Tag Archives: Meghan Markle

Hype, hype, hype: Vancouver’s Frontier Collective represents local tech community at SxWS (South by Southwest®) 2024 + an aside

I wonder if Vancouver’s Mayor Ken Sim will be joining the folks at the giant culture/tech event known as South by Southwest® (SxSW) later in 2024. Our peripatetic mayor seems to enjoy traveling to sports events (FIFA 2023 in Qatar), to Los Angeles to convince producers of a hit television series, “The Last of Us,” that they film the second season in Vancouver, and, to Austin, Texas for SxSW 2023. Note: FIFA is Fédération internationale de football association or ‘International Association Football Federation’.

It’s not entirely clear why Mayor Sim’s presence was necessary at any of these events. In October 2023, he finished his first year in office; a business owner and accountant, Sim is best known for his home care business, “Nurse Next Door” and his bagel business, “Rosemary Rocksalt,” meaning he wouldn’t seem to have much relevant experience with sports and film events.

I gather Mayor Sim’s presence was part of the 2023 hype (for those who don’t know, it’s from ‘hyperbole’) where SxSW was concerned, from the Vancouver Day at SxSW 2023 event page,

Vancouver Day

Past(03/12/2023) 12:00PM – 6:00PM

FREE W/ RSVP | ALL AGES

Swan Dive

The momentum and vibrancy of Vancouver’s innovation industry can’t be stopped!

The full day event will see the Canadian city’s premier technology innovators, creative tech industries, and musical artists show why Vancouver is consistently voted one of the most desirable places to live in the world.

We will have talks/panels with the biggest names in VR/AR/Metaverse, AI, Web3, premier technology innovators, top startups, investors and global thought-leaders. We will keep Canada House buzzing throughout the day with activations/demos from top companies from Vancouver and based on our unique culture of wellness and adventure will keep guests entertained, and giveaways will take place across the afternoon.

The Canadian city is showing why Vancouver has become the second largest AR/VR/Metaverse ecosystem globally (with the highest concentration of 3D talent than anywhere in the world), a leader in Web3 with companies like Dapper Labs leading the way and becoming a hotbed in technology like artificial intelligence.

The Frontier Collective’s Vancouver’s Takeover of SXSW is a signature event that will enhance Vancouver as the Innovation and Creative Tech leader on the world stage.It is an opportunity for the global community to encounter cutting-edge ideas, network with other professionals who share a similar appetite for a forward focused experience and define their next steps.

Some of our special guests include City of Vancouver Mayor Ken Sim [emphasis mine], Innovation Commissioner of the Government of BC- Gerri Sinclair, Amy Peck of Endeavor XR, Tony Parisi of Lamina1 and many more.

In the evening, guests can expect a special VIP event with first-class musical acts, installations, wellness activations and drinks, and the chance to mingle with investors, top brands, and top business leaders from around the world.

To round out the event, a hand-picked roster of Vancouver musicians will keep guests dancing late into the night.

This is from Mayor Sim’s Twitter (now X) feed, Note: The photographs have not been included,

Mayor Ken Sim@KenSimCity Another successful day at #SXSW2023 showcasing Vancouver and British Columbia while connecting with creators, innovators, and entrepreneurs from around the world! #vanpoli#SXSW

Last edited from Austin, TX·13.3K Views

Did he really need to be there?

2024 hype at SxSW and Vancouver’s Frontier Collective

New year and same hype but no Mayor Sim? From a January 22, 2024 article by Daniel Chai for the Daily Hive, Note: A link has been removed,

Frontier Collective, a coalition of Vancouver business leaders, culture entrepreneurs, and community builders, is returning to the South by Southwest (SXSW) Conference next month to showcase the city’s tech innovation on the global stage.

The first organization to formally represent and promote the region’s fastest-growing tech industries, Frontier Collective is hosting the Vancouver Takeover: Frontiers of Innovation from March 8 to 12 [2024].

According to Dan Burgar, CEO and co-founder of Frontier Collective, the showcase is not just about presenting new advancements but is also an invitation to the world to be part of a boundary-transcending journey.

“This year’s Vancouver Takeover is more than an event; it’s a beacon for the brightest minds and a celebration of the limitless possibilities that emerge when we dare to innovate together.”

