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Indian Residential School Survivor, No. 1, 2017, acrylic on canvas, 30×40 inches, by Anishnabe artist Mark Seabrook.

The above, new work, was not selected for the “highly competitive” juried show entitled:  Celebrating the Indigenous Spirit, at the Humber Galleries…  (I got the F/O letter this morning!)


Barrymore’s, Bank Street, Ottawa, December 1, 2017.  We enjoyed ourselves at many fun parties in this joint, over the years.  I was there on Friday afternoon thinking about the time I saw Blackie Lawless standing out front talking to what looked like a road manager/technician type person.  Blackie and his band were scheduled to play there and the bad news was just in:  the stage wasn’t big enough to accommodate the big LA show band.  I was across the street, a fellow “long haired”, watching.  Blackie looked over and acknowledged me with a nod.  I nodded back and continued down Bank Street, pushing the stroller with a 3 or 4 year old Jasmine Moon tucked inside.  And so I never got to hear “L.O.V.E. Machine” or…  “Animal…  “, performed live…  boo hoo.  Denied back in…  what was it?  2005?


Not Denied!!!  National Arts Centre, Ottawa, Friday night, 10 p.m., after the Diana Krall show.  And WOW!  What a show.  3rd time I’ve seen her and these were by far the best seats in the house: right up next to her, ready to shake hands.


There’s the house:  the National Arts Centre, 1015 p.m. Friday night.  She had this place packed to the rafters.  (Now lets use our imagination and picture my rock and roll band up there on that stage…  NR could go up there, enjoy that view, fill it to the rafters, bring the house down, and do it less than a hundred and twenty minutes!)


Sketch for “Indian Residential School Survivor, No. 1”, 2016, acrylic on canvas board, 7×9 inches, artist collection.

Well Moose!  We must carry on, without the Humber Galleries!



A Day at the AGO

spent a glorious morning and much of the afternoon at the Art Gallery of Ontario, November 21, 2017, going for one reason only:  to see Norval Morrisseau’s 6 panel “Man Changing Into a Thunderbird”, acrylic on canvas, 1977.  last time i saw it was at the National Gallery of Canada, 2006, and the time before that, in the book: The Art of Norval Morrisseau, 1979.  of course the book, filled with colour plates, is one thing, seeing the actual, is completely another.

so off i went on the Go Train to Union Station, subway to Yonge and Dundas, and on foot to the gallery.  without fussing with the collection i asked the lady at the front to walk me to the room where the Morrisseau paintings were hanging.

it’s an awesome thing for this Anishnabe boy to see these giant paintings:  Norval M. IS the founder of the Ojibwe Woodland School of Painting and the making of Man Changing Into a Thunderbird is a classic rock and roll story about art and art making.  my question, after viewing the work for a few hours yesterday, is:  What brand of acrylic paint did N.M. use to create this work?

pretty soon a class of high school students were brought in with the “native interpreter”, a very Indian dude about my age, sporting a long braid.  so i thought i’d stand back and listen to him make the pitch with him asking these kids, who he’d obviously lost by this point in time, why is this art work important?  boy oh boy he was plum off the map!  he wasn’t even in the ball park!  it’s pretty clear he hadn’t done his homework on this one.


here is a photo with some kids in the shot, to give you some idea how big these paintings are.

after a few hours with the pieces i decided to boo through the rest of the gallery and see what they had.  it wasn’t long before i heard Erik Satie’s Gymnopedies:

(i’ve never been to Paris so this is pretty much “Once Upon A Time in Tehkummah” for me, switch out the beautiful Edouard Cortes paintings for some “range scenes”)

i thought i was hearing a soundtrack for an installation so i followed the sounds and found myself at the entrance to Guillermo, “Del Toro: At Home With Monsters”, an exhibition of his collections, films and notebooks.


