tag:blogger.com,1999:blog-4825151166338599282024-02-07T00:02:38.259-08:00Gordon HattGWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.comBlogger60125tag:blogger.com,1999:blog-482515116633859928.post-538892238356305532019-06-04T18:59:00.017-07:002022-01-05T14:53:19.988-08:00G.W. Hatt Curriculum Vitae and Bibliography<div style="margin-bottom: 0cm;">
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<b>Education</b><br /><ul style="text-align: left;"><li>M.A., University of Toronto, (November 1985)</li><ul><li>Major: History of Art; Area Specialization: Modern</li><li>Language Examinations: German and Italian</li></ul><li>B.A. Hons., University of Toronto, (November 1982)</li><ul><li>Major: History of Art</li></ul></ul>
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<b>Directorial and Curatorial Experience</b><br /><ul style="text-align: left;"><li>Executive Director, CAFKA - Contemporary Art Forum Kitchener and Area, Kitchener, ON (2008 - 2020).</li><li>Guest Curator, Portrait of a Painter, University of Toronto Art Centre, Toronto, ON, (Jan. 2010).</li><li>Guest Curator, Scotiabank Nuit Blanche, Toronto (Oct. 2008).</li><li>Director/Curator, Rodman Hall Arts Centre, Brock University, St. Catharines, ON (2004 - 07).</li><li>Curator, Cambridge Galleries, Cambridge, ON (1997 - 2004).</li><li>Programme Coordinator, Cambridge Galleries, Cambridge, ON (1988 - 1996).</li><li>Director/Curator, Durham Art Gallery, Durham, ON (1985-1988).</li></ul>
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<b>Teaching Experience</b><br /><ul style="text-align: left;"><li>Instructor, Visual Arts Department, Brock University, St. Catharines, ON (2005 - 07).</li><li>Instructor, Department of Fine Arts, University of Toronto, Scarborough College (1986 - 87).</li><li>Teaching Assistant, Department of Fine Arts, University of Toronto (Semester I, 1984 - 85).</li></ul>
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<b>Bibliography</b></div></div><div class="WordSection1"><div class="MsoNormal" style="text-align: left;"><ul style="text-align: left;"><li>"Make Noise and Be Heard: Benoît Maubrey’s ARENA at CAFKA.18," CAFKA.18: RECOGNIZE EVERYONE, CAFKA – Contemporary Art Forum Kitchener and Area, 2018, <a href="https://www.cafka.org/cafka18/arena">https://www.cafka.org/cafka18/arena</a>.</li><li>“Mary Ma: Wind Water Wave,” CAFKA.16: WHAT WE DO TOGETHER THAT WE CAN’T DO ALONE, CAFKA – Contemporary Art Forum Kitchener and Area, 2016, <a href="http://www.cafka.org/cafka16/11-mary-ma-toronto-wind-water-wave">http://www.cafka.org/cafka16/11-mary-ma-toronto-wind-water-wave</a>.</li><li>“Jaime Angelopoulos: Swoon,” CAFKA.16: WHAT WE DO TOGETHER THAT WE CAN’T DO ALONE, CAFKA – Contemporary Art Forum Kitchener and Area, 2016, with files from Rex Lingwood, <<a href="https://www.cafka.org/cafka16/02-jaime-angelopolous">https://www.cafka.org/cafka16/02-jaime-angelopolous</a>>.</li><li>“Samuel Roy-Bois: The Brittle Edges of Coherence,” CAFKA.14: IT SHOULD ALWAYS BE THIS WAY, CAFKA – Contemporary Art Forum Kitchener and Area, 2014, <a href="http://www.cafka.org/cafka14/13-samuel-roy-bois">http://www.cafka.org/cafka14/13-samuel-roy-bois</a>, last modified 2015-10-01.</li><li>“<a href="http://gwhatt.blogspot.com/2016/12/nethermind.html">NetherMind</a>,” text for website for the NetherMind collective, 2014.</li><li>“<a href="http://gwhatt.blogspot.com/2013/08/0-0-1-560-3196-cafka-contemporary-art.html">Joe Lima: Heaven and Earth</a>,” Joe Lima: Singularity, (Galerie Nicholas Robert, Montreal: 2013).</li><li>“<a href="http://gwhatt.blogspot.com/2015/02/nethermind-tom-dean-john-dickson.html">NetherMind: Tom Dean. John Dickson. Catherine Heard. Greg Hefford. Mary Catherine Newcomb. Reinhard Reitzenstein. Lyla Rye. Max Streicher.</a>,” Mirabilia, St. Annes's Church, NetherMind: Toronto, October 4 – 20, 2012</li><li>“BGL: Fancy Fences,” CAFKA.11: SURVIVE. RESIST, CAFKA – Contemporary Art Forum Kitchener and Area, 2012, <a href="http://www.cafka.org/cafka11/bgl-fancy-fences">http://www.cafka.org/cafka11/bgl-fancy-fences</a>, last modified 2014-02-01.</li><li>“Lauren Hall: Their Starry Domes of Diamond and Gold Expand Above,” CAFKA.11: SURVIVE. RESIST, CAFKA – Contemporary Art Forum Kitchener and Area, 2012, <a href="https://www.cafka.org/cafka11/laurenhall">https://www.cafka.org/cafka11/laurenhall</a>, last modified 2013-01-16.</li><li>“Mary Catherine Newcomb: Souvenir,” CAFKA.11: SURVIVE. RESIST, CAFKA – Contemporary Art Forum Kitchener and Area, 2012, <a href="http://www.cafka.org/cafka11/14-mary-catherine-newcomb-kitchener-souvenir">http://www.cafka.org/cafka11/14-mary-catherine-newcomb-kitchener-souvenir</a>, last modified 2013-01-16.</li><li>“Forum placed provocative art in our public spaces,” Waterloo Region Record, Oct 13, 2011.</li><li>“Truth or Dare,” Veracity, (Contemporary Art Forum Kitchener and Area, Kitchener: 2011). Also available on-line as “CAFKA.09: Truth or Dare,” at <a href="http://www.cafka.org/cafka09/truth-or-dare">http://www.cafka.org/cafka09/truth-or-dare</a>, last modified last modified 2014-08-14.</li><li>“Chicago sets the standard for public art,” Waterloo Region Record, May 27, 2011.</li><li>“<a href="http://gwhatt.blogspot.com/2011/10/janusz-dukszta-portrait-of-patron.html">Portrait of a Patron</a>,” Portrait of a Patron: The Dukszta Collection, (University of Toronto Art Centre, Toronto: 2010).</li><li>“<a href="http://gwhatt.blogspot.com/2011/10/family-tree.html">A Family Tree</a>,” Torontonienesis, (Torontonienesis, Toronto: 2009).</li><li>“<a href="http://gwhatt.blogspot.com/2011/10/david-spriggs-architecture-of-illusion.html">David Spriggs: The Architecture of Illusion</a>,” in David Spriggs: The Archaeology of Space, (Southern Alberta Art Gallery/Rodman Hall Arts Centre, Lethbridge/St. Catharines: 2008).</li><li>“<a href="http://gwhatt.blogspot.com/2014/08/plastic-shit.html">Plastic Shit: Katharine Harvey’s Recent Installation Work</a>,” originally written for Locus Suspectus, Spring 2008, published as: <a href="http://www.katharineharvey.com/articles_and_reviews.php">http://www.katharineharvey.com/articles_and_reviews.php</a></li><li>“<a href="http://gwhatt.blogspot.com/2011/10/marla-hlady-playing-piano.html">Marla Hlady: Playing Piano</a>,” YYZINE, January 2008.</li><li>“<a href="http://gwhatt.blogspot.com/2011/10/fool-for-love.html">Fool for Love</a>,” Susan Bozic: The Dating Portfolio, (Southern Alberta Art Gallery, Simon Fraser University Art Gallery, Rodman Hall Arts Centre: Lethbridge, Vancouver, St. Catharines, 2007).</li><li><a href="https://gwhatt.blogspot.com/2019/12/objects-of-affection-press-release.html">Objects of Affection: Press Release</a> (Rodman Hall Arts Centre: St. Catharines, 2007)</li><li>“<a href="https://gwhatt.blogspot.com/2019/06/max-streichers-inflatables.html">Max Streicher's Inflatables</a>,” (Unpublished manuscript for Artcore, Toronto, 2005).</li><li>“<a href="http://gwhatt.blogspot.com/2014/08/ed-pien-in-realm-of-others.html">Ed Pien: A Soft and Gentle Darkness,</a>” Ed Pien: In a Realm of Others, (Southern Alberta Art Gallery, Robert McLaughlin Art Gallery, Cambridge Galleries: Lethbridge, Oshawa, Cambridge, 2005). </li><li><a href="http://gwhatt.blogspot.com/2014/09/anitra-hamilton-bomb-ride.html">Anitra Hamilton: Bomb Ride</a>, (Cambridge Galleries: Cambridge, ON, 2005).</li><li>“<a href="http://gwhatt.blogspot.com/2014/09/paulette-phillips-secret-life-of.html">Paulette Phillips: The Secret Life of Criminals</a>,” Paulette Phillips, (Oakville Galleries/Cambridge Galleries: Oakville & Cambridge, 2004).</li><li><a href="http://gwhatt.blogspot.com/2004/">“The Dream of Painting and Angela Leach's Thirty-Two Colours,”</a> Angela Leach: Shimmy, (Southern Alberta Art Gallery: Lethbridge, 2004)</li><li>“<a href="http://gwhatt.blogspot.com/2019/03/the-art-of-gardening-at-some-point-just.html">The Art of Gardening</a>,” Cambridge Sculpture Garden, (Cambridge Sculpture Garden: Cambridge, ON, 2003).</li><li><a href="http://gwhatt.blogspot.com/2003/06/">Interior Life: Paintings and Prints by Moira Clark</a>, (Cambridge Galleries: Cambridge, ON, 2003).</li><li>“Introduction,” Catherine Heard: Effigies, (Cambridge Galleries: Cambridge, ON, 2003).</li><li>“<a href="http://gwhatt.blogspot.com/2019/06/tim-zuck-learning-to-talk.html">Learning to Talk</a>,” introduction to the catalogue, Tim Zuck: Learning to Talk, (Museum London: London, ON, 2002).</li><li><a href="http://gwhatt.blogspot.com/2014/09/lets-get-lost-summer-vacation-show.html">Let's Get Lost: The Summer Vacation Show</a>, web text, (Cambridge Galleries: Cambridge, ON, 2002).</li><li><a href="https://gwhatt.blogspot.com/2014/09/review-who-means-what-brent-roe.html">“Who Means What / Brent Roe / Paintings / 1992-2001,”</a> Agnes Etheringon Art Centre, 5 January - 28 April 2002, Exhibition review, Border Crossings, Summer, 2002.</li><li>Tom Bendtsen: Argument #6 (b), “<a href="http://gwhatt.blogspot.com/2014/09/tom-bendtsen-argument-6-b.html">Interview with the artist</a>,” (Cambridge Galleries: Cambridge, ON, 2002).</li><li><a href="http://gwhatt.blogspot.com/2014/09/dan-kennedy-shack-of-deals.html">Dan Kennedy: Shack of Deals</a>, (Cambridge Galleries: Cambridge, ON, 2002).</li><li>“<a href="http://gwhatt.blogspot.com/2012/09/normal-0-false-false-false-en-us-ja-x.html">Big in Japan</a>,” Big in Japan: Takahiro Fujiwara, Hiroyuki Matsukage, Yuki Kimura, Tsuyoshi Ozawa, Risa Sato and Saki Satom, curated by Catherine Osborne, (Cambridge Galleries: Cambridge, ON, 2002). Simultaneously published in French as "<a href="http://gwhatt.blogspot.com/2015/08/gigajapon.html">Gigajapon</a>."</li><li>“<a href="http://gwhatt.blogspot.com/2019/06/betsy-coulter-and-christy-thompson.html">Toggle Wand: Betsy Coulter and Christy Thompson</a>,” Mercer Union, (Mercer Union: Toronto, 2001).</li><li>“Arnaud Maggs, Les factures de Lupé, Susan Hobbs Gallery, April 19 - May 26, 2001,” Shot Gun Reviews, Lola, vol. 10, Fall 2001.</li><li>“<a href="http://gwhatt.blogspot.com/2000/06/">At Some Level, I’m Just Trying To Do Ordinary Things</a>,” catalogue introduction, Daniel Olson: Small World, (Cambridge Galleries, Owens Art Gallery, Southern Alberta Art Gallery: Cambridge, Lethbridge & Sackville, 2000).</li><li>“<a href="https://gwhatt.blogspot.com/2019/06/mike-hansens-minimalism-melts-in-your.html">Mike Hansen’s Minimalism: Melts in your mouth, not in your hand</a>,” Mike Hansen: Structures, (Art Gallery of Peel: Brampton, 2000).</li><li><a href="http://gwhatt.blogspot.com/2013/01/lisa-neighbour-illuminations.html">Lisa Neighbour: Illuminations</a>, (Cambridge Galleries: Cambridge, ON, 2000).</li><li>“Introduction,” Larry Towell: Palestine, El Salvador & Home, (Cambridge Galleries: Cambridge, ON, 1999).</li><li><a href="https://gwhatt.blogspot.com/2014/09/andrew-wrights-plausible-impossibility.html">Andrew Wright: The Plausible Impossibility of the Here & Now (Moving Picture)</a>, (Cambridge Galleries: Cambridge, ON, 1999).</li><li><a href="https://gwhatt.blogspot.com/2019/06/anette-larsson-pleasure-vision.html">Anette Larsson: Pleasure Vision</a>, (Cambridge Galleries: Cambridge, ON, 1999).</li><li><a href="http://gwhatt.blogspot.com/2014/08/oh-baby.html">Oh Baby!</a>, (Cambridge Galleries: Cambridge, ON, 1999).</li><li><a href="http://gwhatt.blogspot.com/2014/08/the-nature-of-machine-jeff-mann-mike.html">The nature of the machine: Jeff Mann, Michael O'Brien, Victoria Scott, Norman White</a>, (Cambridge Galleries: Cambridge, ON, 1999).</li><li>“<a href="https://gwhatt.blogspot.com/2019/06/mary-catherine-newcomb-surrealist-in.html">Mary Catherine Newcomb: A Surrealist in Kitchener</a>,” Lola, vol. 4, Spring 1999.</li><li>“<a href="http://gwhatt.blogspot.com/2014/09/john-armstrong-affirmative-paintings.html">John Armstrong: Affirmative Paintings</a>,” John Armstrong: Sanguine, (Cambridge Galleries: Cambridge, ON, 1999).</li><li><a href="http://gwhatt.blogspot.com/2019/06/sheila-gregory-flip-series-of-20.html">Sheila Gregory: Flip!, interview with the artist</a>, (Cambridge Galleries: Cambridge, ON, 1998).</li><li>“<a href="http://gwhatt.blogspot.com/2019/06/re-work-re-work.html">Re: Work Re: Work</a>,” Work Re: Work: Installations, Interventions, Performances, (Install Art Collective: Guelph/Toronto, 1998).</li><li>“<a href="https://gwhatt.blogspot.com/2019/06/blue-in-green-regan-morriss-moat.html">Blue in Green: Regan Morris's MOAT</a>," Lola, vol. 3, Fall 1998.</li><li>“<a href="http://gwhatt.blogspot.com/2014/09/max-streicher-this-flesh.html">This flesh . . .</a>” Max Streicher: Sleeping Giants, (Cambridge Galleries: Cambridge, ON, 1999).</li><li>“<a href="http://gwhatt.blogspot.com/2014/08/brent-roes-autodogmatic-anti.html">Brent Roe's Autodogmatic, Antitranscendent Trip,</a>” Brent Roe: Autodogmatic Trip, (Cambridge Galleries: Cambridge, ON, 1998).</li><li>“You have got to make it your own . . .” interview with the artist, Michael Earle: Sea Change, (Cambridge Galleries: Cambridge, ON, 1997).</li><li>Michael Wickerson: Mill Gears, (Cambridge Galleries: Cambridge, ON, 1997).</li><li><a href="http://gwhatt.blogspot.com/1997/04/">J. Lynn Campbell: Offering, interview with the artist</a>, (Cambridge Galleries: Cambridge, ON, 1997).</li><li><a href="http://gwhatt.blogspot.com/2014/08/carlo-cesta-romance-language.html">“Carlo Cesta: Modern Romance,” </a>C Magazine, #51, October-December 1996, pp. 17-19.</li><li>Gordon Laird: In Walden's Wake, (Cambridge Galleries: Cambridge, ON, 1996).</li><li><a href="http://gwhatt.blogspot.com/2019/06/mary-catherine-newcomb-corpus-delicti.html">Mary Catherine Newcomb: Corpus Delicti</a>, (Cambridge Galleries: Cambridge, ON, 1995).</li><li>“<a href="https://gwhatt.blogspot.com/1995/09/guelph-city-that-works.html ">Guelph: The City That Works</a>,” Niche: Installations, Interventions, Performances, (Install Art Collective: Guelph/Toronto, 1995).</li><li><a href="http://gwhatt.blogspot.com/2014/09/italica-alla-maniera-italiana.html">Italica: “alla maniera italiana”: Sara Angelucci, Dino Bolognone, Jane Buyers, Carlo Cesta and Julie Voyce</a>, (Cambridge Galleries: Cambridge, ON, 1995).</li><li>Lisa Neighbour: Eye on the Square, (Cambridge Galleries: Cambridge, ON, 1994).</li><li>"<a href="http://gwhatt.blogspot.com/2013/08/thomas-burrows-hematomas-blanket.html">Thomas Burrows: Hematomas, Blanket Statements and Drawn Objects</a>," Tom Burrows: Drawn Objects and Blanket Statements, (Canadian Embassy: Tokyo, 1994).</li><li>“Seven Veils & Other Tales: Prints and Sculpture by Robert Achtemichuk,” Extension: A Quarterly Journal Published by the Print and Drawing Council of Canada, Vol. 3, No. 2, Winter 1993.</li><li>William Kurelek, 1929 - 1977, (Cambridge Galleries: Cambridge, ON, 1993).</li><li>Private Space, Public Place: Robert Achtemichuk, Bianca D'Angelo, Lisa Fedak, Mary Firth, Renata Fitzgerald, Dave Gee, Michael Horner, Brian Johnston, Jack MacAulay, Harvey Meyer, Mary O'Brien, Rick Shrubsall, Mark Stratton, Roger Young, (Cambridge Galleries: Cambridge, ON, 1993).</li><li>Art Green: Doors of Perception, (Cambridge Galleries: Cambridge, ON, 1991).</li><li><a href="http://gwhatt.blogspot.com/2016/10/carlo-cesta-material-image.html">Carlo Cesta: The Material Image</a>, (Cambridge Galleries: Cambridge, ON, 1991).</li><li>"<a href="http://gwhatt.blogspot.com/1990/08/">Heaven and Earth</a>," John Hartman: Recent Paintings, (Cambridge Galleries: Cambridge, ON, 1990).</li><li>“<a href="http://gwhatt.blogspot.com/2019/06/tom-burrows-introduction-to-dialectical.html">Introduction</a>,” Tom Burrows: Dialectical Totems, with Mary Misner, (Cambridge Galleries: Cambridge, ON, 1990).</li><li><a href="http://gwhatt.blogspot.com/2019/06/additive-sculpture-shirley-yanover-and.html">Additive Sculpture: Shirley Yanover and Peter Dykhuis</a>, (Cambridge Galleries: Cambridge, ON, 1989).</li><li><a href="http://gwhatt.blogspot.com/2019/06/carl-whiteside-le-premier-recit-de-la.html">Carla Whiteside: The First Book of Creation</a>, (Cambridge Galleries: Cambridge, ON, 1989).</li></ul></div></div><div class="WordSection1"><div class="MsoNormal" style="text-align: left;">
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<b>Public Address</b></div><div class="MsoNormal"><ul style="text-align: left;"><li><a href="http://gwhatt.blogspot.com/2008/03/daisuke-takeya-kara.html">Daisuke Takeya: Kara</a>, lecture at the Japan Foundation, Toronto, March 31, 2008. </li><li><a href="http://gwhatt.blogspot.com/2014/08/ars-longa-vita-brevis.html">Ars longa, vita brevis</a>, presented at the unveiling of Carol Bradley's sculptural relief Pool, Kitchener, ON, August 26, 2003.</li></ul>
