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ARTS
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WHEN YOU’RE A person of colour in art school, you quickly realize one thing, as Ashley
McKenzie-Barnes did: Most canonical works come from the same place. “I grew up on
Western European art—that’s essentially what art history is,” says the Toronto-based
curator, who has worked with the Toronto Harbourfront Centre and on the campaign for
Lauryn Hill’s fashion collection. It’s from that traditional background—which can be exclu-
sionary for people of colour—that McKenzie-Barnes got the idea for the theatrical Kings
and Queens of Scarborough, the project she’s putting together for this year’s all-night art
party Nuit Blanche. “I wanted to flip it with contemporary artists who are relevant now and
could be understood and digested by the patrons of Scarborough,” says McKenzie-Barnes,
whose exhibit will put the spotlight on local artists, like pop artist Maria Qamar (a.k.a.
@Hatecopy). “I really was big on capturing artists who are creating legacy and understand
the importance of celebrating their community.” The curator looks at shows like these as
an opportunity to expand our idea of who we recognize as landmark artists. “We know the
Group of Seven, but I don’t know that I’d be able to ask somebody ‘Who’s a legacy artist of
colour that you know?’” says McKenzie-Barnes, pointing out that institutions often bring in
the work of international artists of colour, like Mickalene Thomas, but provide less support
for homegrown talent. “Those shows are amazing, but there’s still room for Canadian ones
as well.” Make way for the new royals. PK
ASHLEY MCKENZIE-BARNES
Manifesto, 2018, by @Hatecopy