Speakers lined up for the SXSW Vancouver Takeover in Austin, Texas, include executives from Google, Warner Bros, Amazon, JP Morgan, Amazon, LG, NTT, Newlab, and the Wall Street Journal.

“The Frontier Collective is excited to showcase a new era of technological innovation at SXSW 2024, building on the success of last year’s Takeover,” added Natasha Jaswal, VP of operations and events of Frontier Collective, in a statement. “Beyond creating a captivating event; its intentional and curated programming provides a great opportunity for local companies to gain exposure on an international stage, positioning Vancouver as a global powerhouse in frontier tech innovation.

Here’s the registration page if you want to attend the Frontiers of Innovation Vancouver Takeover at SxSW 2024,

Join us for a curated experience of music, art, frontier technologies and provocative panel discussions. We are organizing three major events, designed to ignite conversation and turn ideas into action.

We’re excited to bring together leaders from Vancouver and around the world to generate creative thinking at the biggest tech festival.

Let’s create the future together!

You have a choice of two parties and a day long event. Enjoy!

Who is the Frontier Collective?

The group announced itself in 2022, from a February 17, 2022 article in techcouver, Note: Links have been removed,

The Frontier Collective is the first organization to formally represent and advance the interests of the region’s fastest-growing industries, including Web3, the metaverse, VR/AR [virtual reality/augmented reality], AI [artificial intelligence], climate tech, and creative industries such as eSports [electronic sports], NFTs [non-fungible tokens], VFX [visual effects], and animation.

Did you know the Vancouver area currently boasts the world’s second largest virtual and augmented reality sector and hosts the globe’s biggest cluster of top VFX, video games and animation studios, as well as the highest concentration of 3D talent?

Did you know NFT technology was created in Vancouver and the city remains a top destination for blockchain and Web3 development?

Frontier Collective’s coalition of young entrepreneurs and business leaders wants to raise awareness of Vancouver’s greatness by promoting the region’s innovative tech industry on the world stage, growing investment and infrastructure for early-stage companies, and attracting diverse talent to Vancouver.

“These technologies move at an exponential pace. With the right investment and support, Vancouver has an immense opportunity to lead the world in frontier tech, ushering in a new wave of transformation, economic prosperity and high-paying jobs. Without backing from governments and leaders, these companies may look elsewhere for more welcoming environments.” said Dan Burgar, Co-founder and Head of the Frontier Collective. Burgar heads the local chapter of the VR/AR Association.

Their plan includes the creation of a 100,000-square-foot innovation hub in Vancouver to help incubate startups in Web3, VR/AR, and AI, and to establish the region as a centre for metaverse technology.

Frontier Collective’s team includes industry leaders at the Vancouver Economic Commission [emphasis mine; Under Mayor Sim and his majority City Council, the commission has been dissolved; see September 21, 2023 Vancouver Sun article “Vancouver scraps economic commission” by Tiffany Crawford], Collision Conference, Canadian incubator Launch, Invest Vancouver, and the BDC Deep Tech Fund.  These leaders continue to develop and support frontier technology in their own organizations and as part of the Collective.

Interestingly, a February 7, 2023 article by the editors of BC Business magazine seems to presage the Vancouver Economic Commission’s demise. Note: Links have been removed,

Last year, tech coalition Frontier Collective announced plans to position Vancouver as Canada’s tech capital by 2030. Specializing in subjects like Web3, the metaverse, VR/AR, AI and animation, it seems to be following through on its ambition, as the group is about to place Vancouver in front of a global audience at SXSW 2023, a major conference and festival celebrating tech, innovation and entertainment.  

Taking place in Austin, Texas from March 10-14 [2023], Vancouver Takeover is going to feature speakers, stories and activations, as well as opportunities for companies to connect with industry leaders and investors. Supported by local businesses like YVR Airport, Destination Vancouver, Low Tide Properties and others, Frontier is also working with partners from Trade and Invest BC, Telefilm and the Canadian Consulate. Attendees will spot familiar faces onstage, including the likes of Minister of Jobs, Economic Development and Innovation Brenda Bailey, Vancouver mayor Ken Sim [emphasis mine] and B.C. Innovation Commissioner Gerri Sinclair. 

That’s right, no mention of the Vancouver Economic Commission.