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<b>Selected Curatorial Projects (Freelance curating, exhibition production and thematic group exhibitions)</b></div><div class="MsoNormal"><div class="MsoNormal"><ul style="text-align: left;"><li><a href="https://www.cafka.org/september-october-2019/cafka-conestoga-mall">CAFKA @ CONESTOGA MALL</a>: Paul Chartrand: CO2 Sequestration via Trees, September - October, 2019, Conestoga Mall, Waterloo, Ontario.</li><li><a href="https://www.cafka.org/cafka19-march-april/cafkathe-walper-2019">CAFKA @ THE WALPER 2019</a> featuring Vessna Perunovich, Shaheer Zazai, Jordyn Stewart, Amy Lockhart, Audrey D'Astous, Call Again Collective, March - April, 2019, Walper Hotel, Kitchener, Ontario.</li><li><a href="https://www.cafka.org/cafka18/recognize-everyone">CAFKA.18: RECOGNIZE EVERYONE</a> featuring Andréanne Abbondanza-Bergeron, Anna van Milligen, At The Reception, Benoît Maubrey, Dawn Matheson, Don Russell, Eunjung Hwang, Lucy Pullen, Marcia Huyer, Marie Claire Leblanc Flanagan, Robert Dayton, St Marie φ Walker, Susan Blight, June 2 - July 1, 2018, Kitchener, Waterloo, and Cambridge, Ontario.</li><li><a href="https://www.cafka.org/open-sesame-project-window-2017-18/lèche-vitrine">OPEN SESAME PROJECT WINDOW 2017 - 18: LÈCHE VITRINE</a> featuring Anna van Milligen, Mélika Hashemi, Nicole Beno, St Marie φ Walker, Kitchener City Hall, Kitchener, Ontario.</li><li><a href="https://www.cafka.org/cafka16/what-we-do-together-we-cant-do-alone">CAFKA.16: WHAT WE DO TOGETHER THAT WE CAN'T DO ALONE</a> featuring Acapulco, Jaime Angelopolous, Claire Ashley, Lisa Birke, Paul Chartrand, DodoLab, Meghan Harder, David Jensenius, Jimmy Limit, Mary Ma, MAW Collective, Jamelie Hassan, Ed Pien, Scenocosme, May 28 - June 26, 2016, Kitchener, Waterloo and Cambridge, Ontario.</li><li><a href="https://www.cafka.org/cafka14/it-should-always-be-way">CAFKA.14: IT SHOULD ALWAYS BE THIS WAY </a>featuring Dagmara Genda, Jefferson Campbell-Cooper, Ann Marie Hadcock, Mary Mattingly, Nova Jiang, Ruth Gibson and Bruno Martelli, Laura Moore, Steve Lambert, Sara Graham, Robert Hengeveld, Darren Copeland & Andreas Kahre, Samuel Roy-Bois, Don Miller, Seripop, José Luis Torres, Dylan Reibling, SWINTAK, Robert Seidel, Jesse Scott, Krzysztof Wodiczko, and Gary Kirkham, May 31 - June 29, 2014, Kitchener, Waterloo and Cambridge, Ontario.</li><li>CAFKA.13: <a href="https://www.cafka.org/cafka13/between-ears">BETWEEN THE EARS</a> & <a href="https://www.cafka.org/cafka13/cafkathe-walper-hotel">CAFKA @ THE WALPER HOTEL</a> featuring Scott Carter, Christof Migone, Laura De Decker, Ellen Moffat, Stephanie Vegh, Manuela Lalic, Janet Morton, Tor Lukasik-Foss, Dave Dyment, Daniel Olson, May 2 - August 11, 2013, Walper Hotel and Kitchener City Hall, Kitchener, Ontario. </li><li><a href="https://www.cafka.org/artist-residence-program-2012-14/christiecafka-air">CHRISTIE/CAFKA ARTIST IN RESIDENCE PROGRAM 2012 - 14</a>: Dylan Reibling, Jesse Scott, Krzysztof Wodiczko, Laura De Decker, Pascal Dufaux, Ruth Gibson and Bruno Martelli, Kitchener, Ontario.</li><li><a href="https://www.cafka.org/cafka11/survive-resist">CAFKA.11: SURVIVE. RESIST.</a> featuring Michael Ambedian & Sheila McMath, BGL, Broken City Lab, Andrew Burton, Vincent Chevalier, David Clark, Kim Morgan, Rachelle Viader Knowles, Dr. David Ogborn, David Court, Patrick Cull and Barbara Hobot, Soheila Esfahani, Lauren Hall, Lucy Howe, Mammalian Diving Reflex, Zeke Moores, Mary Catherine Newcomb, Jenn E Norton, Roadsworth, spurse, Reece Terris, Aislinn Thomas, Walter Van Broekhuizen, September 16 - October 2, 2011, Kitchener, Waterloo and Cambridge, Ontario.</li><li><a href="https://www.cafka.org/event/i-heart-video-art-ffffour">I Heart Video Art FFFFour: Brad Tinmouth, Jasper Elings, Johannes Zits, McLean Fahnestock, Meesoo Lee, Paul Wong, Saki Satom, Simon Payne, Steven Hoskins</a>. CAFKA - Contemporary Art Forum Kitchener and Area: May 13, 2011, Communitech Event Space, Kitchener.</li><li><a href="https://www.cafka.org/cafka09/veracity">CAFKA.09: VERACITY</a> featuring David Atkinson & James Nye, David Diviney, Graffiti Research Lab: James Powderly and Evan Roth, Luke Hart, Robert Hengeveld, Marla Hlady, David Hoffos, Andrew Hunter, Iga Janik, Don Maynard, D. Bradley Muir, Mariele Neudecker, Susy Oliveira, June Pak, Pipilotti Rist, Stefan Rose Isabella Stefanescu, Carlito Ghioni & Klaus Engel, Max Streicher, Fujiwara Takahiro, Brandon Vickerd, Kate Wilson, Andrew Houston & Lisa O’Connell, Jihee Min, September 18 - October 4, 2009, Kitchener, Waterloo and Cambridge, Ontario.</li><li>Modular Nature: Sandor Ajzenstat, David Armstrong-Six, Eric Glavin, Ernest Harris Jr., Gunilla Josephson, Kristiina Lahde, Gareth Lichty, Andreas Rutkauskas, Art Gallery of Mississauga, October 30 - December 5, 2008.</li><li><a href="http://ccca.concordia.ca/nuitblanche/nuitblanche2008/a.html"><u>Scotiabank Nuit Blanche</u>, "Zone A: The New World,"</a> with Project Blinkenlights, Fujiwara Takahiro, BGL, Daniel Olson, John Armstrong & Paul Collins, Jillian McDonald, Luis Jacob, Tom Bendtsen, Adam David Brown, Katharine Harvey, October 4, 2008.</li><li>Objects of Affection: Susan Bozic, Meesoo Lee, Maria Legault, Jillian McDonald, Tanya Read, Warren Quigley, Rodman Hall Arts Centre, St. Catharines, October 5 - December 2, 2007.</li><li>Hic: 18 Installations and Interventions, Hart House, University of Toronto, featuring work by BGL (Jasmin Bilodeau, Sebastien Giguère and Nicolas Laverdière), Tom Bendtsen, Diane Borsato, Carlo Cesta, John Dickson, Lee Goreas, Catherine Heard, Kristiina Lahde, Jennifer McMackon, Lisa Neighbour, Fabrizio Perozzi, Kristen Peterson, Ed Pien, Lyla Rye, Susan Schelle, Brian Scott, Max Streicher and Mel Ziegler. Member of the curatorial collective with Carlo Cesta, John Dickson, Catherine Heard, Lisa Neighbour, Lyla Rye and Max Streicher, March 2 - April 16, 2006.</li><li><a href="https://gwhatt.blogspot.com/2004/07/that-obscure-object-of-desire-group.html" target="_blank">That Obscure Object of Desire: A Group Exhibition of Visions of Delight, Fascination and Desire</a>, Cambridge Galleries, Cambridge, ON, featuring work by Jane Adeney, Sara Angelucci, John Armstrong, Santo Barbieri, Dianne Bos, Gabrielle de Montmollin, Phil Delisle, Evergon, Lee Goreas, Catherine Heard, Clarissa Inglis, Amelia Jimenez, Dan Kennedy, Anda Kubis, Kristiina Lahde, Bonnie Lewis, Joe Lima, Jennifer Linton, Gwen McGregor, Michael Morris, Lisa Neighbour, Reinhard Reitzenstein, Kris Rosar, Mona Shahid, Joanna Strong, Diana Thorneycroft, Philip Vanderwall and Rhonda Weppler, July 9 - August 14, 2004.</li><li>Video Heroes: Music Video by Artists, Liane and Danny Taran Gallery of the Saidye Bronfman Centre for the Arts, November 20, 2003 to January 11, 2004; Cambridge Galleries, January 24 - March 07, 2004, featuring work by David Armstrong Six, Tyler Brett, Nikki Forrest, Skawennati Tricia Fragnito, Meesoo Lee, Tim Lee, March21 (Jeremy Shaw), Kelly Mark, Anne McGuire, Tricia Middleton & Joel Taylor, Monique Moumblow & Yudi Sewraj, Benny Nemerofsky Ramsay, Daniel Olson, Rob Ring, Kevin Schmidt and Althea Thauberger. Curated in collaboration with Sylvie Gilbert.</li><li>Let's Get Lost: The Summer Vacation Show, Cambridge Galleries, Cambridge, ON, featuring work by John Armstrong, Karma Clarke-Davis, Jason Dunda, Dave Dyment, Katharine Harvey, Alexander Irving, Mara Korkola, Stacey Lancaster, Dionne McAffee, Wendy Morgan, Jan Noestheden, Daniel Olson and Kate Wilson, July 5 - August 24, 2002.</li><li>December, Cambridge Galleries, Cambridge, ON, featuring work by Sara Angelucci, Janet Bellotto, Robin Hesse, Ron Hewson, Tania Kitchell, Thérèse Mastroiacovo, Laura Millard, Janet Morton, Isabella Stefanescu, Joanna Strong, Larry Towell, and Aidan Urquhart, December 1 - January 12, 2002.</li><li>Big in Japan: Takahiro Fujiwara, Hiroyuki Matsukage, Yuki Kimura, Tsuyoshi Ozawa, Risa Sato and Saki Satom, curated by Catherine Osborne, Cambridge Galleries, Cambridge, ON, October 13 - November 18, 2001, travelled to the Liane and Danny Taran Gallery, Saidye Bronfman Centre for the Arts, Montreal, and to the Gendai Gallery, Japanese-Canadian Cultural Centre, Toronto.</li><li>Oh Baby!<u>,</u> Cambridge Galleries, Cambridge, ON, featuring baby pictures by Lorène Bourgeois, Margaret Belisle, Sheila Butler, Clair Cafaro, Cathy Daley, Sybil Goldstein, Ron Hewson, Tom Dean, April Hickox, Rae Johnson, Gordon Laird, Judy Major-Girardin, Sally McKay, Mary Catherine Newcomb, Aidan Urquhart & Julie Voyce, July 9 - August 7, 1999.</li></ul></div>
<br />
<b>Video Production (Editing, Graphic Design, Subtitling, Camera)</b><br /><ul style="text-align: left;"><li>LÈCHE VITRINE: Mélika Hashemi, 6:34, CAFKA: 2018.</li><li>CAFKA.18: Don Russell, 14:30, CAFKA: 2018.</li><li>CAFKA.18: ARENA Open Mic Night with Izzy and Fred, 5:21, CAFKA: 2018.</li><li>Big Ideas in Art and Culture: Susan Blight, 35:39, CAFKA: 2018.</li><li>CAFKA.18: ARENA Open Mic Night with Spooloops, 2:17, 2018.</li><li>CAFKA.18: Negotiating +/- by Marcia Huyer, 0:45, CAFKA: 2018.</li><li>Big Ideas in Art and Culture: Michael Roberson, 1:23:25, CAFKA: 2018.</li><li>CAFKA.16: Lisa Birke, 6:08, CAFKA: 2016.</li><li>CAFKA.16: Jamelie Hassan, 6:16, CAFKA: 2016.</li><li>Big Ideas in Art and Culture: Paddy Johnson, 1:10:29, CAFKA: 2017.</li><li>CAFKA.16: DodoLab, 6:32, CAFKA: 2016.</li><li>Big Ideas in Art and Culture: What, How & for Whom/WHW, 1:13:29, CAFKA: 2017.</li><li>CAFKA.16: Mary Ma under Wind Water Wave, 0:40, CAFKA: 2016.</li><li>CAFKA.16: Scenocosme, 2:43, CAFKA: 2016.</li><li>CAFKA.16: Tristan Perich Machine Drawing, 0:17, CAFKA: 2016.</li><li>Mary Ma Test 5, 0:16, CAFKA: 2016.</li><li>Big Ideas in Art and Culture: Alex Römer, 1:03:11, CAFKA: 2016.</li><li>CAFKA.16: Mary Ma Test 2, 0:16, CAFKA: 2016.</li><li>CAFKA.16: Mary Ma Test, 0:46, CAFKA: 2016.</li><li>Big Ideas in Art and Culture: Nadija Mustapić and Toni Meštrović, 47:32, CAFKA: 2015.</li><li>CAFKA Shorts: Queen Victoria, 0:49, CAFKA: 2014.</li><li>CAFKA Shorts: Scenocosme, 0:31, CAFKA: 2014.</li><li>CAFKA Shorts: CAFKA Opens Doors, 0:27, CAFKA: 2014.</li><li>CAFKA Shorts: CAFKA Seeks Higher Ground, 0:16, CAFKA: 2014.</li><li>CAFKA Shorts: Lauren Hall, 0:31, CAFKA: 2014.</li><li>CAFKA.14: Mary Mattingly, 4:30, CAFKA: 2014.</li><li>CAFKA.14: Darren Copeland and Andreas Kahre, 3:32, CAFKA: 2014.</li><li>CAFKA.14: Swintak, 3:31, CAFKA: 2014.</li><li>Big Ideas in Art and Culture: Althea Thauberger, 28:28, CAFKA: 2014.</li><li>CAFKA.14: Steve Lambert, 3:41, CAFKA: 2014.</li><li>CAFKA.14: Sara Graham, 4:35, CAFKA: 2014.</li><li>CAFKA.14: Jefferson Campbell Cooper, 3:19, CAFKA: 2014.</li><li>CAFKA.14: Anne Marie Hadcock, 3:38, CAFKA: 2014.</li><li>CAFKA.14: Ruth Gibson and Bruno Martelli, 2:47, CAFKA: 2014.</li><li>CAFKA.14: IT SHOULD ALWAYS BE THIS WAY, 5:12, CAFKA: 2014.</li><li>CAFKA.14: Nova Jiang, 3:00, CAFKA: 2014.</li><li>Big Ideas in Art and Culture: Luis Jacob, 57:27, CAFKA: 2014.</li><li>CAFKA.14: Laura Moore, 3:03, CAFKA: 2014.</li><li>CAFKA.14: Robert Hengeveld, 4:57, CAFKA: 2014.</li><li>Christie/CAFKA Artist in Residence: Krzysztof Wodiczko, 5:38, CAFKA: 2014.</li><li>Christie/CAFKA Artist in Residence: Pascal Dufaux, 5:18, CAFKA: 2014.</li><li>CAFKA.14: Seripop, 3:05, CAFKA: 2014.</li><li>CAFKA.14: Don Miller, 6:28, CAFKA: 2014.</li><li>CAFKA.14: Samuel Roy-Bois, 4:02, CAFKA: 2014.</li><li>Krzysztof Wodizcko and Gary Kirkham: Queen Victoria, Amy #1, 1:34, CAFKA: 2014.</li><li>Krzysztof Wodizcko and Gary Kirkham: Queen Victoria, Amy #2, 2:57, CAFKA: 2014.</li><li>Krzysztof Wodizcko and Gary Kirkham: Queen Victoria, Lamees #1, 1:51, CAFKA: 2014.</li><li>Big Ideas in Art and Culture: Rick Lowe, 53:59, CAFKA: 2014.</li><li>Big Ideas in Art and Culture: Postcommodity. 1:16:21, CAFKA: 2013.</li><li>Big Ideas in Art and Culture: Krzysztof Wodiczko, 1:14:56, CAFKA: 2013.</li></ul>
<br />
<b>Juries, Advisory Committees</b><br /><ul style="text-align: left;"><li>Grants Committee Member, Kitchener Waterloo Community Foundation, 2016 -.</li><li>Juror, ION Public Art Jury, Region of Waterloo, 2016.</li><li>Steering Committee Member, FLASH Contemporary Photography Here, 2014 - .</li><li>Advisor, Engage! KW, Kitchener and Waterloo Community Foundation, 2012-14.</li><li>Committee Member, Art and Art History Program Advisory Committee, Sheridan College Institute of Technology and Advanced Learning, 2010 - present.</li><li>Juror, Region of Waterloo Public Health and Social Services Building Commission, April/June 2009.</li><li>Outside Examiner, University of Waterloo MFA Thesis Defence, May 2009.</li><li>Chair, Public Art Working Group, City of Kitchener, 2008-2011.</li><li>Board Member, Ontario Association of Art Galleries, 2006-2011.</li><li>Arts Community Representative, Public Art Advisory Committee, Regional Municipality of Waterloo, 2002-2004.</li><li>Juror, Cambridge Sculpture Garden, 2002.</li><li>Board Member, Waterloo Regional Arts Council, 2000-2001.</li><li>Juror, Glenhyrst Art Gallery of Brant Annual Juried Exhibition, 1998.</li><li>Juror, City of Kitchener Victoria Park Public Art Commission, 1995-96.</li><li>Committee Member, City of Kitchener Public Art Advisory Committee, 1995-96.</li><li>Juror, Tom Thomson Memorial Art Gallery Juried Exhibition, 1995.</li><li>Juror, Burlington Cultural Centre Juried Exhibition, 1992.</li><li>Committee Member, Acquisitions Committee, Tom Thomson Memorial Art Gallery, Owen Sound, ON, 1987-88.</li><li>Advisor, Ontario Arts Council:</li><ul><li>1998, Special Projects</li><li>1990, Special Projects</li><li>1988, Artist in Residence Projects</li><li>1987, Public Galleries Application for Assistance</li><li>1986, Public Galleries Application for Assistance</li></ul></ul>
<br />
<b>Panels and Colloquia</b> <br /><ul style="text-align: left;"><li>Moderator, <i>Will You Paint Me?</i> panel discussion with artists Rae Johnson, Michael Merrill and Phil Richards for the exhibition Portrait of a Patron: The Dukszta Collection, University of Toronto Art Centre, January 19, 2010.</li><li>Panel Discussion Moderator, <i>Passing Through: Iain Baxter& Photographs</i>, 1958-1983, with exhibition curator James Patten, Derek Knight and Iain Baxter&, Rodman Hall Art Centre, Friday, March 2, 2007.</li><li>Colloquium Moderator, <i>Is Drawing Dead?</i>, with John Armstrong, Lucy Hogg and Lisa Steele, University of Toronto Art Centre, Toronto, ON, October 24, 2002.</li><li>Panellist, <i>Hungry Eyes: Issues in Contemporary Abstract Painting</i>, with Monica Tap, Elizabeth MacIntosh and Dan Walsh, Dalhousie Art Gallery, Halifax, NS, October 18, 2002.</li><li>Colloquium moderator, <i>Daniel Olson: Small World</i>, with Martin Arnold, Daniel Olson and Christina Ritchie, Cambridge Galleries, Camrbidge, ON, January 12, 2001.</li><li>Panellist, <i>Art Works! Round Table: "What Public? Whose Art? Current Issues in Public Art</i>, Kitchener City Hall, Kitchener, ON, September 12, 2000.</li><li>Panellist, Visual Arts Ontario Professional Development Seminar, University of Waterloo, Waterloo, ON, February 5, 1999.</li><li>Colloquium Moderator, <i>John Armstrong: Sanguine</i>, with John Armstrong, Gary Michael Dault and Lisa Gabrielle Mark, Cambridge Galleries, January 8, 1999.</li></ul>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-3836395113920913312019-04-24T07:48:00.003-07:002019-04-24T07:49:49.471-07:00Make Noise and Be Heard: Benoît Maubrey’s ARENA at CAFKA.18<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm 0cm 0.0001pt;">
<span style="font-size: 11pt;">Benoît Maubrey’s ARENA was an incitement to be make noise and be heard. <o:p></o:p></span></div>
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<span style="font-size: 11pt;">ARENA was the centrepiece of the CAFKA.18 biennial exhibition of contemporary art in the public spaces of the Waterloo Region. It was CAFKA’s largest ever fabrication project involving collaborations with the artist and architects, carpenters, electro-acousticians, programmers, students and volunteers. The 320 speakers that made up the work were sourced by donation from both friends and supporters of CAFKA and from complete strangers who had heard about the project and wanted to help or who just wanted to clear out their basements. We bought speakers too, from thrift shops and junk stores from across Southwestern Ontario. <o:p></o:p></span></div>
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<span style="font-size: 11pt;">ARENA was built at Lot 42, a former steel factory in Kitchener, Ontario. The vast building complex had been rented by Communitech to be the site of the 2018 True North Waterloo technology conference. Communitech generously allowed CAFKA to use a portion of the convention floor as an assembly space. Rex Lingwood oversaw the construction of the four-module support structure and was helped in the construction by Mark Resmer. Benoît Maubrey project-managed the speaker assembly with help from Jago Whitehead, Johnny Camara and volunteers. Work on site began on Monday, May 13 and was complete by May 23. <o:p></o:p></span></div>
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<span style="font-size: 11pt;">We had intended to make ARENA available for viewing during the three days of the True North conference, however it soon became apparent that acquiring a suitable installation space during the giant conference would be difficult. It was decided to place ARENA atop a disabled rail car opposite a hospitality tent outside of the main building. It was a curiosity for sure – an inaccessible and somewhat quirky looking PA system. <o:p></o:p></span></div>
