The Seventh Art is an independently produced video magazine about cinema with three sections: a profile on an interesting group/company/organization in the industry, a video essay and a long-form interview with a filmmaker.
Since the late '70s, Gordon Monahan has been making a career of extracting the unheard from pretty much anything he can get his hands on. Monahan's works for piano, loudspeakers, video, kinetic sculpture, and computer-controlled sound environments span various genres from avant-garde concert music to multi-media installation and sound art. Such pieces include long string installations activated by wind (Long Aeolian Piano, 1984-88), by water vortices (Aquaeolian Whirlpool, 1990) and by indoor air draughts (Spontaneously Harmonious in Certain Kinds of Weather, 1996). His work for electronic tone generators and human speaker swingers (Speaker Swinging, 1982), is a hybrid of science, music, and performance art, where minimalistic trance music based on the Doppler Effect contrasts with issues central to performance art such as physical struggle and 'implied threat'. John Cage once said, "At the piano, Gordon Monahan produces sounds we haven't heard before." [more inside]
Han Bennink - accomplished dutch percussionist, performed a on a drumkit made of cheese as part of a recent Museum of Contemporary Canadian Art exhibit, "Demons Stole My Soul: Rock 'N Roll Drums In Contemporary Art"
The Group of Seven. Arguably Canada's most important artists, the Group of Seven "popularized the concept of an art founded on the Canadian landscape, gave many Canadians a sense of national identity and enabled them to discover the beauty of their own country." Peruse an art gallery and marvel at the beauty they portrayed. (Mangled quote from the Tom Thomson Memorial Art Gallery) Equally important was Emily Carr. While her style was similar to that of the Group of Seven, her interest in First Nations became her trademark. Some of her paintings.