As for the Frontier Collective Team (accessed January 29, 2024), the list of ‘industry leaders’ (18 people with a gender breakdown that appears to be 10 male and 8 female) and staff members (a Senior VP who appears to be male and the other seven staff members who appear to be female) can be found here. (Should there be a more correct way to do the gender breakdown, please let me know in the Comments.)

i find the group’s name a bit odd, ‘frontier’ is something I associate with the US. Americans talk about frontiers, Canadians not so much.

If you are interested in attending the daylong (11 am – 9 pm) Vancouver Takeover at SxSW 2024 event on March 10, 2024, just click here.

Aside: swagger at Vancouver City Hall, economic prosperity, & more?

What follows is not germane to the VR/AR community, SxSW of any year, or the Frontier Collective but it may help to understand why the City of Vancouver’s current mayor is going to events where he would seem to have no useful role to play.

Matt O’Grady’s October 4, 2023 article for Vancouver Magazine offers an eyeopening review of Mayor Ken Sim’s first year in office.

Ken Sim swept to power a year ago promising to reduce waste, make our streets safer and bring Vancouver’s “swagger” back. But can his open-book style win over the critics?

I’m sitting on a couch in the mayor’s third-floor offices, and Ken Sim is walking over to his turntable to put on another record. “How about the Police? I love this album.”

With the opening strains of  “Every Breath You Take” crackling to life, Sim is explaining his approach to conflict resolution, and how he takes inspiration from the classic management tome Getting to Yes: Negotiating Agreement Without Giving In.

Odd choice for a song to set the tone for an interview. Here’s more about the song and its origins according to the song’s Wikipedia entry,

To escape the public eye, Sting retreated to the Caribbean. He started writing the song at Ian Fleming’s writing desk on the Goldeneye estate in Oracabessa, Jamaica.[14] The lyrics are the words of a possessive lover who is watching “every breath you take; every move you make”. Sting recalled:

“I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn’t realise at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control.”[15][emphasis mine]

The interview gets odder, from O’Grady’s October 4, 2023 article,

Suddenly, the office door swings open and Sim’s chief of staff, Trevor Ford, pokes his head in (for the third time in the past 10 minutes). “We have to go. Now.”

“Okay, okay,” says Sim, turning back to address me. “Do you mind if I change while we’re talking?” And so the door closes again—and, without further ado, the Mayor of Vancouver drops trou [emphasis mine] and goes in search of a pair of shorts, continuing with a story about how some of his west-side friends are vocally against the massive Jericho Lands development promising to reshape their 4th and Alma neighbourhood.

“And I’m like, ‘Let me be very clear: I 100-percent support it, this is why—and we’ll have to agree to disagree,’” he says, trading his baby-blue polo for a fitted charcoal grey T-shirt. Meanwhile, as Sim does his wardrobe change, I’m doing everything I can to keep my eyes on my keyboard—and hoping the mayor finds his missing shorts.

It’s fair to assume that previous mayors weren’t in the habit of getting naked in front of journalists. At least, I can’t quite picture Kennedy Stewart doing so, or Larry or Gordon Campbell either. 

But it also fits a pattern that’s developing with Ken Sim as a leader entirely comfortable in his own skin. He’s in a hurry to accomplish big things—no matter who’s watching and what they might say (or write). And he eagerly embraces the idea of bringing Vancouver’s “swagger” back—outlined in his inaugural State of the City address, and underlined when he shotgunned a beer at July’s [2023] Khatsahlano Street Party.

O’Grady’s October 4, 2023 article goes on to mention some of the more practical initiatives undertaken by Mayor Sim and his supermajority of ABC (Sim’s party, A Better City) city councillors in their efforts to deal with some of the city’s longstanding and intractable problems,

For a reminder of Sim’s key priorities, you need only look at the whiteboard in the mayor’s office. At the top, there’s a row labelled “Daily Focus (Top 4)”—which are, in order, 3-3-3-1 (ABC’s housing program); Chinatown; Business Advocacy; and Mental Health/Safety.