“Del Toro: At Home With Monsters”


“At Home With Monsters”


“At Home With Monsters”  (how would you like to have that thing sitting in the living room, over the fireplace, when the power goes out…  )


“At Home With Monsters”  (is that Edgar Allan, giving you know who, a reading?)(those windows were live:  they had the thunder going, the rain on the glass, the trees moving with the breeze:  ultra spooky!)


“At Home With Monsters”  (hmmm…  )

so anyway:  i’m walking around in there, eyes wide open, ears too because i’m hearing some of my favourite solo piano music and check this out:

WOW!  there is the source of the music:  a young and spooky looking whippersnapper on a black baby grand!  mega WOW!  i LOVE the music but i love it even more when i see it happening right there in front of me!  now hey, that really made my day, right there.  and so i stayed on, enjoyed the beautiful sounds coming up and out of that baby grand.  nice work!  and i said so, to the kid.

well you can’t have too much art in one day.  so i’ll come back tomorrow with Chapter 2:  Mark’s Day at the AGO.

New photographs by Mark Seabrook


“Dying 2B Indian, No. 1”, 8×10 inch photograph, by Anishnabe artist Mark Seabrook.  November 18, 2017.


“Dying 2B Indian, No. 2”, 8×10 inch photograph, by Anishnabe artist Mark Seabrook.  November 18, 2017.

Artist proofs available until December 15.

paintings by Mark Seabrook

we’re going down memory lane this morning in the art department, looking at some of my work with the question in mind:  What makes art Canadian?  we’re asking after attending last night’s sleepy little outing to the Isabel Bader Theatre, Charles St. West, Toronto, where the Art Canada Institute gave their mission statement a stretch!  the ACI is dedicated to making Canadian art history a contemporary conversation.  in with last night’s conversation, a gal made her presentation on Norval Morrisseau, creator of the Woodland School, and his place in all of this.  of course what caught my eye in the promo was a detail of Morrisseau’s Man Changing Into a Thunderbird, panel 1 of 6.  (that’s the work that sparked my imagination way back in art school!  (even though i came up on Manitoulin Island and the second generations of woodland school painters were everywhere and you couldn’t drive 10 miles without seeing their stuff, courtesy of the Ojibwe Cultural Foundation))

A Self Portrait on November 30th by Mark Seabrook

“November 30th”, 2008, 30×40 inches, acrylic on canvas, Private Collection.

Bear Clan with White Raven

“Bear Clan”, 2011, acrylic on canvas board, 18×24 inches, Artist Collection.


“Water Spirit”, 2014, acrylic on canvas, 24×36 inches, Private Collection.

January 2009 001

“2 Wolves, Feeding”, 2009, acrylic on canvas, 36×48 inches, Private Collection.


30×30 inches

“Missing and Murdered Indian Women, No. 1”, 2015, acrylic on canvas, 30×30 inches, Private Collection.


For Missing and Murdered Aboriginal Women, Acrylic on canvas, 36×58 inches

“For Missing and Murdered Aboriginal Women”, 2015, acrylic on canvas, 36×58 inches.  Sale price:  $4 000.


Acrylic on canvas, 30×40 inches

“For Missing and Murdered Women”, 2015, acrylic on canvas, 30×40 inches.  Sale price:  $3 800.


“Indian Residential School Survivor, No. 1”, 2017, acrylic on canvas, 30×40 inches.  Sale price:  $3 800.


“60’s Scoop Survivors: Lost child, lost parent”, 2017, acrylic on canvas, 20×40 inches.  Sale price:  $2 800.


“I.R.S. No. 1”, November 2017, acrylic on canvas board, 7×9 inches.  Sale price:  $200.


“I.R.S. No. 2”, November 2017, acrylic on canvas board, 7×9 inches.  Sale price:  $200.

Original artwork by First Nations and Anishnabe painter:  Mark Seabrook, Manitoulin Island (which is right here in Canada!).


