Elliott.
Along the way, Eaglesmith and his fellow performers - which include Eilen Jewell, longtime Eaglesmith compatriot Washboard Hank and Lance Loree as well as Eaglesmith's band The Flying Squirrels - treat traveling fans to concerts and jam sessions to enjoy intimate and spontaneous performances and the opportunity for performers and listeners enjoy being fellow travelers in a spirit similar to the close relationship that Eaglesmith enjoys with his fans. And in addition to hosting train trips, he is also a regular performer on Delbert McClintonís annual Sandy Beaches Cruises that take musical travel to the high seas.
The trips reflect Eaglesmith's passion for travel and new vistas, which keeps him on the road playing some 200 dates a year and feeds his songwriting muse, likened by Nova Scotiaís Berwick Register to "what Bruce Springsteen aspires to be, the voice of the small-town common man."
For more information on Roots on the Rails go to www.rootsontherails.com
Further information on Fred Eaglesmith can be found at www.fredeaglesmith.com.
And that complimentary association is bolstered by the esteem that Eaglesmith - whose latest release is the Top 10 Americana album Millyís Cafe - enjoys among his peers. High-profile tastemakers in the know ó fellow musicians like Toby Keith and The Cowboy Junkies as well as film folks like Martin Scorsese and James Caan, to name a few - consider him one of the stellar musical and lyrical talents of our day. He has won a Juno Award - the Canadian Grammy - for Best Roots & Traditional Album and a Canadian Independent Music Award for Folk/Roots Album of the Year. "It is not an overstatement to say that Eaglesmith is one of the finest songwriters in this country," says the New Brunswick Daily Gleaner. "His canon of well over 1000 songs is stunning."
Eaglemsith's music has been described by reviewers as a "blend of aching country and barroom rock" and a "mixture of hard-edged honky-tonk balanced between rock'n'roll and early '60s country music" and evoked critical comparisons to such musical icons as Tom Waits, Steve Earle and even Led Zeppelin, to name a few.
Eaglesmith has for the past four years hosted Roots on the Rails musical train excursions, inspiring and pioneering the rolling music festivals along scenic railroads routes that are a growing phenomenon within the burgeoning trend of musical travel packages.
This year Eaglesmith hosts his rolling music fest as it rides on the Sierra Madre Express into Mexico's Copper Canyon hosted by Tom Russell with Dave Alvin, Butch Hancock, Terry Allen and Laurie Lewis & Tom Rozum; a "Fiddle Train" trip from Vancouver to Toronto hosted by famed Scottish fiddler Alasdair Fraser; and the 2007 Cowboy Train from Toronto to Vancouver with Russell, Ian Tyson and Rambliní Jack Elliott.
Along the way, Eaglesmith and his fellow performers - which include Eilen Jewell, longtime Eaglesmith compatriot Washboard Hank and Lance Loree as well as Eaglesmith's band The Flying Squirrels - treat traveling fans to concerts and jam sessions to enjoy intimate and spontaneous performances and the opportunity for performers and listeners enjoy being fellow travelers in a spirit similar to the close relationship that Eaglesmith enjoys with his fans. And in addition to hosting train trips, he is also a regular performer on Delbert McClintonís annual Sandy Beaches Cruises that take musical travel to the high seas.
The trips reflect Eaglesmith's passion for travel and new vistas, which keeps him on the road playing some 200 dates a year and feeds his songwriting muse, likened by Nova Scotiaís Berwick Register to "what Bruce Springsteen aspires to be, the voice of the small-town common man."
For more information on Roots on the Rails go to www.rootsontherails.com
Further information on Fred Eaglesmith can be found at www.fredeaglesmith.com.
10 Oct 2007
OKANAGAN ARTS AWARDS
1st Annual Okanagan Arts Awards
The Arts Council of the
Categories for the awards include Music, Theatre, Dance, Creative Writing, Visual Arts, Design, Media Arts, Arts Education and Lifetime Achievement. The Okanagan Awards are open to everyone, individuals, businesses, or groups within the Okanagan. The recipients awarded are those who have taken on leadership roles within their respective art field or community, and who have reached significant accomplishments within their chosen art form. The deadline for submissions to nominate an outstanding member of the arts community is Jan 5th, 2008.
Take the time to nominate a star of the arts, raising their profile and honouring the calibre of art in the Okanagan. Go to the Okanagan Arts Awards website at www.okanaganartsawards.com or nominate by contacting the Arts Council of the
At this time, the Arts Council of the
The Okanagan Arts Awards will be presented on an annual basis, honouring recipients during the Okanagan Arts Awards Celebration, taking place in February of each year. The first event will take place on February 15th, 2008, at the
More information is available through the Arts Council of the
Arts Council of the
Telephone: 250.861.4123 | Fax: 250.861.4155 | Email: info@artsco.ca
09 Oct 2007
CALL FOR ARTISTS
Call to Artists
The new arts awards program for the
The process is as follows (please note the adjusted dates):
1. Submit your drawing(s) of the design by October 20, 2007.
2. The design should relate to the Okanagan in some way.
3. Submissions will be short listed to 3 by October 23, 2007.
The 3 short listed artists must submit a maquette of the design by October 30, 2007. The maquettes should be about 8” – 14” high, and should have a base that is a maximum of 4” in diameter so it will fit onto a specific base. The maquette can be made out of clay, wood, glass, wax, or other material.
one maquette will be chosen by November 1, 2007, which will then be used to produce the awards.
the chosen design will receive an honorarium of $1,000.00
each of the other two maquettes will receive $250.00
Please include the following in your submission:
Drawing(s) of your design
An artist statement that explains your design
Your contact information
Any support materials you might want to include.