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<span style="font-size: 11pt;">ARENA came alive following the True North Conference when it was moved to Carl Zehr Square in front of the Kitchener City Hall. It remained there for the duration of the CAFKA biennial. ARENA was live and interactively accessible to the public from 11 AM to 8 PM daily. It became a stage, a seating area and a public address system to groups and individuals who brought their smart phones, microphones and musical instruments to perform for themselves and passersby. CAFKA also programmed a series of performance events intended to highlight the interactive potential of the artwork. ARENA was the site for dance parties, wedding pictures, selfies and photo-ops by politicians, for guerilla theatre, for poetry and for all kinds of music. Through it people of all ages connected. It was pure fun. <o:p></o:p></span></div>
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<span style="font-size: 11pt;">As a work of art ARENA literally visualized the sounds it helped amplify. The 320 speakers weren’t louder than any commercial PA. Not even all of them worked. The visual effect of the different shapes and sizes and speaker styles were like a metaphor for the infinite variety of voices of people invited to participate in the ARENA event. And they felt it. People were fascinated by ARENA’s details, the hundreds of speakers, old and new, big and small, and the fact that they all, or almost all of them, seemed to be working. They were drawn to its functionality but they were inspired by its theatricality. They brought their phones, their guitars, their microphones and they were drawn to the way ARENA worked as an amphitheatre and defined the city hall square a performance space. <o:p></o:p></span></div>
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<span style="font-size: 11pt;">ARENA incited people to dance and sing, to play music, recite poetry and profess their love to each other. They made noise: Really happy, soulful noise. And they were heard.<o:p></o:p></span></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-89135045564747177302016-12-29T19:35:00.003-08:002023-10-31T12:43:21.602-07:00NetherMind: Notes from the Underground<div class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US">NetherMind is an artist collective
that organized four annual exhibitions in Toronto from 1991 through 1995. The
collective’s members shared an interest in sculptural approaches to surrealism
and produced sprawling exhibitions in rough, dark warehouses and industrial
spaces. Following their fourth exhibition in 1995, the collective took a 17-year
hiatus and pursued individual exhibition careers. They re-emerged in October 2012
with an exhibition that took place in St. Anne’s Anglican Church in Toronto. Today
the collective is comprised of the artists Tom Dean, John Dickson, Catherine
Heard, Greg Hefford, Mary Catherine Newcomb, Reinhard Reitzenstein, Lyla Rye,
and Max Streicher. Other artists also associated with NetherMind in the nineties
were Miki McCarty, Carl Skelton, Anastasia Tzekas, and Manrico Venere. <o:p></o:p></span></div>
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<span lang="EN-US">The term “artist collective” sometimes
refers to two or more artists working together to produce and exhibit a body of
work. Of that type of artist collective, the N.E. Thing Company may be the
original Canadian manifestation, and General Idea the most notable over the
last 50 years. The NetherMind collective model refers quite simply to a group
of artists who come together to “put on a show.” The ChromaZone group of
painters active in Toronto in the 1980s is perhaps the best-known Canadian art
collective of this type.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[1]</span></span><!--[endif]--></span></span></a>
Money is raised, a suitable exhibition space is acquired, and each artist
contributes work to the exhibition. <o:p></o:p></span></div>
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<span lang="EN-US">Gary Michael Dault noted the proliferation
of this latter type of artist collective in Canada in the 1990s was a product
of the period’s economic and cultural context.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[2]</span></span><!--[endif]--></span></span></a>
Just as the great post-war expansion of university and visual art education had
begun to produce new artists in record numbers, the Canadian economy entered
its second major contraction in a decade. The small and shrinking trade in Canadian
fine art had neither the capacity to absorb the production of this new
generation of artists nor the ability to represent installation, new media and
time-based art forms. The educational sector, traditionally an important
support structure for the art community, had stopped growing. Victims of a boom
and bust economy, artists with graduate degrees took on odd jobs – a career
path more exceptional at the time, but which today has become a commonly
accepted career path for MFA grads.<o:p></o:p></span></div>
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<span lang="EN-US">Against the backdrop of today’s
massive redevelopment of Toronto’s downtown, it’s hard to picture the community
25 years ago. The garment industry’s move out of lower Spadina in the seventies
(the parts of the city now called the Fashion and the Entertainment districts),
manufacturing’s exit from Liberty Village in the eighties, and Parkdale’s
post-war economic decline created inexpensive working class neighbourhoods and decaying
commercial districts with large chunks of cheap industrial space.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[3]</span></span><!--[endif]--></span></span></a>
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[4]</span></span><!--[endif]--></span></span></a>
Warehouse spaces were converted into clubs, lofts, live/work arrangements,
galleries and studios supporting a low-rent economy of both established and
emerging artists, musicians and people just wanting to be part of the
alternative downtown community. It was a distinct sub-culture, supporting a
mythic narrative of urban pioneering and social belonging, and defining itself
in opposition to the dominant Canadian mass culture.<o:p></o:p></span></div>
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<span lang="EN-US">The process was of course not unique
to Toronto. An artistic and urban counter-cultural movement of squatting in
vacant buildings took root across the UK and Western Europe in the sixties. </span><span lang="EN-US" style="mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">Galleries
in </span><span lang="EN-US">converted storefronts, warehouse spaces, and factory
lofts, began to emerge in London and New York.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[5]</span></span><!--[endif]--></span></span></a>
These new alternative exhibition spaces addressed two issues: They were a
creative response to economic and cultural exclusion from institutionalized
spaces and they were part of the emergence of minimalist, conceptualist and
performance-based art – </span><span lang="EN-US" style="mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">a reaction against the neutrality
of the “white cube” gallery space.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[6]</span></span><!--[endif]--></span></span></a>
The “white cube,” the clinically white painted four walls of the gallery space
was however, still the dominant paradigm for exhibitions, and through much of the
eighties, the first thing the new artist tenants did was to put up drywall and
paint it white.<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">Painters typically wanted as little visual
activity as possible in the surrounding environment to suppress possible
distractions from the surfaces of their work. But sculpture is inherently more
engaged in the surrounding space and framing a three-dimensional work against a
white wall only works from a single point of view.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[7]</span></span><!--[endif]--></span></span></a>
Limited ambient lighting and focused spots, after all, may be all that is
needed to bring sculpture into dramatic relief. Initial discussions among the NetherMind
artists focused on the treatment of the rough industrial space and what degree
of preparation it might need. The question of whether the floor should be swept
or left as it was engaged the idea of the space as a found object in the
exhibition. <o:p></o:p></span></div>
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<span lang="EN-US" style="mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">The character of the “found object
space” and the low-level ambient light became it’s own event in the NetherMind
exhibitions of the early 90s. It contrasted sharply with the dominant modernist
showroom aesthetic characteristic of the department store and the futurist,
antiseptic minimalism associated with science fiction set decoration in films
like THX 1138.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[8]</span></span><!--[endif]--></span></span></a>
The dominant contemporary architectural aesthetic of the recently constructed art
schools that many of the artists had attended as students, featuring glass
walls and studios bathed in sunlight, was nowhere to be found in the NetherMind
exhibitions.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[9]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">The darkened exhibition space may
have reflected another characteristic of the time – the profound pessimism and
communal despair that accompanied the ongoing crisis of the AIDS epidemic. The
documentation of death had </span><span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 12.0pt;">become a recurrent subject in the contemporary art of
the early 90s, prompting Adam Gopnik, writing about the 1993 Venice Biennale, to
identify this work as part of a new “Morbid Manner,” in tune with what he saw as
an obsession with “</span><span lang="EN-US" style="mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">the display of images of death, decay,
and violence,” a tendency he attributed to the influence of the work of Bruce
Nauman:<o:p></o:p></span></div>
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<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 12.0pt;">The immediate model for almost
all the grimmest work – for the macabre fragment, the tortured videos, the
cryptic neon signs, even the simple idea of assembling a lot of morbid bits and
pieces in a darkened room – is the art of the American Bruce Nauman . . . It is
Nauman’s mood</span><span lang="EN-US"> – </span><span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 12.0pt;">the sense of building
memorials-in-advance to an apocalypse whose causes are ill defined but whose
inevitability is grimly certain that dominates the exhibition.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[10]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 12.0pt;">These influences certainly exist, but it would be
wrong to suggest the NetherMind exhibitions were a downer. They weren’t. If the
exhibitions existed against the background of social and economic crisis, the installations
by contrast communicated energy and vitality. The NetherMind collective emerged
at a time when the prospects for individual artists were few and the
institutions of contemporary art were being assaulted on all sides. As for many
Canadian artists in the 90s, banding together in a collective made sense as a
mechanism of survival. But more than that, the NetherMind members deftly
negotiated a middle space for the collaboration of emerging and established
artists, and for collective action and individual art practice. The collective
produced a series of exhibitions that had a distinctly “NetherMind” feel, style
and energy that did not describe a grimly certain apocalypse, but an
alternative way of making and exhibiting art. Where Gopnik saw a sterile
Mannerist, <i style="mso-bidi-font-style: normal;">fin-de-siècle</i> end game at
work, NetherMind and similar artist collectives in Canada were exploring
alternative spaces, extending the possible resonances in their work and
initiating new conversations within the community they called home.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[11]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[1]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Andy Fabo, Sybil Goldstein, “ChromaZone /
Chromatique: A Brief History 1981-1986,” November 2009, CCCA Canadian Art
Database: </span><span lang="EN-US"><a href="http://ccca.concordia.ca/chromazone/chromazone_history.html"><span style="font-size: 8.0pt;">http://ccca.concordia.ca/chromazone/chromazone_history.html</span></a></span><span lang="EN-US" style="font-size: 8.0pt;">.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 10.0pt;">[2]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 8.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">“Toronto artists, brought into
contact through university friendships and certain congruencies of sensibility,
began to band together into groups: groups in search of their own funding,
their own exhibition spaces, their own promotion, their own curating, their own
documentation. Untethered, as Fabo puts it, to real estate, which none of them
could have afforded anyhow, these new collectives set about exploring the city
for suitable sites to bend to their temporary purposes: vacant warehouse
spaces, ghostly abandoned industrial basements, empty storefronts (the
advertisements for recession), rooftops, hallways, the walls of the pubs where
they drank beer and doodled their next procedural moves on wet cocktail
napkins.” </span><span lang="EN-US" style="font-size: 8.0pt;">Gary Michael Dault,
“Amid the rubble of the recession, a new generation of inner-city Toronto
artists is blooming,” Canadian Art, Vol. 11 #4, December 1994.<o:p></o:p></span></div>
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<div id="ftn3" style="mso-element: footnote;">
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<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[3]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> During the late 1970s and early 1980s,
manufacturing operations within Liberty Village began to decline due to a shift
from rail to road shipping, the need for larger manufacturing facilities, and
lower manufacturing costs in suburban or offshore locations. In 1990, the
Toronto Carpet Manufacturing plant on Liberty Street shut down, and the Inglis
plant (owned by Whirlpool since 1985) ceased operations in 1991. The Inglis
factory and Massey-Harris factory (with the exception of 947 King St. West)
were demolished. Decreased industrial activity and lower property values caused
many Liberty Village buildings to fall into neglect. </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Liberty_Village"><span style="font-size: 8.0pt;">http://en.wikipedia.org/wiki/Liberty_Village</span></a></span><span class="MsoHyperlink"><span lang="EN-US" style="font-size: 8.0pt;"><o:p></o:p></span></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[4]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Tom Slater, Toronto’s South Parkdale
Neighbourhood A Brief History of Development, Disinvestment, and
Gentrification, UrbanStudies, University of Bristol, U.K., Excerpted,
condensed, and updated from an article in The Canadian Geographer, Fall 2004, titled
“Municipally Managed Gentrification in South Parkdale, Toronto.” </span><span lang="EN-US"><a href="http://www.urbancentre.utoronto.ca/pdfs/researchbulletins/CUCS-RB-28-/lm'Slater-Parkd.pdf"><span style="font-size: 8.0pt;">http://www.urbancentre.utoronto.ca/pdfs/researchbulletins/CUCS-RB-28-/lm’Slater-Parkd.pdf</span></a></span><span class="MsoHyperlink"><span lang="EN-US" style="font-size: 8.0pt;"><o:p></o:p></span></span></div>
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<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[5]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> See Sandy Nairne, “The Institutionalization
of Dissent,” pp. 387 -410, <i style="mso-bidi-font-style: normal;">Thinking About
Exhibitions</i>, eds. Reesa Greenberg, Bruce W. Ferguson, Sandy Nairne,
Routledge: New York, 1996.<o:p></o:p></span></div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[6]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Brian Doherty analyzed the politics of
representation with the white space in <i style="mso-bidi-font-style: normal;">Inside
the White Cube - The Ideology of the Gallery Space</i>, The Lapis Press: Santa
Monica/San Francisco, 1976.<o:p></o:p></span></div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[7]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Formalist aesthetics in the sixties had
argued for the expansion of the field of art from the surface of objects to
include the surrounding space. See Gr<span style="color: black;">é</span>goire
Mueller, <i style="mso-bidi-font-style: normal;">The New Avant-Garde</i>, New
York: Praeger, 1972, and </span><span lang="EN-US" style="font-size: 8.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Rosalind Krauss, “Sculpture in the Expanded Field,” <i style="mso-bidi-font-style: normal;">October</i>, Vol. 8. (Spring, 1979), pp.