19th Annual Witches Gathering

monday morning and a chance to look back at an amusing weekend on the road: to Ottawa, for the 19th annual, bells and whistles costumes or last minute costumes, it was a grand looking party and a great time.  i’ve been going to the Witches Gathering for…  well 17 years at least!  likely 18, and did we, as a rock and roll band, NR, play it twice?


back on Island Park, relaxing on the morning of the big bash.  hard to believe that just beyond those trees is the loud and proud runway they call Island Park.


fun decorations:  we were in at 5, decorated, lights out and doors open at 7, ritual at 830, dancing, fun and games at 10 till 2.


“where there is smoke, there is fire”, 2nd place for sexiest costume!  ha ha!


spooky table top scenes:  how would like to have a drink with this character staring at you?


“raven scenes on Halloween, 1 of 6”, 7×9 inches, acrylic on canvas board, by Anishnabe artist Mark Seabrook.  painted during Indian Summer, 2017.  i slipped 6 of these bad boys into the prize baskets but next year i think we’re going double down at the very least, with what can offer an outfit that will be celebrating 20 fun years and community service.  (personally i think everyone who dresses up and comes out deserves a prize!)


waiting for a taxi after midnight:  the reason why pole dancers use a pole is if you don’t have something to hang onto…  down you go!  the higher up you are, the further down you have to fall…  (i made it through the night without any embarrassing scenes!)


at the Savoy Brasserie on Richmond, Sunday morning, reading all about it in the morning papers!

always a fun time:  The Witches Gathering.  put together and hosted by volunteers, with an authentic ritual to assist in easing, i’m very happy to say that yes i have been going for at least 17 years and if all goes well, i’ll be at the 20th annual.

Life on the Road, Page B


sunrise, October 26, highway 7 and McCowan, Markham, Ontario.  my how the scenes can whizz by the window!


“7 Changes Approaching”, 22×28 inches, acrylic on canvas, 2008.  by Anishnabe artist Mark Seabrook.  a War Horse from the twinravens 08 era.  PRIVATE collection.  (it’s in Ottawa!)  WOW!  i saw this one, first time in a very long time and yes…  i like that work!  (they won’t sell it back to me…  )


war trophy:  “Untitled”, 36×48 inches, acrylic on canvas, by First Nations artist Peter Purdy.  twinravens collection (in Ottawa).


Friday night high jinx at the Pub Italia, Preston Street, Ottawa, Oct. 26.


a swanky address:  the Ambassador Court, on Bank Street, just south of the 417, Ottawa.  i always thought that would be a slick address.  if i could take over the entire 4th floor: gut it, re plumb it, re wire it, and turn it into the twinravens Ottawa address, it might be worth moving back to the city for…


at CUBE GALLERY, on Wellington, Ottawa.  i think it is 24×36 inches, on gallery canvas, and painted during the heat wave/indio summer of 2017.  art work by Anishnabe artist Mark Seabrook.

fun times and the party hasn’t even started yet!

Life on the Road


at Value Village, Highway 7 and 400, Wednesday morning: on the snoop for Halloween costume ideas and “things” for the cottage.


i don’t know…  opened up “The Book of Living Verse” looking for Matthew Arnold’s Dover Beach, 4th stanza in partic, (it was there!) but instead was captivated by this, on the inside cover.  i wonder what became of Hugh, and i wonder if his Xmas back in 1905 was a good one…  (thought of my own poem:  thumbing through a dead man’s books!)(ah but it is one morning of many, October 25, 2017)


view from the 10th floor, 250 Bloor Street, Toronto, Ontario.  looking north.


amusements at The Stag Shop, Church Street, Toronto, October 25, 2017


a swanky address:  The Manhattan, on Charles, at the corner with Church Street, Toronto.  (hey Tash, do you remember March 9, 1987?)


nice shoes!  at the Brass Rail, Yonge Street, Toronto, Ontario.  Oct. 25, 2017


at the corner of Yonge and Bloor Street, Toronto, October 25, 2017


“60’s Scoop Survivors: Lost parent.  Lost child.”, 20×40 inches, acrylic on canvas.  By Anishnabe artist Mark Seabrook.  Painted on the range, during Indian Summer, 2017.