On some files, like Chinatown, there have been clear advances: council unanimously approved the Uplifting Chinatown Action Plan in January, which devotes more resources to cleaning and sanitation services, graffiti removal, beautification and other community supports. The plan also includes a new flat rate of $2 per hour for parking meters throughout Chinatown (to encourage more people to visit and shop in the area) and a new satellite City Hall office, to improve representation. And on mental health and public safety, the ABC council moved quickly in November to take action on its promise to fund 100 new police officers and 100 new mental health professionals [emphasis mine]—though the actual hiring will take time.

O’Grady likely wrote his article a few months before its October 2023 publication date (a standard practice for magazine articles), which may explain why he didn’t mention this, from an October 10, 2023 article by Michelle Gamage and Jen St. Denis for The Tyee,

100 Cops, Not Even 10 Nurses

One year after Mayor Ken Sim and the ABC party swept into power on a promise to hire 100 cops and 100 mental health nurses to address fears about crime and safety in Vancouver, only part of that campaign pledge has been fulfilled.

At a police board meeting in September, Chief Adam Palmer announced that 100 new police officers have now joined the Vancouver Police Department.

But just 9.5 full-time equivalent positions have been filled to support the mental health [emphasis mine] side of the promise.

In fact, Vancouver Coastal Health says it’s no longer aiming [emphasis mine] to hire 100 nurses. Instead, it’s aiming for 58 staff and specialists [emphasis mine], including social workers, community liaison workers and peers, as well as other disciplines alongside nurses to deliver care.

At the police board meeting on Sept. 21 [2023], Palmer said the VPD has had no trouble recruiting new police officers and has now hired 70 new recruits who are first-time officers, as well as at least 24 experienced officers from other police services.

In contrast, it’s been a struggle for VCH to recruit nurses specializing in mental health.

BC Nurses’ Union president Adriane Gear said she remembers wondering where Sim was planning on finding 100 nurses [emphasis mine] when he first made the campaign pledge. In B.C. there are around 5,000 full-time nursing vacancies, she said. Specialized nurses are an even more “finite resource,” she added.

I haven’t seen any information as to why the number was reduced from 100 mental health positions to 58. I’m also curious as to how Mayor Ken Sim whose business is called ‘Nurse Next Door’ doesn’t seem to know there’s a shortage of nurses in the province and elsewhere.

Last year, the World Economic Forum in collaboration with Quartz published a January 28, 2022 article by Aurora Almendral about the worldwide nursing shortage and the effects of COVID pandemic,

The report’s [from the International Council of Nurses (ICN)] survey of nurse associations around the world painted a grim picture of strained workforce. In Spain, nurses reported a chronic lack of PPE, and 30% caught covid. In Canada, 52% of nurses reported inadequate staffing, and 47% met the diagnostic cut-off for potential PTSD [emphasis mine].

Burnout plagued nurses around the world: 40% in Uganda, 60% in Belgium, and 63% in the US. In Oman, 38% nurses said they were depressed, and 73% had trouble sleeping. Fifty-seven percent of UK nurses planned to leave their jobs in 2021, up from 36% in 2020. Thirty-eight percent of nurses in Lebanon did not want to be nurses anymore, but stayed in their jobs because their families needed the money.

In Australia, 17% of nurses had sought mental health support. In China, 6.5% of nurses reported suicidal thoughts.

Moving on from Mayor Sim’s odd display of ignorance (or was it cynical calculation from a candidate determined to win over a more centrist voting population?), O’Grady’s October 4, 2023 article ends on this note,

When Sim runs for reelection in 2026, as he promises to do, he’ll have a great backdrop for his campaign—the city having just hosted several games for the FIFA World Cup, which is expected to bring in $1 billion and 900,000 visitors over five years.

The renewed swagger of Sim’s city will be on full display for the world to see. So too—if left unresolved—will some of Vancouver’s most glaring and intractable social problems.

I was born in Vancouver and don’t recall the city as having swagger, at any time. As for the economic prosperity that’s always promised with big events like the FIFA world cup, I’d like to see how much the 2010 Olympic Games held in Vancouver cost taxpayers and whether or not there were long lasting economic benefits. From a July 9, 2022 posting on Bob Mackin’s thebreaker.news,

The all-in cost to build and operate the Vancouver 2010 Games was as much as $8 billion, but the B.C. Auditor General never conducted a final report. The organizing committee, VANOC, was not covered by the freedom of information law and its records were transferred to the Vancouver Archives after the Games with restrictions not to open the board minutes and financial ledgers before fall 2025.

Mayor Sim will have two more big opportunities to show off his swagger in 2025 . (1) The Invictus Games come to Vancouver and Whistler in February 2025 and will likely bring Prince Harry and the Duchess of Sussex, Meghan Markle to the area (see the April 22, 2022 Associated Press article by Gemma Karstens-Smith on the Canadian Broadcasting Corporation website) and (2) The 2025 Junos (the Canadian equivalent to the Grammys) from March 26 – 30, 2025 with the awards show being held on March 30, 2025 (see the January 25, 2024 article by Daniel Chai for the Daily Hive website).

While he waits, Sim may have a ‘swagger’ opportunity later this month (February 2024) when Prince Harry and the Duchess of Sussex (Meghan Markle) visit the Vancouver and Whistler for a “a three-day Invictus Games’ One Year to Go event in Vancouver and Whistler,” see Daniel Chai’s February 2, 2024 article for more details.

Don’t forget, should you be in Austin, Texas for the 2024 SxSW, the daylong (11 am – 9 pm) Vancouver Takeover at SxSW 2024 event is on March 10, 2024, just click here to register. Who knows? You might get to meet Vancouver’s, Mayor Ken Sim. Or, if you can’t make it to Austin, Texas, O’Grady’s October 4, 2023 article offer an unusual political profile.

Kerry James Marshall: a ‘song’ of racism in multiple media

Racism and social justice are two themes often found in the works featured at the Rennie Museum (formerly Rennie Collection). Local real estate marketer, Bob Rennie has been showing works there from his collection since at least 2009 when I wrote my first commentary about it (December 4, 2009).

Kerry James Marshall, the latest artist to have his work featured (June 2 – November 3, 2018), carries on the tradition while making those artistic ‘themes’ his own n a breathtaking (in both its positive and negative meanings) range of styles and media.

Here’s a brief description of some of the works, from an undated Rennie Museum press release,

Rennie Museum presents a survey of works by Kerry James Marshall spanning thirty-two years of the artist’s career. Kerry James Marshall: Collected Works features pieces from the artist’s complex body of work, which interrogates the sparse historical presence of African-Americans through painting, sculpture, drawing and other media. …

The sculptural installation Untitled (Black Power Stamps) (1998) [emphasis mine], Marshall’s very first work acquired by Bob Rennie, aptly sets the tone of the exhibition. Five colossal stamps and their corresponding ink pads are dispersed over the floor of the museum’s four-story high gallery space. Inscribed on each stamp, and reiterated on the walls, are phrases of power dating back to the Civil Rights Movement: ‘Black is Beautiful’, ‘Black Power’, ‘We Shall Overcome’, ‘By Any Means Necessary’, and ‘Burn Baby Burn’. The sentiment reverberates through the three 18 feet (5.5 metre) wide paintings installed in the same room, respectively titled Untitled (Red) (2011), Untitled (Black) and Untitled (Green) (2012). Exhibited together for the first time in North America, the imposing paintings with their colours saluting the Pan African flag echo the form of Barnett Newman’s Who’s Afraid of Red, Yellow and Blue III (1967).

Commanding attention in the center of another room is Wake (2003-2005) [emphasis mine], a sculptural work that focuses on the collective trauma of slavery. Draped atop a blackened model sailboat is a web of medallions featuring portraits of descendants of the approximately twenty African slaves who first landed in Jamestown, Virginia in 1607. Atop a polished black base evoking the deep seas, the medallions cascade over and behind the mourning vessel in a gilded procession, cast out in the boat’s wake. The work commemorates an entire lineage of people whose lives have been irrevocably affected by the traumatic history of slavery in the United States, while simultaneously celebrating the resilience and vivacity of the culture that flourished from it.

Garden Party (2004-2013) [emphasis mine] is a long-coveted painting that Marshall re-worked over the course of almost ten years. Created in a style that harkens 19th century impressionist paintings, the work depicts a scene of leisure – an array of multi-ethnic friends and neighbours casually gathered in a backyard of a social housing project. Painted on a flat canvas tarp and hung barely off the floor, the image highlights an often-overlooked perspective of the vibrant everyday life in the projects and invites its viewers to join in the gathering.

In a dimmed room is Invisible Man (1986) [emphasis mine] – a historic work and one of the first to feature Marshall’s now iconic black on black tonal painting. Referencing Ralph Ellison’s 1952 novel of the same title, Marshall’s work literalizes the premise of black invisibility. Only distinguishable by his bright-white eyes and teeth, and the subtle warmth that delineates black body from black background, Marshall’s figure, like Ellison’s protagonist, subverts his own invisibility, using colour as an emblem of power rather than of submission. The work’s presentation at Rennie Museum provides an opportunity for viewers to explore the full mastery with which Kerry James Marshall layers his various shades of black.

As always, you book a tour or claim a space on a tour (here) to see the latest exhibition and are guided through the gallery spaces. What follows is a series of pictures depicting the Marshall pieces in that first room (from the Rennie Museum’s photographic documentation for Marshall’s work), Note: There are five pages of documentation and I encourage you to look at all five,

Installation View. Courtesy:: Rennie Museum

Blot, 2014. acrylic on pvc panel 84 × 119 5/8 × 3 3/8 inches (213 × 304 × 9 cm). Courtesy: Rennie Museum

Sculpture (Ibeji), 2006. wood, fabric, beads 24 × 12 × 14 inches (61 × 30 × 36 cm) Courtesy: Rennie Museum

Heirlooms and Accessories, 2002. 3 inkjet prints on wove paper, rhinestone encrusted wooden artist’s frames each: 56 5/8 × 53 3/4 inches (144 × 137 cm) Courtesy: Rennie Museum

I’ve placed the pieces in the order in which I viewed them. Being at the opening event on June 2, 2018 meant that rather than having a tour, we were ‘invited’ to look at the pieces and ask questions of various ‘attendants’ standing nearby. The ‘Blot’, with all that colour, immediate drew my attention and not having read the title of the piece, I commented on its resemblance to a Rorschach Inkblot. It was my only successful guess of the visit and I continue to bask in it.

According to the attendant, in addition to resembling said inkblot, this piece also addresses abstract expressionism and the absence of African American visual artists from the movement. In this piece as with many others, Marshall finds a way to depict absence despite the paradox (a picture of absence) in terms.

‘Heirlooms and Accessories’ is an example of Marshall’s talent for depicting absence. At first glance the piece seems benign. There is a kind of double frame. The outermost frame is white and inside (abutting the artwork) a diamante braid has been added all around it to create a double frame. The braid is very pretty and accentuates the lockets depicted in the image. There are three white women pictured in their lockets and beneath those lockets and the white paint lay images of African Americans being lynched. The women, by the way, were complicit in the lynchings. It was deeply unsettling to learn this as my friend and I had just moments before been admiring the diamante braid.

Marshall’s work seems designed to force the viewer to look beneath the surface, which means stripping away layers, which with ‘Heirlooms’ means that you strip away the whitewashing.

As a white woman, the show is a profoundly disturbing  experience. Marshall’s range of materials and mastery are breathtaking (in the positive sense) and the way he seduces the (white) viewer into coming closer and experiencing the painting, metaphorically speaking, as a mirror rather than a picture. Marshall has flipped the viewer’s experience making it impossible (or very difficult) to blame racism on other people while failing to recognize your own sins.

The third piece in the room, the sculpture is a representation of a standard of beauty still not often seen in popular culture in North America. Weirdly, it reminded me of something from a December 21, 2017 posting on the LaineyGossip blog,

[downloaded from http://www.laineygossip.com/princess-michael-of-kent-racist-jewelry-greets-meghan/48728]

I don’t know well you can see this, but it’s an example of ‘Blackamoor jewellery’. The woman wearing it is Princess Michael of Kent and at the time the picture was taken she was on her to a Christmas 2017 lunch with the Queen of England. The lunch is where she was to meet Meghan Markle who describes herself as a woman of mixed race and is now the Duchess of Sussex and married to the Queen’s grandson, Harry. For anyone unfamiliar with ‘Blackmoor art’ here’s a July 31, 2015 essay by Anneke Rautenbach for New York University,

… Blackamoors—a trope in Italian decorative art especially common in pieces of furniture, but also appearing in paintings, jewelry, and textiles. The motif emerged as an artistic response to the European encounter with the Moors—dark-skinned Muslims from North Africa and the Middle East who came to occupy various parts of Europe during the Middle Ages. Commonly fixed in positions of servitude—as footmen or waiters, for example—the figures personify fantasies of racial conquest.

I trust Princess Michael was made to remove her brooch before entering the palace.

The contrast between Marshall’s sculpture emphasizing the dignity and beauty of the figure and the ‘jewellery’ is striking. The past, as Marshall reminds us, is always with us. From Rautenback’s July 31, 2015 essay (Note: A link has been removed),

Gaudy by nature, and uncomfortably dated—a bit like the American lawn jockey, or Aunt Jemima doll— … Blackamoors are still a thriving industry, with the United States as their no. 1 importer. (In fact, the figurines are especially popular in Texas and Connecticut—search “Blackamoor” online and you’ll find countless listings on eBay, Etsy, and elsewhere.) Unlike their American counterparts, which focus mostly on romanticizing scenes from the era of slavery, these European ornaments often depict black bodies as exotic noblemen. And not everyone considers them passé: As recently as September 2012, the Italian fashion house Dolce & Gabbana invited outrage when it included a caricatured black woman figurine on an earring as part of its spring/summer collection.

Encountering bias and (conscious or unconscious) racism in one’s self is both deeply  chastening and a priceless gift.  It’s one that comedienne Roseanne Barr seems determined to refuse (from a June 14, 2018 article by Marissa Martinelli for Slate.com (Note: Link have been removed),

Barr […] suggested on Thursday [June 14, 2018] that it is only “low IQ” people who would interpret describing a black woman as “Muslim Brotherhood & planet of the apes had a baby” as racist. The real explanation is apparently much deeper:

Roseanne BarrVerified account @therealroseanne

Rod Serling wrote Planet of The Apes. It was about anti-semitism. That is what my tweet referred to-the anti semitism of the Iran deal. Low IQ ppl can think whatever they want.

Low IQ people and Rod Serling’s screenwriting join Ambien and Memorial Day on the growing list of entities that Barr has used to justify the racist tweet over the past two weeks. The one person whose name you will not find on that list of people responsible for what Roseanne Barr said is Roseanne Barr herself.

Even with such an obvious tweet, Barr can’t (consistently) admit to and (consistently) apologize for her comment. It may not seem like a gift to her but it is. Facing up to one’s sins and making reparation can help heal the extraordinary wounds that Marshall is making visible.

You may have noticed that I called this show ‘a song of racism’. It’s a reference to poetry which in ancient times was sometimes referred to as a song (Song of Solomon, anyone?). It was also a narrative instrument, i. e., used for storytelling for an active, participatory audience.

Marshall tells a story in allusive language (like poetry) and tricks/seduces you into participating.

On that note, I have one last story to tell and it’s about the placement of Marshall’s artworks in the first floor room. It’s my story, yours and Marshall’s might be different but he has inspired me and so …

The ‘Blot’ or Rorschach Inkblot is a test, which tells a psychologist something about you and how you apprehend the world. It’s the first piece you see when you enter the Rennie Museum space and it sets the tone for all that is to come.  What you see says much about you.

The women, in the sculpture and the lockets, provide contrast and, depending on your race, hold a mirror to you. What is ‘other’ and what is ‘you’?

There was religious imagery in much of Marshall’s work elsewhere and I was particularly struck with the hearts that appeared in some of his paintings. I was reminded of the ‘sacred heart’, a key piece of religious iconography usually associated with Roman Catholicism although other religions also use the imagery.

It is a symbol of love and compassion although I’ve always associated it more with guilt. (My mother favoured the version featuring the heart pierced with a crown of thorns.)

Getting back to “What is ‘other’ and what is ‘you’?” Marshall seems to be hinting that after guilt and suffering, forgiveness is possible.

That’s my story and I’m sticking to it.

As for Marshall, he is a thoughtful artist asking some difficult questions. I hope you’ll get a chance to see his work at the Rennie Museum. As I write this, every tour through June is completely booked and first set of July tours is getting booked fast. You’d best keep an eagle eye on the Visit page.

ETA June18, 2018: Kerry James Marshall was in Vancouver and gave this talk about his work just prior to the show’s opening: https://vimeo.com/274179397 (It runs for roughly 1 hr. and 49 minutes.)