30-44.</span><span lang="EN-US" style="font-size: 8.0pt;"><o:p></o:p></span></div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[8]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> <i style="mso-bidi-font-style: normal;">THX
1138</i> (1971), Dir. George Lucas, 86 min., (USA).<o:p></o:p></span></div>
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</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[9]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> The new architecture of art schools
emphasized the brightly lit white cube. See </span><span lang="EN-US" style="font-size: 8.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">Raymond Moriyama’s airy glass, brick and concrete York
University Fine Arts Phase II building in suburban Toronto built in 1973 and
the Glyde Hall studios at the Banff Centre, 1976.<o:p></o:p></span></div>
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</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[10]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Adam Gopnik, “Death in Venice,” <i style="mso-bidi-font-style: normal;">New Yorker</i>, 2 Aug. 1993, pp. 67-73. <o:p></o:p></span></div>
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</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 8.0pt;">[11]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> An early example of exhibitions in
alternative spaces in Canada would include the Embassy Cultural House in in
London, Ontario. See </span><span lang="EN-US" style="color: #434343; font-size: 8.0pt;">Christopher Régimbal</span><span lang="EN-US" style="font-size: 8.0pt;">, “Institutions
of Regionalism: Artist Collectivism in London, Ontario, 1960–1990,” <i style="mso-bidi-font-style: normal;">ArcPost Online Space for Artist-Run Culture,</i>
<</span><span lang="EN-US"><a href="http://arcpost.ca/articles/institutions-of-regionalism"><span style="font-size: 8.0pt;">http://arcpost.ca/articles/institutions-of-regionalism</span></a></span><span lang="EN-US" style="font-size: 8.0pt;">> and Christopher Régimbal</span><span lang="EN-US" style="color: #434343; font-size: 8.0pt;">, “A Fire at the Embassy
Hotel,” <i style="mso-bidi-font-style: normal;">FUSE Magazine</i>, Summer 2010,
12–15. 51. <</span><span lang="EN-US"><a href="http://fusemagazine.org/2010/09/a-fire-at-the-embassy-hotel-2"><span style="font-size: 8.0pt;">http://fusemagazine.org/2010/09/a-fire-at-the-embassy-hotel-2</span></a></span><span lang="EN-US" style="font-size: 8.0pt;">>. Other examples of intervention and
site specific collective projects in the 90s include the 23rd Room collective
that produced the Duke-U-Menta exhibition at the Duke of Connaught hotel in
Toronto, 1994, < </span><span lang="EN-US"><a href="http://www.myrectumisnotagrave.com/writing/dukeumenta.html"><span style="font-size: 8.0pt;">http://www.myrectumisnotagrave.com/writing/dukeumenta.html</span></a></span><span lang="EN-US" style="font-size: 8.0pt;">>; the Farrago collective’s “The House
Project, a site specific exhibition,” Toronto, 1994, and Eileen Sommerman’s
exhibition “In Lieu: Installations in Public Washrooms,” 1998.<o:p></o:p></span></div>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-44132243404432583582013-08-15T05:03:00.000-07:002016-12-29T19:48:14.584-08:00Joe Lima: Heaven and Earth<!--[if gte mso 9]><xml>
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I lived in the country once. There it seemed during the cold winter nights, the night skies had the ability to uncannily change, to transform themselves at once from awe-inspiring to suddenly terrifying. The night sky could invert itself; its infinite space of possibility could begin to seem an oppressive weight. The constellations and galaxies and unending darkness – those million points of light – could somehow change and begin to feel like a million nerve endings. When the cold quiet stillness of the winter nights becomes an oppressive silence, and in the summer, when the hum of the cicadas becomes a deafening roar, then for many it is time to leave, and the promise of life begins beyond the boundaries of what is known.</div>
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The recurring story of departures, of more perfect worlds left behind, of the inexorable tug of the new and the unknown, and of a longing for home, is as old as the story of the Garden of Eden. The movement and change in our lives distracts us and entertains us but also leaves us with a sense that our lives are provisional, improvised and lacking in connection and rootedness. This dysphoria may be a characteristic of the modernist age, where rootlessness and dislocation are a common condition.</div>
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Joe Lima’s work is informed by the anxiety of dislocation. He speaks of his desire to articulate in a traditional method a contemporary experience of the world – a “contemporary uneasiness.” His characteristic images of isolated figures in great spaces remind me of the morphology of night skies, whose vast emptiness often turns to a spectre of impending suffocation.</div>
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The Azores has been a place of departures for centuries. It is the place of origin for a diaspora of emigrants to Canada, the United States and Brazil. For Lima, born on the island of São Miguel, but raised in the southwestern Ontario community of Woodstock, the Azores was a magical place, the source of his mother’s stories both folkloric and true. His mother’s stories made a great impression on him. As a painter and graphic artist, Lima took over the role of storyteller from his mother. His frescos, oil paintings and woodcuts, are influenced by her stories and his series of fresco portraits are based on characters from the Azores. His work today continues to draw on those characters from religious parades and festivals.</div>
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Lima’s process of art making begins with his collection of photographic and video images. From these images he creates collages, which then begins a process of distancing and abstracting. First he photographs the collages and then draws the rephotographed image on the wood. Separating himself further from the original image he draws only the white areas of the photographed collage. Carving out the light areas, the negative spaces, he further removes himself from the image. The drawing and the hand carving is carried in the wood block, communicating the physical process of the image’s creation. He then inks the board. There is often no printing. For Lima, the woodblock alone can be the work, permitting the viewer to share in the manual process of the image’s making. Printing for Lima can be anticlimactic.</div>
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When I imagine the Azores, I think of a cluster of small islands sprinkled amongst the vastness of the Atlantic Ocean and I imagine how the experience of the ocean enveloping the archipelago would shape my life. The heavens, when seen from the Azores, must feel like a celestial reflection – as though each verdant island was a star in the Atlantic Ocean. When I see Joe Lima’s figures, I see them living under that same celestial dome, alternatingly awe-inspiring and terrible. In these paintings and wood engravings, everyday is a titanic struggle of earth and sky.</div>
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Gordon Hatt, 2013</div>
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<!--EndFragment-->GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-66208510277173757102012-02-08T21:24:00.011-08:002023-10-31T12:43:36.176-07:00NetherMind<div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;">NetherMind's four exhibitions between 1991 and 1995 took place during hard times. The economy was terrible in those years. Friends lost their jobs. Some lost their homes. Just two years after the burst of optimism that accompanied the fall of the Berlin Wall, the first Gulf War had been declared. During the winter of 1991 I watched, on my little black and white TV, the nightly images of guided missiles hitting their targets. In the southern hemisphere a hole in the ozone layer was reported to be growing ever larger. Daily there were reminders that there seemed to be no end in sight to the AIDS epidemic.</span></div>
<span style="font-family: arial;"><br />
Visual Art, what I had studied, began to have no taste in my mouth. I was distracted, bored, my attention began to drift as I searched for something more emotionally resonant. Critical theory, which had at one time seemed to explain so much about art, began to explain nothing at all. For a time I was consumed by opera, its artifice being an escape from an unpleasant reality, its high emotional register and stories of tragically wasted youth beginning to make sense to me for the first time. I wanted to feel something and it did the trick.</span><div><span style="font-family: arial;"><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDWfskxcmEM2vvEEW6xupJ81eDsN9hCHXv9LkQBx567CofGHTmzD7EHiV44fN9To-Pd5-dUC8pnxnDHQiud7_2lV_EFr0nQnmENcy21-kW2dfyvyVZx2nZOQIYjX_L2wKlFvCaSOK8KUw/s1500/MCN-MS8880.jpg" style="clear: left; float: left; font-family: -webkit-standard; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="445" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDWfskxcmEM2vvEEW6xupJ81eDsN9hCHXv9LkQBx567CofGHTmzD7EHiV44fN9To-Pd5-dUC8pnxnDHQiud7_2lV_EFr0nQnmENcy21-kW2dfyvyVZx2nZOQIYjX_L2wKlFvCaSOK8KUw/w667-h445/MCN-MS8880.jpg" width="667" /></a><span style="font-family: arial;"><br />
<br />
In 1993 I saw my first NetherMind exhibition. I remember the entrance down the narrow old staircase to the basement of the Liberty Street building, the low lighting, the warren of connecting rooms and the trepidation followed by surprise around each dark corner. Today with site-specific extravaganzas like Nuit Blanche it's easy to forget how much artists and audiences used to rely on the convention of the empty white gallery space as a frame for artwork. When one stepped across the threshold into the white space, one's senses became heightened and the entire visible field was understood as meaningful. But the “white cubes” also began to signify sterility, preciousness and a predictable convention. NetherMind made no effort to emulate the cube or “tart up” the rough, warehouse basement with a coat of paint. They embraced the gloom. <br />
<br />
Some would call it making a virtue out of a necessity, and it was that too. Nobody was opening a new commercial gallery in Toronto in those days and the major contemporary art galleries – Isaacs, Carmen Lamanna and S.L. Simpson – galleries that had historically supported new art in Toronto, were closing or thinking about it. For artists relatively fresh out of school it was pretty much a question of do-it-yourself: form an artists' collective, rent a space, install a show and print the invitations.<br />
<br />
Canadian art of the 1990s was dominated by artist collectives. Artists gathered into groups loosely defined by the art schools they had attended or their perceived shared interests. In 1990 Lyla Rye and John Dickson, both recent graduates of the York University Fine Art program, began to talk about forming a collective. Among those that they invited to participate was fellow York alumnus Max (Larry) Streicher. They invited Tom Dean and Reinhard Reitzenstein, established artists, who been active and exhibiting work since the 1970s. Other core members of the 1989/90 graduating cohort were Greg Hefford (joined 1992) and Mary Catherine Newcomb (joined 1993) from York, and Catherine Heard, from the Ontario College of Art and Design (joined 1993).<span style="font-size: xx-small;">1 </span><br />
<br />
What united these artists was a sculptural sensibility that engaged the emotions. The art in NetherMind exhibitions had punch – you felt it directly, in the pit of your stomach. There developed a carnival sideshow character to the exhibitions, as though the viewers were being invited to step up and explore their own morbid curiosities, their fears, their secret delights. These exhibitions caused sensations – they were sensations. They caused me to feel things and to reflect on my own reactions. What did I feel? Why did I feel this? Why did I react this way?<br />
<br />
The NetherMind exhibitions and the subsequent careers of the members of the collective changed my expectations of what an exhibition of art could or should be. They helped me make it through a dark patch. I can't imagine Canadian art without them.<br />
<br />
Gordon Hatt, 2012</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-size: small;"><span style="font-family: arial;">Image: </span><span style="font-family: arial;">Foreground: Mary Catherine Newcomb,</span><span style="font-family: arial;"> </span><i style="font-family: arial;">Osiris' Advance (10,000 Soldiers)</i><span style="font-family: arial;">, wheat.wood, string, </span><span style="font-family: arial;">Background: Max Streicher and Garnet Willis,</span><span style="font-family: arial;"> </span><i style="font-family: arial;">Tree Organ</i><span style="font-family: arial;">, tyvek, fan, computer keyboard, </span></span><span style="font-family: arial; font-size: small;">in <i><b>NetherMind: Mirabilia (things that cause us to wonder),</b></i> St. Anne's Church, Toronto, October 14 - 20, 2012.</span><span style="font-family: arial; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: arial;"><br /></span></span><span style="font-family: arial;">
<br />
<br />
<br />
1. Other artists exhibiting with NetherMind were Miki McCarty (1991-93), Carl Skelton (1993), Anastasia Tzekas (1991-92), Manrico Venere (1991).</span></div></div>GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-81084107421332486392010-01-28T19:13:00.000-08:002019-02-16T14:30:53.430-08:00Janusz Dukszta: Portrait of a Patron<div style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-weight: normal; line-height: 30px; margin: 0px;">
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Janusz
Dukszta’s home is a small one-bedroom, book and art-filled apartment on
Toronto’s Park Road. The floors of the apartment are carpeted with a patchwork
of haphazardly overlapping rugs that form a thickly rumpled surface underfoot. The
many bookcases have been adapted to serve as the support for a complex
installation of framed works of art that are variously hinged or slide mounted
or simply wire-hung on a nail. Despite the sheer number of books and art work,
floor length north facing windows and mirrors in the living room and dining
room make the apartment feel sun-lit and bright and larger than it really is. The
vibrancy of the colours and layering of the texts, both imagistic and literary,
produce a mildly intoxicating effect. One’s eye is constantly tempted to dart
from a colour in a painting to the bloom of a flower, from a patch of fabric on
a cushion to the title on the spine of a book.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">His
apartment is a shrine to his life and passions. A psychiatrist by profession, a
politician by vocation, and a connoisseur and a collector by compulsion, the
books and art work that surround him testify to a socially engaged personality
and an adventurous intellect. His art collection features little that is
abstract, impressionistic or conceptual, reflecting instead his interests in
people and places. Of the hundreds of works of art collected by Dukszta over
the years, there are 70 group and solo portraits depicting him by himself or
with family and friends. Beginning with an early <i style="mso-bidi-font-style: normal;">conté</i> sketch from 1953 by Olaf von Brinkenhoff, through to Goran
Petkovski’s 2007 photographic documentation of his convalescent physiotherapy
sessions, Dukszta commissioned some 55 portraits of himself. As a group, the
commissioned portraits describe a life, from student to young professional, to
middle-aged politician, to maturity. These solo and group portraits are the
subject of this exhibition. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div align="center" class="MsoNormal" style="font-size: 12px; text-align: center;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">* * *<o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The
formal portrait is associated with power and prestige and mostly, it forms our
visual understanding of history’s influential people. The portraits of the men,
women and children of the past are studied in their roles as princes,
politicians, merchants and scholars and engaged as models of manners and self-awareness.
We look to these images of our notable forbearers for evidence of a kinship to
distant relatives with familiar human characteristics and their curious and
exotic fashions. But in the age of democracy and electronic media, a painted
portrait has come to seem something of an anachronism. A portrait painting now,
rather than communicating power and authority, is more often than not
commissioned on the occasion of a retirement or a leaving, to celebrate the
more socially acceptable virtues of sacrifice, service, orderly transition and
institutional continuity. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Photography
played a role in supplanting the official portrait, and also spawned its own
uniquely popular traditions of portraiture. Photography made it possible for
people of average means to have wedding pictures, military portraits and even
death portraits made as tokens of affection and as signifiers of family and
clan relations. Few homes today are absent the requisite confirmation,
graduation and formal athletic portraits that trace family ties and milestones.
The photographic portrait was also the basis for a whole new industry created
in the service of the identification and the tracking of individuals. Photographic
portraits were early on adopted as a tool of political and social control for
use in police records and passports. The methodical cataloguing of “mug shots”
reducing the subject to the sum of racial characteristics and physiognomic
variations, is now a humiliation experienced by everyone who wishes to obtain a
driver’s license, bus pass, health insurance card or a job in a department
store.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">While the
painted portrait was gradually ceding its official status to the photographic
portrait, an avant-gardist or anti-academic portraiture began to emerge in its
place. Emphasizing the thematic or formal aspects of an art work over likeness
and character representation, the modern artist depicted colleagues and
contemporaries not as individuals of destiny, but rather as contingent, fragile
and ineffable subjects in time and space. Such portraits often held tenuous
connections with natural appearances, increasingly submerging the subject
beneath dense layers of surface references and abstraction. The inverse of the
portrait produced in the context of a bourgeois class relationship, the
modernist portrait traced a shared subjectivity between the artist and sitter.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Beyond
personal vanity, sentimental attachment, functional identification or formal
abstraction, portraits, whether painted, photographed or sculpted, still hold
out the promise of something more. A portrait can puncture the presence of
pride and appear to touch real human emotion. Portraits have the ability to
reveal the light of consciousness that the viewer shares with the subject and
in so doing probe the shared experience of subjectivity. Countenance and
bearing, the quality of the gaze, skin colour and other marks of youth and
maturity and aging speak to us about the engaged subject and the complex of
passion and intellect, memory and intention, physical vigour and frailty that
characterizes the human experience. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div align="center" class="MsoNormal" style="font-size: 12px; text-align: center;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">* * *<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">To a
certain extent, the Dukszta collection visits all of the varieties of modern
portraiture. As a patron, the default position for a commission is the
bourgeois or aristocratic portrait – a dominant/submissive and inherently
unequal relationship where the artist hopes to earn money by pleasing a patron.
If there are layers of conscious and unconscious motivation underlying a
private portrait commission, certainly the pleasure in having someone else
perform such a luxury would be one of them. Yet the commissioned portraits
suggest a more complex ongoing ironic and reflective stance vis-à-vis the
traditional patron/artist relationship. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">An early
portrait by Paul Young from 1964 called <i>Thalidomide</i> features Dukszta
dressed in a suit and tie on a solid yellow ground. Dukszta is depicted as if
both of his arms had been amputated at his shoulders. This visual amputation is
underscored by his apparently awkward backward tilt, as if he had been seated
on a couch during the drafting of the image, which had been later removed in
the final painting. The effect of removing the arms and the supporting seat and
backrest makes Dukszta appear floating, handicapped and defenseless. Clearly
this is a portrait that does not flatter the subject by making him feel more
powerful or important, but rather seeks to illustrate the subject’s
vulnerability and fragility. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">A second
portrait by Young entitled “Van Dyck”<i> </i>(1965) executed in the following
year features Dukszta this time with all his limbs. In contrast to Young’s
first painting, Dukszta is depicted as svelte, self-confident and
self-conscious – his right hand casually in his pocket, the left leaning on
what appears to be a plinth. The portrait consciously recalls the full-length
dual portrait of John Stuart and his brother, Bernard Stuart by 17<sup>th</sup>
century portraitist Anthony Van Dyck. In the Van Dyck portrait, the handsome
young princes are clearly masters of their domain, proudly displaying their
silk sleeves and capes with their arms prominently akimbo. The Paul Young
portrait makes reference to this ostentatious display by giving Dukszta’s right
arm a red and green striped sleeve. Additionally, where he rests his left elbow
on the support to his left, there appears a skull, and above the skull, the
head of a dark-skinned, hairless and apparently tormented soul. Above this head
is a third bust – a reiteration of the original portrait drawing of Dukszta. Behind
the standing Dukszta and to his left is a full-length figure in profile – a
spectre of melancholy and old age.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Paul
Young’s full-length portrait of the handsome young man haunted by melancholy
and the awareness of death is in the tradition of the <i>memento mori</i>. Young
had approached Dukszta as an artist in search of a stimulating subject (and
sale). While making reference to the bourgeois or aristocratic portrait, the
painting is the artist’s free interpretation of his subject’s character. Dukszta
attempted to influence the development of the portrait but met the resistance
of an artist with a strong vision. In placing the silhouette of a gun behind
the head of the Dukszta, the artist declared, “Of course you are going to kill
yourself one day. There is no question in my mind.” Indeed, in this portrait a
role reversal is in effect where the analyst has allowed himself to be the
analyzed.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">It is
difficult to say when Dukszta got the bug – his subsequent history of
commissions is marked by the close relationships he formed with a select group
of artists who responded to his intellectual curiosity and adventurousness. He
made the persona, and specifically his persona, a problematic subject to be
explored through successive portraits and figurative allegories and he
succeeded in making it the artist’s subject as well. In the early 1970's
Dukszta was introduced to Phil Richards, at that time still a student at the
Ontario College of Art. Dukszta had been introduced to Richards through friends
who had discovered the artist in the annual art exhibition and sale in Nathan
Phillips Square in Toronto. The two discovered that they shared a mutual
admiration for the Italian Renaissance artist Piero della Francesca and formed
a friendship that was the basis for many commissions over the next 30 years. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Richards’s
first portrait of Dukszta was the drawing “Janusz as Byron” (1971). The
portrait shows Dukszta with the long hair, sideburns and handlebar moustache
characteristic of the early seventies. The profile pose recalls the dashing,
over the cape sideways glance, characteristic of the Romantic period and
especially those portraits of Lord Byron. The reference to Byron, the famous
aristocrat, poet, lover and adventurer goes beyond the pose, however. That
Dukszta and Richards would both see Dukszta as a dashing “<i style="mso-bidi-font-style: normal;">homme engagé</i>” like Byron, in the year that Dukszta is first elected
to the Ontario Legislature, is not surprising. And like the feminized images of
Byron, Richards gives Dukszta a coiffed and swept hair, long eye lashes and an attenuated
and elongated form to focus the viewer’s attention not only on the dynamism of
the personality but also on the beauty and delicacy of the features. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Richard’s
portraits of the 1970s depict Dukszta in a variety of guises and postures,
painted in a style characteristic of 70s figurative acrylic painting. Absent
the surface blending and scumbling of Paul Young’s oil portraits in the 60s,
the acrylic portraits have harder edges and broader areas of saturated flat
colour. In this respect, Richard’s paintings of the 70s have an illustrational
character that recall the British artist David Hockney or Canadian artist
Charles Pachter. In these paintings Dukszta is variously depicted as lounging
casually in the nude (“Naked One,” 1973), in a jacket and tie standing in front
of a Roman style mosaic (“Ambivalences - Dionysus and Apollo,” 1977), or
sitting cross legged and curiously diminished in an open collar shirt (“Janusz
in his office,” 1977). Relaxed and comfortable in his own skin, Dukszta again
invited the artist to reverse the tables and become the analyst in portraying
him as the romantic adventurer, the laid back hipster, the conflicted bourgeois
and as the vulnerable analyst. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">It is
interesting to contrast the Richards’s portraits from the 70's with the silver
gelatin photographic portrait “Janusz in a Thoughtful Mood,” by Jim Vacola
(1997), which employs some of the conventions of modern photographic
portraiture: the causal posture with the back of the right hand distractedly
resting in the chin seems a so much more conservative image – or at least an image
created in the service of acceptable contemporary electoral politics. The
Vacola portrait tells us that the subject is relatively young and modern,
unpretentious, serious and thoughtful man – but little more. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The end
of Dukszta’s political career in 1981 coincided in Toronto with the emergence
of a new generation of artists. Loosely gathered under the international banner
of Neo-Expressionism, it was a generational response to the reductivist,
formalist and academic aesthetics of the post-war generation of artists and
critics. Neo-Expressionism represented a return to portraying the human body
and the recognizable world, influenced in measure by the example of the German
Expressionists of the first decade of the 20<sup>th</sup> century. This renewed
interest in representation helped to refocus interest on the work of earlier
figurative artists, as well as opening the way for the consideration of
outsider art, non western art and other non academic traditions. In Toronto,
this movement was given form primarily through the group of artists who called
themselves ChromaZone. Formed in 1981 by figurative painters Rae Johnson, H.P.
Marti, Andy Fabo, Oliver Girling, Sybil Goldstein, Tony Wilson and Stephen
Niblock, ChromaZone energized and influenced the Toronto and Canadian art world
for the following decade. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The
sudden proliferation of figurative artists in the early 1980s was an
opportunity for Dukszta to engage not only with a new generation of painters,
but also to work with painters who were prepared to consider the contemporary
possibilities within the genre of the portrait commission. Dukszta commissioned
paintings and portraits by several of the artists associated with ChromaZone
including Steven Andrews, Cathy Daley, Andy Fabo, Oliver Girling, Michael
Merrill, Evan Penny, Rae Johnson and Tony Wilson. Dukszta was introduced to the
members of the group of artists initially through Herb Tookey, co-owner of the
Cameron House hotel and tavern, which became both a home and meeting place for
many of the new generation of artists. There Dukszta met the ChromaZone artist
Rae Johnson whose controversial work at the time was on exhibit on the tavern’s
walls. Dukszta responded to the psychosexual themes being explored by Johnson
and bought a triptych from the show. His support for the young artists was
moral and financial – both buying their work and inviting them to his dinner
salons to dine with his progressive friends and colleagues in politics, media
and the arts. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Dukszta’s
withdrawal from politics and the return of figurative painting may have been a
happy alignment of the stars. Less than 12 years after having arrived as an
immigrant to Canada he had achieved the distinction of being an elected member
of the Ontario Legislature. The end of his political career marked his return
to private life as a psychiatrist and to the possibilities of a less
restrictive personal lifestyle. With the new generation of artists he was able
to explore issues of identity and to share his social, psychological and aesthetic
enthusiasms. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">“Portrait
– Janusz” (1984) by Stephen Andrews contains some of these themes. The vinyl
hanging is dominated by a loosely rendered outline drawing of an empty suit and
tie. At the level of the suit’s leg is a smaller rendering of another empty
suit, this time handling (and being observed handling) two nude figures. At the
bottom of the painting is a rough outline drawing of Janusz, naked from the
chest up, holding up his left hand with what appears to be a stigmata. Bisecting
the painting diagonally is a large diamond back rattlesnake. It is hard not to
see this image as one of personal liberation – a release from the straight
jacket of public appearance and social propriety and an open investigation with
the artist examining Dukszta’s sexual, spiritual and social identity. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Andy
Fabo’s painting “Janusz and Laocoon” (1984) depicts Dukszta as an analyst and
as an observer. Alluding to Greek mythology and classical art, the painting is
an illustration of the psychiatrist at work, observing a patient wrestling with
a demon serpent. Oliver Girling also dealt with the theme of inner demons, this
time picturing Dukszta, like Jacob, wrestling with his own angel or demon
doppelganger in the painting “Warring Against Himself” (1985). Another painting
by Girling, “Impostor” (1989), addresses the issue of identity, where Dukszta
is depicted holding a television remote control while looking over his shoulder
at a video shoot featuring a naked reclining male. Dividing the top half of the
painting from the bottom half are large block letters spelling out the word
“IMPOSTOR,” suggesting the inauthenticity of a double life. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Probably
the most significant interpretation of Dukszta’s life after politics is Michael
Merrill’s adaptation of Hogarth’s “The Rake’s Progress,” into a series of three
large canvases in 1984. Clearly, Dukszta was no Thomas Rakewell, (Hogarth’s
protagonist), neither having inherited a fortune nor having squandered one in
such a spectacular fashion. Yet, Dukszta is both fond of recounting his humble
arrival in Canada leading to his ascent to membership in Ontario’s political
class, and reflective about the events leading up to the end of that career. In
this context, having Merrill depict him as a modern day Thomas Rakewell is both
self-deprecating ironic. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Merrill’s
three scenes are “In His Glory,” “The Last Supper” and “Janusz in Bedlam.” “In
His Glory” is modeled on the painting “The Heir,” where Hogarth depicted Thomas
Rakewell being fitted for a new suit of clothes during the reading of his
father’s will. Merrill depicts Dukszta in a well-tailored pinstripe suit in the
process of being painted by his portraitists from the ChromaZone group, Oliver
Girling, Brian Burnett and Rae Johnson. Two additional references in this work
seem to suggest an undercurrent of disquiet. While being immortalized by his
“court painters,” Dukszta thumbs a book by Proust. Dukszta has read Marcel
Proust’s “Remembrance of Things Past” more than once, identifying with the
novel’s examination of the world of manners and social climbing in late 19<sup>th</sup>
century Paris. Also in the painting, looking over Janusz’s shoulder is the face
of the existential writer and philosopher Jean Paul Sartre, the author of
“Nausea” and “Being and Nothingness.” Sartre’s existential ideas defined human
beings as diminished gods, victims of their own freedom, where instead of a
judgmental god, we instead mete out the most exquisite punishment to each
other, as we probe the memory of our sins, desires, and past hurts.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The
second canvas in the series “The Last Supper,” depicts eleven people, including
Dukszta, around a table. The table in the painting seems to be either ovular or
round, but the figures grouped around it are all facing toward the picture
plane as though arranged on a proscenium stage. The eleven member group and the
horizontal organization are really the only features of the painting which
recall Leonardo’s “Last Supper.” The image portrays a rather happy dinner party
with slightly too much wine, but that too may have been reason enough for
Dukszta to give it religious references. The work seems to have been a loosely
based conflation of two paintings by Hogarth, “The Orgy” and “The Morning
Lévee,” both of which are quoted as hanging pictures in the background right
and left of the painting and both of which comment on hedonistic excess and
indulgence – quite the opposite of imminent mortal sacrifice. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The
“disciples” in this case are the important members of Dukszta’s family and
social life at one of their many dinner parties. Dukszta, in the centre right
of the painting, has one arm around his wife Janet Churnin. To his right are
his brother Andrzej and Maureen Duffy and Basia and Andrzej Jordan Rozwadowski
and Maureen Duffy. To his left are Janusz’s sister-in-law Annette Dukszta and
Frank and Marilyn Vasilkioti. Winston and Mary Jane Young are at opposite ends
of the painting – a compositional solution that was resented by the Youngs and
caused a rupture in the friendship. Mary Jane Young asked that she and Winston
be altered or removed from the painting but neither Janusz nor Michael Merrill
was prepared to change the painting and the friendship was irreparably damaged.
Such was the closeness of the social group orbiting around Janusz Dukszta and
his brother Andrzej that it had the power to generate such a strong emotional
response from a fictitious seating arrangement. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The final
painting in the series, “Janusz in Bedlam,” based on Hogarth’s “Bedlam,” is a
dystopic vision of Dukszta’s last days as mad, naked and despondent, surrounded
by a collage of images of the suffering of Christ. The tragic outcome that this
last painting in the series represents recalls the Van Dyck portrait by Paul
Young ten years earlier, where the artist prophesied a dark future for his
patron. The allusions in the painting to Christ’s crucifixion also recall
Stephen Andrews’s painting of the naked Dukszta displaying the stigmata – a
theme of Christian symbolism that would be revisited in a number of major
commissions by Phil Richards in the 1990s. “Bedlam” remains strangely anomalous
– the first two paintings of the series seeming to far better characterize the
stylish and social Janusz Dukszta that most people encounter. However, “Bedlam”
is critical to understanding Dukszta’s desire to examine, and have others
examine, what he calls his dark side. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Following
the completion of the Rake’s Progress, Dukszta proposed to Merrill to undertake
a series of paintings of scenes from the life of Christ. Merrill’s initial reluctance
to take on the commission eventually gave way to Dukszta’s enthusiasms and
Merrill produced a series of six canvases depicting the Baptism of Christ, the
Sermon on the Mount, the Temptation of Christ, the Agony in the Garden, the
Crucifixion and the Resurrection. Unlike the Rake’s Progress, the person of
Janusz Dukszta is largely absent from the series, Christ being imagined here
instead as a young and physically fit rock star. Dukszta, however, makes a
cameo appearance as the voyeuristic reflection in the pool enjoying the
seduction and temptation of handsome young Jesus. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Religious
allegory and group portraits of family and friends played an important role in
Dukszta’s commissions. Dukszta credits his brother Andrzej as a collaborator
and “enabler” in his art collecting, recalling that is was Andrzej who
suggested the early portrait of the two brothers by Barbara Mercer (1963). Andrzej
Dukszta and Barbara Mercer were friends and the artist had asked Andrzej to sit
for a portrait. Andrzej, however, insisted that it should be a double portrait
of the two brothers. The bond between the brothers was very close and over the
years purchased and commissioned artwork was presented by Janusz both as gifts
for Andrzej and his family, and as a form of repayment for outstanding debts. Janusz
commissioned Rae Johnson to paint a portrait of the two brothers in “Janusz
Sitting on Sofa, Andrzej Behind,” (1982) and Phil Richards painted “Family
Portrait at Andrzej’s” (1985), depicting Andrzej and his children Monika,
Witold and Tala with a porphyry bust of Janusz. “Two Brothers Take a Moonlight
Stroll” (1990), also by Richards, depicts the close relationship shared by the
two men, while sister-in-law Annette gazes out across the city and her son Adam
sits in the lower right hand corner of the canvas. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Motivated
to reprise Michael Merrill’s “Last Supper,” Dukszta began talking to friends
about a “Lamentation,” a reinterpretation of the Botticelli “Lamentation” in
the Alte Pinakothek, Munich. It would be a large religious allegorical
commission featuring the deceased Dukszta lamented by his close family and
friends. Tony Wilson, Dukszta’s companion at the time was to have carried out
the commission, but disagreements over the pace of the development of the
commission led Dukszta to instead ask New York based-artist Yves Tessier to
take over. Tessier worked closely with Dukszta’s friend Susan Teskey to map and
compose the various significant people in the Dukszta orbit, also conscripting
Andrzej’s daughters Monika and Tala to complete the four panel, 17 foot long
mural which was painted in the living room of Dukszta’s apartment. <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The
“Lamentation” by Yves Tessier (1990) depicts Dukszta laid out in the middle of
the painting, dramatically foreshortened with his head in the near foreground
and his feet, caressed by Mary Magdalene (Susan Teskey), extending into the
imaginary space of picture, while thirteen other friends and family observe the
scene. Picking up from the religious themes he had developed with Stephen
Andrews, Michael Merrill and Phil Richards, Dukszta had decided he wanted to be
dead in the painting. In subsequent years Dukszta commissioned Tessier to do
two more works representing the Duksza orbit. “Eight Heads” (1998) is a series
of small painted terra cotta busts of varying scale representing Janusz,
Andrzej and Annette Dukszta, Eleanor Beattie, nephew Adam, Janet Churnin and
Jack VanDuyvenbode. A recently completed commission of small al fresco
portraits in plaster by Tessier features the profiles of Janusz, Adam, Annette,
Eleanor, Susan Teskey and Max Streicher (2009). <o:p></o:p></span></div>
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">In the
1980s, Phil Richards’s style had evolved from his Hockneyesque broad flat areas
of saturated colour characteristic of his work of the in the 1970s, into
figures that began to appear more sculpted and spaces that were perpectivally
deeper and more dramatic. His earlier, simplified rendering gave way to a photo
realistic attention to detail and surfaces. These developments in Richard’s
style appealed to Dukszta’s interest in Renaissance and Baroque art history and
his increasing appetite for more, and more elaborate commissions, beginning a
series of commissions quoting art historical styles and allegorical programs. Notable
in this context is the portrait of Dukszta entitled “Janusz Reflection” (1985),
quoting directly Raphael’s “Madonna della Sedia,” executed in the same year as
“Portrait of Andrzej’s Family.” In “Altared States” (1990), Dukszta, the
traveler and art connoisseur and fan of all things carnal is depicted as a 17<sup>th</sup>
century aristocrat, standing in the church of Santa Maria della Vittoria before
Bernini’s famous sculptural and architectural installation, “The Ecstasy of St.
Theresa.” The constructed painting has its own light source and is remarkable
for the rich rendering of the <i>scagliola</i> in the flanking pilasters and
entablature and the rendering of the great folds of the apparently yellow cape,
which is in reality, a raincoat. In “Janusz as Bernini” it appears that Dukszta
has been interrupted from his reading of the guide book to the artwork, to turn
and glance at the viewer, while a red curtain appears to have been pulled aside
to afford him a private viewing of Bernini’s strange and erotic altar piece. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Adaptations
of well-known scenes from Renaissance and Baroque art continued to be an
important part of Richards’s commissions through the 1990s. “Janusz and Jack”
(1995), is a play on Bernini’s “Ecstasy of St. Theresa,” replacing St. Theresa
with Dukszta and the angel of love with Janusz’s friend Jack VanDuyvenbode. “Roman
Holiday” (1995) references Raphael’s “School of Athens” (including a cameo of
the artist seated with his sketch pad in the lower left corner.) The major work
of this time is a hinged, two-sided, polyptych by Richards entitled “Six Scenes
from the life of the Virgin” (1997) that features scenes of “Mary and St.
Anne,” “The Presentation at the Temple,” “The Annunciation,” “The Marriage at
Cana” and “The Pieta.” Modeling the figures are Janusz’s friends Chloe Griffin
as Mary and her mother Krystyne Griffin as St. Anne. Friends Jack VanDuyvenbode
modeled the naked angel Gabriel and Alex Williams the business-suited Jesus of
Nazareth and the Christ in Pieta respectively, while Janusz and Andrzej model
themselves. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">“Scenes
from the Life of the Virgin” is the most elaborate and richly appointed of
Dukszta’s commissions. Each panel is eccentric in its shape – constructed to
accommodate the details of the images within and individually framed and
gilded. Each scene is set in lush contemporary Edenic environments and
interiors filled with white hollyhocks and lilies, scarlet satins, cerulean
blue skies and gilded surfaces. The biblical characters are modeled by young,
physically attractive people, whose contemporary nakedness sexualizes the
otherwise religious Christian narrative. With the side panels fully opened, the
work is dominated by large centre panel “Annunciation.” A blonde and naked
angel Gabriel, seen from behind, reveals himself to the naked Virgin. Startled,
she vainly clutches her breast in an attempt to cover herself. In the right
panel, in a reconfiguration of the Marriage at Cana, Mary, dressed in a
strapless evening gown, empties the last drop from a bottle of Veuve Cliquot
champagne, while being watched by Jesus in the person of a dark haired
gentleman in a suit. The side panel closes to reveal the climactic Pieta. Mary
supports the dead Christ between her legs while the scene is illuminated by
Andrzej, holding a lantern and revealed by Janusz, pulling back a scarlet robe.
The lantern as the single light source intensifies the visual drama, sharply
illuminating the features of Mary, Jesus, the two brothers and the broad
expanse of the dead Christ’s flesh. Everything else falls off sharply into
darkness. Revealed is the flesh of the mother and of the son – the central
figures of the Christian drama, seen as objects of worship and carnal desire. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Around
the turn of the millennium, the portraits of Dukszta begin to change. They
cease representing the dynamic, mercurial, mischievous and feline character
that we have learned to know from portraits past and instead, begin to profile
the aging subject. “Janusz as Father,”(1997) by Phil Richards, “Janusz
Deconstructed,” (2001) by Fabrizio Perozzi and Bryan McBurney’s photograph
“Determination” (2005) are portraits which appear to contrast the drive to live
with the inevitable process of aging. It is hard too, not to see the
photographs of Vincenzo Pietropaolo, “Janusz and His Books,” (2005) and Bryan
McBurney “The Light Shines on Janusz,” (2006) as expressions of <i>saudade</i>,
elegies to the acquisitions and accomplishments of a brighter past. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Dukszta’s
life threatening illness in 2006 and his painfully slow recovery is documented
by Phil Richards in “In the Hospital” (2006), where an apparently impatient and
glum Dukszta reads a newspaper in a hospital bed. On the bedside table is a
vase of flowers, a tomato and an exercise weight. His long illness and
convalescence caused his muscles to atrophy significantly requiring substantial
follow-up exercise and physiotherapy. A session in his home was documented by
Goran Petkovski in a series of 15 black and white photographs in “The
Physiotherapy Session” (2007). Looking at the ravages visited upon both the
body and the will in these photographs, one cannot help but wonder if this is
the same “Bedlam” Dukszta had in mind some 22 years before. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Over five
decades Janusz Dukszta commissioned 70 portraits of himself, his immediate
family and extended family of friends and companions. It is a body of
portraiture that is a very personal record of the man, the friends and family
that surround him, and the ideas and passions that accompanied him through the
stages of his life. The commissions are a primary subject, but are also the
artifacts of Dukszta’s personal, professional and intellectual engagements. They
are a testament to his commitment to aesthetic engagement – an engagement with
the artist and to a life informed and reflected by art. His accumulated
commissions record the succeeding stages of his life’s passage, documenting his
aspirations and fears, his desires and his melancholies, and the significant
people who have played a role in it. With the artists he adored and debated and
entertained, and with his family and friends as willing accomplices, Dukszta
became the co-author of the artistic program that is his life. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Gordon
Hatt, January 2010<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Notes<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">1. Janusz
Dukszta was born in 1932 in Lida, Poland. His father fled Poland for Great
Britain after the Russian annexation in 1939 to be joined by the family in
London after the war in 1946. He studied medicine in Dublin, Ireland. After
finishing his studies he immigrated to Canada in 1959 where he specialized in
psychiatry at the University of Toronto. Dukszta was the NDP member of
provincial parliament in the Ontario Legislature for the west-end Toronto
riding of Parkdale from 1971 to 1981. Following the 1981 election he returned
to work at the Queen Street Mental Health Centre in Toronto.</span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">2. The
best known images of the early abstract genre are Matisse’s portraits and busts
of Jeanette for example, <i>Portrait of Madame Matisse with a Green Stripe</i>,
1905, Statens Museum for Kundst, Copenhagen, and Picasso’s <i>Portrait of
Daniel Henry Kahnweiler</i>, 1910, Art Institute of Chicago.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">3. Paul
Young was born in Toronto and attended the Ontario College of Art from 1955 to
1958. An earlier portrait of Dukszta by Paul Young, <i>Thalidomide</i>, set the
stage for the Van Dyck portrait.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">4. Cf.
Anthony Van Dyck, <i>Lord John Stuart and his Brother, Lord Bernard Stuart</i>,
National Gallery, London, ca. 1638.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">5. The
theme of melancholy is underscored here with the ominous silhouette of the gun
behind the head of the spectre. According to Dukszta, Young declared that
Dukszta’s fate would be a death by suicide, and painted this reference into the
portrait. </span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">6. The <i>memento
mori </i>(Latin: "Remember you will die")<i> </i>is a genre of art
featuring symbols of death and transience. <i>Memento mori </i>references in
art trace back to the Middle Ages and become a reoccurring theme in 17th
century painting: cf. Nicholas Poussin, <i>Et in Arcadia Ego</i>, 1637, Museé
du Louvre, and frequently found in Dutch still life painting such as Pieter
Claesz , <i>Still Life with a Skull and a Writing Quill</i>, 1628, Metropolitan
Museum of Art. </span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">7. Communicated
orally by Janusz Dukszta.</span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">8. “The
gallery's home was in Oliver Girling's studio space at 320 Spadina Avenue. For
the next two years, ChromaZone defiantly enforced their unusual mandate: to
show figurative painting, practice inclusivity, be artist-supported and above
all be spontaneous, alive and fun. Donna Lypchuk, <i>Chromaliving</i>,
unpublished manuscript, 2009. </span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">9. Herb
Tookey was a PhD candidate in psychology and a student of Dukszta’s and later
part of the full time staff at the Queen Street Mental Health Centre.</span></div>
<div class="MsoNormal" style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">10. Rae
Johnson’s paintings were based on Polaroids made during a Halloween party at
the Cameron in 1981. The paintings were installed in the back room a month
later. Ursula Pflug wrote an article in the second issue of NOW magazine
entitled "Art and Artsies meet at the Cameron," and the exhibition
was reviewed by Jean Randolph in Vanguard magazine. The series of eight
paintings depicted the band “The Government,” and Tim Jocelyn and Andy Fabo
dancing and a triptych representing Oliver Girling and a female friend posing
nude upstairs in the Cameron. The triptych was purchased Dukszta and installed
in a prominent place in his apartment.</span></div>
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<div style="font-size: 12px;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">11.
Represented in “Lamentation” are Tala Dukszta, Thade Rachwa≈, Janet Churnin,
Jean Lee, Witold Dukszta, Vince and Julianna Pietropaolo, the artist Yves
Tessier, Susan Teskey, Anthony McFarlane, Eleanor Bettie, Andrzej Dukszta,
Monika Dukszta, Adam Dukszta and Stanis≈awa Dukszta.</span></div>
12.
Uncharacteristically, when asked why, the analyst is at a complete loss to
explain. Communicated orally by Janusz Dukszta.</div>
</div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-20424727799033830302009-10-28T20:32:00.001-07:002022-05-23T16:16:11.319-07:00A Family Tree<div style="font-size: 12px; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-weight: normal; font: 12.0px Helvetica; line-height: normal; margin: 0px;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkclaf6QCGRtJFi49VVA1nD0ZvBoUv8_EtAHDgO0qm1NPnEN8D4WDe1imrxVKq7W5HjourIgbkyulrseesmIJlSzDMhKrTSxy2JsGQMQ0ugVCDESJOqw-yt-h1KHrNpsHF4liVnGJnWA/s1600/2+Inaugural+Mark+chicken.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1045" data-original-width="1600" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkclaf6QCGRtJFi49VVA1nD0ZvBoUv8_EtAHDgO0qm1NPnEN8D4WDe1imrxVKq7W5HjourIgbkyulrseesmIJlSzDMhKrTSxy2JsGQMQ0ugVCDESJOqw-yt-h1KHrNpsHF4liVnGJnWA/s640/2+Inaugural+Mark+chicken.jpg" width="640" /></a></div>
<span style="font-family: Helvetica; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;"><br /></span><span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Toronto's Don
Valley is known for the natural history contained within its layers of
geological sedimentation, where traces of the plant and animal life that once
thrived in Southern Ontario’s prehistory survive as fossilized impressions. One
sandy, fossil-rich layer called the Don Formation contains evidence of the
mollusks and trees existing in the region some 120,000 years ago, the most
notable example perhaps being the plant species Acer torontoniensis. Thought to
be an evolutionary ancestor of the sugar maple, Acer torontoniensis (Latin for
Toronto maple) is named for the city of its discovery. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Torontoniensis
(pronounce every syllable: to-ron-to-ni-en-sis) is also the collective name
taken by a group of artists who began exhibiting together in Toronto in the mid
1990s. Like the many other exhibiting collectives that emerged in Toronto
during those years, Torontoniensis took root in the rocky soil that was the
Canadian art scene during the last decade of the 20th century. And like a tree
it grew and flourished from 1995 to 2005, producing eight exhibitions and
representing the work of 32 artists. It was rooted in Toronto’s visual art
scene of the 1990s and its branches were the artists who came from across the
country, and eventually from as far away as Scotland. Its leaves were the many
artworks that were exhibited and that were made to be exhibited in the
collectives embrace. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Only a decade
distant, the pre-digital, pre-Internet decade of the 1990s in many ways seems
like a foreign country. It was a time of cultural reaction and economic
restructuring in the face of a devastating recession. Government support for
the arts, which had grown through the 80s, weakened in the face of the
recession and challenges to government’s role in the economy. And during this
period, Canadian art schools continued to deliver talented and ambitious
graduates into an ailing economy and a barely breathing art market. As
commercial art galleries closed down, artist run centres and artist collectives
became the new centres of an emerging visual culture. The depressed economy
provided a stable supply of relatively inexpensive raw urban factory spaces and
downtown storefronts that were converted to galleries with the savings and
sweat equity of the artists and the eventual support of the provincial and
federal arts councils. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Canadian artist
run culture in the 90s was a mixture of do-it-yourself marketing and
sub-cultural salons. Artists gathered into groups loosely defined by the art
schools they had attended or by their circle of friends, or they gravitated to
groups defined by the media they worked with or the ideas that inspired them. Some
were motivated to market themselves and their art, and others were content to
make art intended to be seen by their friends and colleagues and to live within
a street level cultural ambience that stimulated connections between people and
nurtured a unique sense of community. Being part of an artist collective became
an expression of community, and of cultural, career and individual survival --
a way to keep talking about, thinking about and making art when the rest of the
culture was turning its back. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">1. June 8 - 11,
1995, Mark Adair, Kate Wilson, Tim Howe, Andrew Cripps, Richard Banks,
Lakeshore Village Artist Co-op.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Torontoniensis
began in the Lakeshore Village Artist Co-op in Toronto’s west end. A project of
the Co-operative Housing Federation of Toronto, the Lakeshore Village Artist
Co-op had a mandate to provide stabilized rents and legal live/work spaces for
artists. Tim Howe and Kate Wilson had moved to Lakeshore Village from Durham,
Ontario in 1993. Wilson was a painter who worked primarily with oil on vellum,
and was creating a body of work in which dilapidation and retro styling seemed
to emerge from of a vortex of furious painting. Howe was developing video and
mixed media installations, soundtrack compositions for film and multiple screen
live performance works, taking found video material and modifying it to produce
absurdist scenarios. Wilson’s work was represented in the Canada Council Art
Bank collection and she had recently received a copy of The Art Bank:
Celebrating Twenty Years 1972-92. Mark Adair, their new neighbour in the co-op
was listed on page 15. Howe approached Adair at a co-op meeting and said,
"Hey. Toronto Bank Robbery. Mark Adair."2 <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Wilson was an
organizer. While in Durham, she and Howe had been involved in the CCAOS
Festival (Canadian Centre for the Arts in Owen Sound) and Wilson had curated
exhibitions of the work of Andrew Da Costa and later Mike Constable and Gail
Geltner at Durham Art Gallery. The existence of a 1500 square foot gallery at
her new home in the co-op presented itself as an opportunity, and so Wilson and
Howe decided to approach Adair about organizing an exhibition. Mark Adair had
recently returned to Canada following a period of time in the US. After
finishing graduate school at the University of Victoria, he became involved in
the founding of the Green Party of Canada. A committed environmentalist, Adair
had developed a figurative approach to sculpture, painting and drawing to
create political allegories of an ecologically suicidal society. Exhausted by
politics, Adair’s response to the idea of organizing an exhibition was
straightforward. I wont do anything unless its fun, he said. It has to be fun.3
<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Co-op members
Andrew Cripps and Richard Banks were invited to be part of the four day co-op
exhibition. Andrew Cripps exhibited an installation of semaphore figures and
Richard Banks exhibited his two of his paintings. Mark Adair exhibited the beginnings
of his massive Chaise Longue, Tim Howe installed a picture in picture video and
Kate Wilson exhibited her oil on vellum paintings. There was no budget for
publicity or mailing so word of the opening was spread on co-op bulletin boards
and by telephone. When asked what was memorable about the exhibition, the Stoly
fountain at the opening was recalled by more than one of the members. The
exhibition was short, informal, produced on a shoestring and not all of the
artists even agree that it was in fact their first show as a group. The
official inaugural exhibition would take place a year later, with a new
tongue-twisting name and a downtown location.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">2. March 1 -
31,1996, TORONTONIENSIS: Inaugural exhibition by Mark Adair, Andrew Cripps,
Suzanne Gauthier, Tim Howe, Kate Wilson, 425 Adelaide Street West, Toronto.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">There are no blue
prints for artist collectives they are the creations of groups of individuals
who bond together voluntarily and their method of functioning is a product of
the dynamic interaction of the members. Artist collectives function fluidly and
dynamically, with duties and responsibilities falling to those who are able and
energetic. People come and go according to their commitment and their
contributions to the group. Typically, a core group of energized activists,
organizers, and grant writers is the glue holding a collective together. Their
energy and enthusiasm for the project spreads outward to involve other artists
as exhibitors and as potential activist members of the collective. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Mark Adair, Tim
Howe and Kate Wilson emerged as the core group of the collective for the
inaugural show. The name of the collective was suggested by Adair, who having
recently returned to Canada from the US, found the name to be an apt metaphor
of what was organic and unique about living and making art in Toronto and
Canada. Howe was the electrical genius and humourist of the group, in charge of
providing the power requirements for lighting and video and keeping it fun. Howe
could write and he put together clever, funny press releases that caught
people’s attention. Wilson was exhibiting with the Art Gallery of Ontario’s
Artists with their Work programme, had participated in the Surrey Art Gallery’s
China/Canada exchange exhibition and had many contacts within the art
community. Most importantly, she possessed the drive and vision to make it
happen. She was an important link for the members of Torontoniensis to other
artists and it was Wilson who invited her friend Suzanne Gautier to exhibit
with the collective for its inaugural show. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">In the large
unheated space on Adelaide Street Kate Wilson installed her gestural
expressionistic oil on vellum paintings of lush but toxic plant life and
generic portrait heads. Andrew Cripps further developed his semaphore figures
to encompass an entire wall, and Suzanne Gautier exhibited a large encaustic. Mark
Adair exhibited his notorious Chicken Choker – a nightmare of unbridled
consumption rendered as an autoerotic asphyxiation, and the Chaise Longue (The
Coffin Project), which he had exhibited in a previous stage of its development
in the co-op show. The Chaise Longue is a massive carved wood, bone and ceramic
sculpture that took Adair over 10 years to complete and which he would exhibit
in various states of completion in four Torontoniensis shows. Begun in 1990,
Chaise Longue consists of a life-size medieval bed, on which lies a deathly, desiccated
hermaphroditic figure. Hovering over the figure are groupings of angels,
skeletons and demons that are, in effect, spectres of the Hermaphrodites dream.
The work resists definitive interpretation as Adair sought to explore, through
the process of making, how creation of myths permit us to act in the world. The
intensity of the exhibition was unrelieved by Tim Howe’s video installation
that featured a dialogue between a mechanical bird and cat, with the bird
reciting a scene from the movie Goodfellas, You think I’m funny? You think I’m
here to amuse you? Clearly, these artists had other ideas.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Torontoniensis’s
inaugural exhibition was a mixed success. None of the newspapers, entertainment
weeklies or art magazines reviewed the exhibition and no one bought anything. But
the group of artists had succeeded in describing an emerging group aesthetic
and artists in the community took notice. By the time of the next show three
years later, the number of participating artists had doubled. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">3. May 1 - May
29, 1999, No Fun Without You: John Abrams, Mark Adair, Shary Boyle, Catherine
Daigle, Gail Geltner, Tim Howe, Francis LeBoutillier, Warren Quigley, Adrienne
Trent & Kate Wilson, 425 Adelaide Street West, Toronto.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The bittersweet
title of the second Torontoniensis exhibition, No Fun Without You, caught the
tenor of the times. Betty Ann Jordan called No Fun Without You millennial
humour, and on the cusp of Y2K it had the feeling of being dark, pessimistic
and slightly manic.4 The exhibitions preoccupation with death and mortality
aligned it with some of the major themes of the visual art of the 1990s, where
the AIDS epidemic, ecological degradation, and the economic recession of the
decade caused widespread cultural pessimism and despair.5 Mark Adair’s work
both carried the burden of his experience as a founder of the Green Party of
Canada and screamed his despair at the cultures apparent headlong rush to
ecological suicide. He exhibited his mixed media assemblage Mechanical Spirits
and his series of small paintings Death Goes Sailing, his darkly humourous
series about death without purpose. Kate Wilson exhibited a piece entitled
Molecular Adorn, influenced by a look back at her rural culture experience,
specifically car culture, of living in Durham. Together with Tim Howe’s manic
video animation of actors dressed as twin angels, spitting fireballs at cartoon
dogs, the trio formed a gathering point for artists whose work variously
touched on dislocation, loss and madness. John Abrams’s triptych from his
Rethinking Canadian History series echoed the patriotic name of the collective
-- his paintings of mediated images of Canadian history and geography
underscored the uncertainty and pessimism that pervaded the country following
the 1995 referendum in Quebec. Catherine Daigle’s shadow-box memento mori
assemblage Vanitas (Stilleven), Gail Geltner’s photo-essay documenting the
decline and death of her mother, Francis LeBouthillier’s video installation
Onion Skins and Shary Boyle’s mixed media installation, were all meditations on
transience and loss, while Warren Quigley’s Companions, an installation of
stacked animal cages containing large faux-fur balls, and Adrienne Trent’s
Sisters, were explorations in the realm of the disembodied and the surreal. The
exhibition received favourable reviews in the Globe and Mail by Gary Michael
Dault, where it was accompanied by a large photo of Catherine Daigle’s Vanitas,
and by Betty Ann Jordan in Toronto Life. Torontoniensis had arrived.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The same forces
that bring artists together also work in reverse. Artists drift apart as
friends or colleagues, or their interests change and they find new connections
and collaborators. Following No Fun, founding member Kate Wilson left the group
to participate in the founding of a new artist collective, Persona Volare,
leaving Mark Adair and Tim Howe as the two remaining founding members. With
Wilson’s departure, Catherine Daigle and John Abrams stepped forward to take
leadership positions in the group. Daigle brought to the group her passionate
commitment to the project as well as her organizational and promotional skills.
John Abrams was well known in Toronto through his regular exhibitions at the
Garnet Press Gallery until its demise in 1996. He and his wife Carla Garnet
brought the group significant profile in the Toronto art community and a web of
connections to talented and developing artists. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">4. May 20 - June
17, 2000, More Fun: John Abrams, Rhonda Abrams, Mark Adair, Beth Biggs, Laima
Bruveris, David Craig, Catherine Daigle, Robert Houle, Tim Howe, 425 Adelaide
Street West. Toronto. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Just over a year
after No Fun, More Fun demonstrated the influence of the new core members. The
More Fun exhibition advertised its inclusiveness by inviting artists whose
interests ranged from pop culture, political culture, art history, craft
traditions, economics, iconography, death and sexuality.6 Tim Howe continued to
be the standard bearer for a pop culture gone horribly wrong and, for the
opening, arranged to have made 5,000 fortune cookies containing bizarre
fortunes, distributed by a woman dressed in a cat costume. Yet, as a whole, the
exhibition demonstrated strong national and ecological preoccupations. Mark
Adair’s Inventions of Greed continued some of the formal characteristics of the
previous exhibitions Mechanical Spirits, thrusting mythic warships off the wall
and into the spectators space. Adair’s archly dark humour had its absurdist,
pop culture counterpoint in Tim Howe’s Klaus Super301, a video installation
showing a Klansman-like figure in a jail cell viewing a modified animation of
the 1950s Looney Tunes cartoon character Pepé Le Pew as a Nazi collaborator. Guest
artist Beth Biggs’s, Gaze, focussed on adornment and political implications
behind gaze. Catherine Daigle exhibited her multi-piece work Eleanor, a series
of 13 shadow boxes that tell the story of her grandmother’s early pioneering
life in Saskatchewan. Guest artist David Craig installed his photographs of
Dundas Village in North Eastern Greenland, the most northern community
traditionally inhabited by humans, and Laila Bruveris exhibited her ceramic
installation The Village, a meditation on urban sprawl and ecological
deterioration. Robert Houle exhibited Savage Love (Delacroix Indians), part of
his larger critique of the commodification and objectification of aboriginal
people and Rhonda Abrams exhibited her campy music video Trailer Song, where
she sang of the virtues of country life. John Abrams exhibited a series of
paintings called Canadian History from his Rethinking History (1991-1999)
series. These monochrome paintings of the Plains of Abraham, the fathers of
Confederation and an iceberg were alternately coloured by the addition of fire
and a spray of gold droplets, a further elaboration of Abrams’s ambivalent
relationship with his country’s history. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">5. October 10 -
November 3, 2001, Torontoniensis: QTIPS, at West Wing: John Abrams, Mark Adair,
Ho Tam, Catherine Daigle, and Tim Howe, West Wing Artspace, 1267 Queen St.
West.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">West Wing Art
Space was a small artist run gallery founded in 2000 by Karen Azoulay, Paul P.
and Ingrid Z, three recent grads from York University’s Visual Arts programme. The
gallery quickly gained a reputation in Toronto as a centre of a street-level
fashion, music and art. In that context, the group of artists in the
Torontoniensis collective represented an older generation, and, in recognition
of this, called themselves QTIPS, to signify their white or greying hair.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The press release
for the exhibition continued the self deprecation and irony, . . . a show by a
group of artists all interested in gender politics, politics, death and
politics and all that crap. -- as if the kids would be rolling their eyes at
all that. Yet, despite the defensive posturing, the group of accomplished but
comparatively introspective mid-career artists again caught the uncertain mood
of the time. RM Vaughan listed this apocalyptic fright show as one of the ten
best exhibitions of 2001.7 Opening almost a month to the day after the attack
on the World Trade Centre, the images and themes that had long been part of the
work of this group of artists were inevitably read in the light of the
confusion, fear and despair resulting from that catastrophe. The centrepiece of
the exhibition was Mark Adair’s Harvest Time, exhibited beside the deathly
portrait bust he had created for his Chaise Longue. For those wracked by doubt,
Harvest Time, a painting of skeletal figures reaping not stalks of wheat but
blocks of housing, could hardly be missed as an illustration of the biblical
admonition “Whatsoever a man soweth, that shall he also reap.”8 Against the
self-righteousness of the powerful, John Abrams image of the arrest of a young
shirtless man seemed to foreshadow the suspicion and obsession with security
that has since dominated life in the American orbit. For those just trying to
make sense of it all in front our televisions, caught between the depressing
images of George Bush Senior and George Bush Junior, Tim Howe’s pet cat Prrrl,
caught in the middle, was the figure many of us related to in his video Long
Pig Finds Cleopatra’s Diary (also called Long Pig@Ground Zero). For those who
felt powerless in the face of world events, Ho Tams series of candid
photographs of tired subway commuters in Passages (1998), not only evoked the
enervating despair we experience in the face of global conflict but also
recalled the 1995 saran gas attack by the cult Aum Shinrikyo in the Tokyo subway.
Finally, Catherine Daigle’s Hard Questions, shadow boxes of images of pale
lifeless hands and bunches of flowers accompanied by the text from the Song of
Solomon, was an elegiac statement which seemed to long for a more hopeful past.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">6. March 8 - April
21, 2002, Songs From the Waterfront: John Abrams, Mark Adair, David Craig,
Catherine Daigle, Libby Hague, Robert Houle, Tim Howe, Katherine Knight,
Alistair Magee, York Quay Gallery at Harbourfront Centre, 235 Queens Quay West.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Returning to a
large exhibition space after the small store front West Wing gallery allowed
Torontoniensis to again represent a large group of invited artists. Less than a
year after the West Wing exhibition, Adair, Daigle and Howe exhibited pieces
that were elaborations of work in progress or that had been previously
exhibited. The larger York Quay gallery space permitted John Abrams to exhibit
his multi panel assemblages Land Mark Wheels (Red & Blue), which continued
the Canadian iconography of his Rethinking History series. After exhibiting
with Abrams in the two person exhibition Landmark: The Paintings of Robert
Houle and John Abrams, organized by the Tom Thomson Art Gallery and the
University of Waterloo Art Gallery, Robert Houle was invited back to exhibit
with the group a second time and his paintings continued their direct dialogue
with Abrams’s Landmark Wheels. Another dialogue was initiated by the inclusion
of Libby Hague’s two channel video Parade, which found a counterpart in Tim
Howe’s found video manipulations. Hague collaged watercolour figures on to
video footage of parades on the right channel and contrasted them with a left
channel of archival footage of an approving audience during a political
campaign. The resulting asynchronous loops created a manic interplay between
the two screens. The exhibitions horizons ranged from the street detritus of
Alistair Magee’s meticulously painted hand notes to Katherine Knights large
format wide angle silver prints of placid bodies of water. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">7. October 16 -
November 20, 2003, Good Medicine: John Abrams, Mark Adair, Mary Anne Barkhouse,
Catherine Daigle, Libby Hague, Robert Houle, Tim Howe, University of Waterloo
Art Gallery, 263 Phillip St., East Campus Hall, Waterloo, ON.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Good Medicine at
the University of Waterloo Art Gallery was the groups fifth exhibition in four
years an ambitious pace given that the artists were pursuing solo careers and
requisite day jobs while they organized and planned their collective project. A
number of the core members of the collective had also been involved in
establishing the artist run co-op gallery Loop in 2000. At the same time,
Torontoniensiss move from rental spaces and artist co-op galleries to public
galleries afforded the group a larger profile and additional resources. Since
More Fun, additional support had been coming to the group from the Ontario Arts
Council and the Canada Council for the Arts. At the University of Waterloo,
Libby Hague exhibited with the group again installing her work Children See
Everything, an ongoing series drawn from childhood recollections. This piece
grouped together 30 groups of prints recalling comic book cells that described
the large and small events of childhood. Guest artist Mary Anne Backhouse’s
work fit well with the ecological/political profile that the group had
developed. She exhibited two pieces, Focus and Petition, allegories of human
conflict in the context of contemporary battles over land and resources. Tim
Howe exhibited a new video installation entitled Tim Howe exhibited a new video
installation entitled The Passionate David, an assembly of delusional
correspondence by a Toronto street person by the name of David, juxtaposed with
a video of an angel hovering above an inferno and John Abrams exhibited
Everybody's Happy in Hollywood, the beginning of a new series of work based on
film stills.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">8. November 12 -
December 31, 2005, Suitcase, the Good Medicine Group of Independent Artists:
From Toronto (Torontoniensis): John Abrams, Mark Adair, Jane Buyers, Catherine
Daigle, Tim Howe, JJ Lee, Alistair McGee, Rhonda Parkes, From Scotland: Matthew
Inglis, Stuart Mackenzie, Moira Scott, Alastair Strachan, Donald Urquhart, York
Quay Gallery, Harbourfront Centre, 235 Queens Quay West, Toronto, ON.,<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">It had been ten
years since the first exhibition at the Lakeshore Village Co-op. Following the
recession early in the decade, Torontoniensis had emerged along with the
revival of the visual arts in Toronto. It had survived and thrived to embody
the ambivalence that greeted the new millennium, to then witness the changes
taking place in the world following the event of September 11, 2001. During
this time, the artists, who had at one time had been outsiders exhibiting in
rough unserviced commercial spaces, had progressed to being invited to show in
publicly financed institutional art galleries. Along with the rest of the
economy, the once sleepy Canadian art market had heated up. In Toronto, people
were displaying a newfound wealth and were buying art in the galleries that
were springing up all along Queen Street West. Despite the growing indications
of the certainty of global warming, the globalized economy was on a roll in
2005 and the production and consumption of non-renewable resources was
advancing unchecked. Even the art world had become global in ways never before
seen, as art fairs and biennales all over the world became part of a non-stop
world tour of artists, curators, dealers and collectors. <o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">And where did
Torontoniensis fit into this new world? What role did its eco-nationalist
message play in the transnational world of hyper-capitalism? Was this species
of local vegetation exportable and transferable to the global digital age? Or
did this metaphor even work any more? Not all the members of the collective
liked the awkward Latin name and since the Waterloo show, the group had also
been calling itself Good Medicine -- an identity crisis, perhaps, signalling a
less fun and more socially responsible and pragmatic approach to making and
exhibiting art in the new world order.<o:p></o:p></span></div>
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<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The Suitcase
exhibition was the collective’s foray into the globalized world of art. It was
organized as an exchange show where five invited Scottish artists would
reciprocate and in turn host the Canadian artists in a group showing in
Scotland. Both Catherine Daigle, with her When Daddy Comes Home, All the Fun
Stops, and Tim Howe, with his Les Jumeaux, exhibited digitally manipulated
prints for the first time. Inspired by the theme of the exhibition Daigle also
created a new piece out of an old suitcase. The suitcase was filled with bright
yellow sunflowers whose message of sunny optimism was tempered by the inclusion
of a scroll of flies.9 In another flower reference, John Abrams exhibited She
was like a flower, from his Betty Blue Suite. The suite was a continuation of
his film stills series and was derived from the 1986 erotic French film Betty
Blue. Mark Adair exhibited the Eternal Pussy, who represents Life, Deaths
counterpoint in the series of drawings Death is in Trouble Now. Guest Canadian
artists Jane Buyers exhibited a ceramic book-work, J. J. Lee two of her juicy
canvases of ironic Chinoiserie, Alistair McGee his acrylic renderings of found
notes and graffiti, and Rhonda Parkes a series of enlarged instructional
medical photographs addressing pregnancy.<o:p></o:p></span></div>
</div>
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<div style="text-align: left;">
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">As much as the
collective was rooted in Toronto, the core members realized they would have to
look beyond the city for new exhibitions, and Scotland was part of that
calculation. Since its inception Torontoniensis had provided exhibition
opportunities and exposure for its members and its invited guests, and making
connections and creating events was what the group did well. But the Scotland
show didn’t materialize and the days of rough space warehouse shows had long
since passed in Toronto’s gentrified downtown core. Without another show to
look toward, Torontoniensis drifted as its members pursued their individual
careers. <o:p></o:p></span></div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">But the body blow
to the collective was the death of Catherine Daigle in December 2006 following
a lengthy illness. Catherine had been the group’s graphic artist and media
contact and its driving force after the departure of Kate Wilson. She was
admired and adored by her colleagues for her feistiness and for her
determination. As much as the work of any other artist in the group, Catherine
Daigle’s work carried the minor tone that came to characterize the collective
-- a tone that Carla Garnet characterized as a deep sadness. It was perhaps
Catherine Daigle’s artist statement in the press release for the Suitcase
exhibition that summed up not only her attitude to her own work, but also the
legacy of Torontoniensis:<o:p></o:p></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;"><br /></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">"[it] . . . has
largely been informed by an interest in the transitory nature of life and how
we, on a regular basis, reconfigure deeds to provide meaning."<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
</div>
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<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: verdana;"><span style="font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Born of the
economic uncertainties of the 1990s, Torontoniensis was a part of the movement
of artist collectives and co</span><span style="font-size: 12pt;">‑</span><span style="font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">operatives that emerged in those lean
years – "the do it yourself " energy that helped to create the
international reputation of Toronto as a centre for art. Over the course of a
decade the collective brought together a wide variety of artists in exhibitions
that gave form to many of the anxieties and desires of the time, and in doing
so they made a mark on the culture of their city -- creating meaning for
themselves, for the artists whose work they admired and exhibited, and for the
community lucky enough to take part in their vision.<o:p></o:p></span></span></div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
</div>
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<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Gordon Hatt, 2008<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
</div>
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<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Endnotes<o:p></o:p></span></div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
</div>
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<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">1. The National
Gallery of Canada's acquisition of Barnett Newman's Voice of Fire in 1990 began
in Canada a national debate about role of art and the state. See Voices of
Fire: Art, Rage, Power, and the State, eds. Bruce Barber, Serge Guilbaut, John
O'Brian, University of Toronto Press: 1996.<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
</div>
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<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">2. Email from
Kate Wilson, June 30, 2008.<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
</div>
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<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">3. Conversation
with Mark Adair, June 15, 2008.<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">4. Betty Anne
Jordan, Toronto Life, June 1999, page 34.<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">5. For a
discussion of the subject of death in the art of the 1990s see Adam Gopnik, A
Death in Venice, New Yorker, 2 Aug. 1993, pp. 67-73.<o:p></o:p></span></div>
</div>
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<span style="font-family: verdana;"><br /></span></div>
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">6. Introduction
to exhibition brochure No Fun Without You.<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">7. "The Year
in Pictures," RM Vaughan, EYE Weekly, December 20, 2001.<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: left;">
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">8. Galatians 6:7.<o:p></o:p></span></div>
</div>
</div>
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<div style="text-align: left;">
<span style="font-family: verdana;"><br /></span></div>
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<div style="text-align: left;">
<span style="font-family: verdana; font-size: 12pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">9. Mark Adair had
been reading biblical prophecy to frame his dismay at the hubris and ecological
blindness of industrial capitalism and had quoted to Catherine a verse from
Isaiah 7:18. "And it shall come to pass in that day, that the LORD shall
hiss for the fly that is in the uttermost part of the rivers of Egypt, and for
the bee that is in the land of Assyria." The passage is in reference to
Isaiah 13:5, "They are coming from a far country, From the farthest
horizons, The LORD and His instruments of indignation, To destroy the whole
land."<o:p></o:p></span></div>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-56738106047418811782008-10-22T19:32:00.000-07:002016-10-30T07:06:30.147-07:00David Spriggs: The Architecture of Illusion<div style="text-align: justify;">
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Transparency is also a medium of illusion. Since 2000, Montreal artist David Spriggs has been painting and drawing on transparent sheets of Mylar to create what he calls “Spatial Image Sculpture.” This body of work is characterized by large Plexiglas vitrines that resemble specimen cabinets and contain uncanny, seemingly three-dimensional images reminiscent of holograms or specimens preserved and floating in formaldehyde. Spriggs’s images, however, are neither chemical nor digital and if from some angles the vitrines appear to contain objects with volume and depth, from other angles they appear to dissolve entirely. </div>
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Spriggs studied painting in art school but like many young artists felt constricted by the limitations of his chosen medium. While considering the conventions of perspective he began to speculate on the possibility of being able to make marks in real space instead of on a single surface plane. He began to tackle the problem of painting “architecturally” – analyzing phenomena in terms of plans and elevations in order to “construct” images in real space. He conceives of a typical Spatial Image Sculpture as a sequence of transparent vertical elevations, where, after selecting a subject, he proceeds to section it, as many as a hundred times (depending on the depth he wishes to suggest), representing each section with a sheet of clear Mylar on which he records the subject’s topographical information. Each sheet of transparent Mylar diffuses and softens detail, generating a murky haze and making it sometimes difficult, sometimes impossible, to see through to the other side. He suspends his inscribed Mylar sheets from the four corners of their rigid glass vitrines with small coiled springs. The basic mechanics that these springs reveal generate an odd visual energy, recalling, as they do, heating coils or even turnbuckles – creating tension and pulling the centre to the corners of the vitrine both literally and figuratively – the diaphanous layers of Mylar contrasting markedly with the mechanical support structure of the springs and the angular cabinetry. </div>
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In his Spatial Image Sculpture Spriggs has developed two distinctly different ways of recording a subject’s physical information, producing dramatically different results. He uses air-brushed monochromes to describe the substance of volumes, or alternatively, he analyses a volume by tracing its edges with black contour lines – a descriptive system reminiscent of topographical mapping. With the airbrush he is able to create the illusion of substance while giving the subject a soft unfocussed outline – contributing to the characteristic appearance of something floating in a cloudy liquid. By contrast, where he chooses to render his subjects by mapping their contours, the result is abstracted and schematic. These contour renderings record volumetric information and present it in space, simultaneously suggesting and denying three-dimensionality and making it possible to both see and to see through a volume. The resulting images have a diagrammatic character that recall exploded graphic anatomical and mechanical manuals and aids.</div>
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Within his chosen medium David Spriggs has explored a variety of imaging genres. The optical characteristics of the Spatial Image Sculptures provide him with the uncanny ability to describe specific phenomena and to conjure dramatic abstract effects. He variously works naturalistically, where the subject matter lends itself ideally to the medium, or expressively and abstractly, adopting the properties of the medium to generate subjects and approaches that recall art historical genres. Spriggs exploits the natural tendency of the transparencies to cloud by employing the airbrush to create soft semipermeable masses that merge seamlessly with each subsequent layer of Mylar. Thus the Spatial Image Sculpture seems ideally suited to representing clouds and cloud-like imagery such as in his <i>Archaeology of Space</i>, 2008; <i>Abstract Object</i>, 2007; <i>Entropy</i>, 2007; <i>White Space</i>, 2004; and <i>Perceptible Consciousness</i>, 2001. </div>
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Similarly, when Spriggs moves away from white airbrushed clouds, he finds other subjects with similar characteristics that respond to the specific properties of his media. By changing from white paint to black he transforms his billowy white clouds into dense clumps of smoke in <i>Dark Matter</i>, 2007, where dark clouds may ominously suggest the smoke from a chemical fire or a corrupted liquid. In <i>Blood Nebulae</i>, 2002, Spriggs adopts the microscopic image of haemoglobin as a subject, where giant red blood platelets appear to float in a thick plasma, and in the piece <i>In-Utero</i>, 2001, a tiny pink baby appears to swim in a cloudy amniotic fluid.</div>
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Spriggs also explores a type of figurative expressionism through the use of non local colour in <i>Incorporeal Movement</i>, 2004, where the layered multiple image sequence of a body in motion is rendered in a brilliantly sanguine red. Similarly, white is used expressively where its effect makes the human portrait ghostly in Immaterial, 2001. An early work, <i>Omniscient Spectator</i>, 2000, is characterized by its expressionistic subject matter, when the artist’s precise analytical contour mapping describes a huddling and emaciated figure. By contrast <i>Containment</i>, 2007 and <i>Fragmented Figure</i>, 2000, evidence an Impressionistic approach, where rough, linear, free-hand renderings of the subjects provide just enough information for one to be able fill in the blanks and complete the three-dimensional image.</div>
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Spriggs’s impatience with two dimensional media developed from his interest in rendering images that more directly engaged time, space and movement. He found a reflection of these interests in the work of the Cubists and Futurists, who addressed issues of speed, time and space in paintings, collages, sculptures and in various manifestos around the turn of the previous century. Images such as <i>The Aesthetics of Speed</i>, 2005 and <i>Incorporeal Movement</i>, 2004, feature multiple layered profiles and suggest, for example, the influence of a Cubo-Futurist painting such as Marcel Duchamp’s <i>Nude Descending a Staircase (No.2)</i>, 1912.1 Similarly, in <i>The Fall of Modernism</i>, 2005, Spriggs adopts one of Cubism’s favourite still life subjects, the guitar, to describe the movement of an object in space. The falling musical instrument is rendered with a staccato rhythm of contour lines that make reference to the fragmented planes of the Cubists, and may alert us to the discordant sound which we anticipate will accompany the guitar’s inevitable crash to earth. And in the work <i>Abstract Object</i>, 2007, Spriggs shows the influence of the Futurists enthusiasm for velocity and power in art through his rendering of this comet-like form.2 </div>
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The influence of Cubism on Spriggs is also evident in <i>The Paradox of Power</i>, 2007, where the artist adopts one of Picasso’s favourite subjects, the bull. This major work features the image of an upside-down bull, rendered motion-like with the layering of overlapping profiles. The image is split down the middle, with the left realized in blue and the right in red. Spriggs has chosen to problematize the symbol of male power and aggression by suspending the beast harmlessly, as if the animal was struggling to free itself from its powerless and undignified position, as well as through his seemingly arbitrary blue/red colouring – a sly reference to his own power to create illusions.3 </div>
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Spriggs distances himself from art historical models when his subject matter reflects back knowingly on his media’s eccentricities. In <i>Progress</i>, 2006, he uses his contour mapping approach to reflect on the logic of his own layered system of representation with his description of the complex internal mechanics of an escalator. In <i>Still-Life</i>, 2003, an image that looks as though it may have been created by an X-Ray surveillance device, Spriggs speaks to the issue of a type of invasive transparency which we recognize may not be universally desirable. </div>
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Walls are built to preserve privacy -- to separate what we feel is the legitimate business of others and of what is not. We maintain barriers to preserve mystery, where the banal mechanics of the thing somehow seem to do its larger meaning and significance a disservice. We draw curtains to preserve dignity, when the display of an individual’s vulnerability is considered an unwarranted invasion. David Spriggs work demonstrates that in transparency there is neither absolute clarity, fidelity nor morality. Transparency is as capable of generating illusions as it is in revealing truth. </div>
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Gordon Hatt, October 2008</div>
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Endnotes</div>
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1. Duchamp was in turn inspired by the early stroboscopic photographic motion studies of Étienne Jules Marey and Eadweard Muybridge. See Katherine Kuh, The Artist's Voice: Talks With Seventeen Modern Artists, New York: 1962. </div>
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2. Giacomo Balla & Fortunato Depero, The Futurist Reconstruction of the Universe, 1915. “Balla initially studied the speed of automobiles, thus discovering the laws and essential line-forces of speed. After more than twenty exploratory paintings, he understood that the flat plane of the canvas prevented him from reproducing the dynamic volume of speed in depth. Balla felt the need to construct, with strands of wire, cardboard sheets, fabrics, tissue paper, etc., the first dynamic plastic complex.”</div>
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3. The blue/red colouring is a reference by Spriggs to 3-D glasses and the anaglyphic system of rendering stereoscopic images. Spriggs also sees the colours symbolically, with the red representing the physical and the embodied and blue representing the immaterial and abstract.</div>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.comtag:blogger.com,1999:blog-482515116633859928.post-45576334332438303322008-08-29T22:29:00.000-07:002016-10-30T08:23:39.488-07:00Plastic Shit<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<i><span lang="EN-US">Kitsch is the absolute denial of shit . . .</span></i></div>
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<span lang="EN-US">Milan
Kundera, <i>The Unbearable Lightness of Being</i></span><span lang="EN-US">, 1984</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">On the
face of it, Milan Kundera’s declaration that kitsch is the denial of shit
appears wrong. Kitsch, after all, </span><b><span lang="EN-US" style="font-family: "times";">IS</span></b><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US">shit. It’s all that cloying, mewling, cutesie crap
found in gift shops and tourist strolls, all those visual gags of dogs playing
cards and mechanical singing fish for sale at the hardware store, and those
maudlin Elvis busts and Diana icons and acres of knick-knacks on the shelves at
Value Village. For Kundera, what makes all that stuff kitsch, and not art (or
at least not art with a capital “A”) is that it is missing a vital organic
element. Kitsch, for Kundera, is art removed of life’s messy bits: pain and
suffering, hunger and sorrow, decay and waste. Kundera’s kitsch is a sanitized
art of Pollyannaish desire that wants nothing to do with the more disturbing
parts of our existence. It just wants to be liked. