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How a Canadian Twitter feed is kindling national art pride

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Courtesy of the Art Gallery of Nova Scotia, Halifax/Art Canada Institute
Popular Twitter feed @CanadaPaintings has earned a following of thousands by sharing works like "Three Black Cats," a 1955 piece by Nova Scotian folk artist Maud Lewis.

Twitter is full of ranting and raging. But amid the rancor, art will often suddenly appear in thousands of Canadian feeds: the image of a lighthouse in a waning winter sun; the depiction of pines reflected in a frozen pond; a pair of night owls in stonecut and stencil by Inuit artist Kananginak Pootoogook.聽

The daily posts from @CanadaPaintings never list more than the artist and a work鈥檚 title and date. Even the curator wishes to remain anonymous 鈥 in declining an interview request, she allowed only that she was a busy elementary school teacher who enjoys discovering the works as much as her viewers do 鈥 which is part of the unassuming beauty of this social media feed.

That鈥檚 not to say it doesn鈥檛 elicit a response. It鈥檚 become beloved 鈥 especially in the past year, reaching more than 116,000 followers today who gleefully retweet the Canadian works thousands of times, mostly without comment. When discussion ensues, it鈥檚 usually just to say 鈥渟tunning鈥 or 鈥渆xquisite.鈥 On a recent post of a print titled 鈥淛oy鈥 鈥 a work by M茅tis artist Christi Belcourt that evokes Indigenous beadwork 鈥 one follower comments: 鈥淭hank you for this burst of colour 鈥 a glorious addition to my feed!鈥澛

Why We Wrote This

Getting the public to engage with and talk about art is what curators dream of. As a popular Twitter feed in Canada shows, sometimes the easiest way to attract people is to show them what they are missing.

It鈥檚 exactly the kind of conversation that makes Sara Angel, founder and executive director of the nonprofit Art Canada Institute (ACI), such a fan of the feed. 鈥淚t鈥檚 not what I would call an art cognoscenti,鈥 she says of the commenters. Rather than attracting followers with analysis, @CanadaPaintings offers vibrant content that has introduced a nation to its artists and its vast territory and traditions.

Matt Dunham/AP/File
Prince Charles (center) visits an exhibit featuring a Canadian artist, 鈥淔rom the Forest to the Sea: Emily Carr in British Colombia,鈥 in London in 2014.

Dr. Angel founded ACI in 2013 to make Canadian art more accessible after searching for content online while pursuing her Ph.D. and finding next to none. 鈥淭here hasn鈥檛 been a really strong, concerted effort to say, 鈥榃e are going to create a canon of Canadian art.鈥欌 She imagined her three kids typing 鈥渁rt鈥 into a search engine and only coming up with American or European artists. In the 21st century, she says, Canadians 鈥渨ill not know the artists of their country unless it鈥檚 digitally out there and accessible.鈥

Some of the artists are world-renowned or close to it, like Tom Thomson or the Group of Seven 鈥 early 20th-century landscape artists inspired by the Canadian聽wilderness. There is Emily Carr, known for her depictions of Indigenous culture on the Pacific Northwest coast, or Maud Lewis, the Nova Scotian folk artist featured in the Hollywood film 鈥淢audie.鈥澛

Yet there are so many more that should be far more widely known, says Dr. Angel. She cites Walter Allward, who created the Canadian National Vimy Memorial pictured on the Canadian $20 bill; Alex Colville, the Maritime figurative painter; or Anishinaabe artist Norval Morrisseau, considered by many as the 鈥済randfather鈥 of contemporary Indigenous art in Canada, she says.

Part of the joy of @CanadaPaintings, which started in 2018, is the discovery of Canada itself, which spans 3.8 million square miles yet 90% of Canadians live within 100 miles of the United States border. That exploration appears to be one of the curator鈥檚 motivations. The only description in the Twitter bio is a quote by Group of Seven artist Lawren Harris: 鈥淎bove all, we loved this country and loved exploring and painting it.鈥 @CanadaPaintings takes viewers from Dawson City in Yukon, to Ellesmere Island in Nunavut, to the easternmost coast of Newfoundland and Labrador.聽They bear witness to bear skinning, to moose peering at them from the woods, to Arctic oceanic wildlife.

Courtesy of the Art Gallery of Nova Scotia, Halifax/Art Canada Institute
The works of Nova Scotian folk artist Maud Lewis include this one from 1963, 鈥淏ritish Kingfisher & Apple Blossoms.鈥 @CanadaPaintings takes viewers to locales across the country, from Dawson City in Yukon, to Ellesmere Island in Nunavut, to the easternmost coast of Newfoundland and Labrador.

The feed also attracts artists themselves. Donna Zielinski, a painter from Quebec, happened to be scrolling through @CanadaPaintings in late January when she saw one of her own works, 鈥淪kating Along the Rideau Canal.鈥澛

鈥淎n absolute huge honour to be featured by this account, that I am so in awe of,鈥 she tweeted. 鈥淚t features Canadiana in a beautiful way. They don鈥檛 seem to have any ulterior motive,鈥 she adds in an interview, noting that she is especially drawn to the uniquely Canadian content,聽featuring traditions from 鈥渢he north鈥 鈥 at this time of year skating, ice carvings, and hockey matches. 鈥淭he Canadiana aspect reaches deep in the souls of many Canadians,鈥 she says.

Now if only followers could know who the curator is. 鈥淚鈥檇 love to interview her,鈥 says Dr. Angel, who has also tried to get a response. 鈥淚t鈥檚 not just a little successful; it鈥檚 more successful than what any gallery or what anybody is doing,鈥 she says. 鈥淪he has such a great eye.鈥

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