A self-addressed envelope for the return of your material.
Submissions for this Call are due by October 20, 2007.
They can be delivered, mailed or emailed to Arts Council of the Central Okanagan, Office #8,
09 Oct 2007
Profile of Cultural and Heritage Activities in British Columbia
A new report from Hill Strategies Research, provides insights into the number and percentage of British Columbians 15 or older who, in 2005:
• attended live performances;
• visited art galleries and other museums;
• visited historic sites and other heritage organizations;
• read a newspaper, magazine or book;
• watched movies or videos; or
• listened to recorded music.
Reading, music and movies are among the most popular cultural and heritage activities
In 2005, the most popular cultural and heritage activities in British Columbia were:
• Reading newspapers (89% of the population 15 or older);
• Listening to music on CD’s, cassette tapes, DVD audio discs, records, etc. (84%);
• Reading a magazine (81%);
• Watching a video (rented, purchased, VHS or DVD formats) (79%);
• Reading a book (70%);
• Watching a movie at a theatre or drive-in (58%); and
• Visiting a conservation area or nature park (51%).
Along with Ontario, B.C. is the only province where a heritage activity – visiting a conservation area or nature park – attracted at least half of the population in 2005.
Many activities attracted a smaller percentage of B.C. residents in 2005 than in 1992
Many cultural and heritage activities attracted a smaller percentage of British Columbians in 2005 than in 1992, including:
• overall performing arts;
• museums;
• zoos, aquariums, botanical gardens, planetariums or observatories;
• conservation areas or nature parks;
• the reading of newspapers, magazines and books; and
• listening to music on CDs or other formats.
Other cultural and heritage activities attracted about the same percentage of British Columbians in 2005 as in 1992, including theatre attendance, popular music attendance, culturally-specific performing arts attendance, art galleries, historic sites, movies and videos. (The changes over time in these statistics are within each statistic’s margin of error.)
No cultural or heritage activities in B.C. saw an increase in participation (larger than the statistic’s margin of error).
Given the population growth between 1992 and 2005, all cultural and heritage activities saw an increase in the absolute number of B.C. residents attending, visiting, reading, watching or listening.
The full report, funded by the Canada Council for the Arts, the Department of Canadian Heritage and the Ontario Arts Council, is available free of charge.
Hill Strategies Research http://www.hillstrategies.com
• attended live performances;
• visited art galleries and other museums;
• visited historic sites and other heritage organizations;
• read a newspaper, magazine or book;
• watched movies or videos; or
• listened to recorded music.
Reading, music and movies are among the most popular cultural and heritage activities
In 2005, the most popular cultural and heritage activities in British Columbia were:
• Reading newspapers (89% of the population 15 or older);
• Listening to music on CD’s, cassette tapes, DVD audio discs, records, etc. (84%);
• Reading a magazine (81%);
• Watching a video (rented, purchased, VHS or DVD formats) (79%);
• Reading a book (70%);
• Watching a movie at a theatre or drive-in (58%); and
• Visiting a conservation area or nature park (51%).
Along with Ontario, B.C. is the only province where a heritage activity – visiting a conservation area or nature park – attracted at least half of the population in 2005.
Many activities attracted a smaller percentage of B.C. residents in 2005 than in 1992
Many cultural and heritage activities attracted a smaller percentage of British Columbians in 2005 than in 1992, including:
• overall performing arts;
• museums;
• zoos, aquariums, botanical gardens, planetariums or observatories;
• conservation areas or nature parks;
• the reading of newspapers, magazines and books; and
• listening to music on CDs or other formats.
Other cultural and heritage activities attracted about the same percentage of British Columbians in 2005 as in 1992, including theatre attendance, popular music attendance, culturally-specific performing arts attendance, art galleries, historic sites, movies and videos. (The changes over time in these statistics are within each statistic’s margin of error.)
No cultural or heritage activities in B.C. saw an increase in participation (larger than the statistic’s margin of error).
Given the population growth between 1992 and 2005, all cultural and heritage activities saw an increase in the absolute number of B.C. residents attending, visiting, reading, watching or listening.
The full report, funded by the Canada Council for the Arts, the Department of Canadian Heritage and the Ontario Arts Council, is available free of charge.
Hill Strategies Research http://www.hillstrategies.com
05 Oct 2007
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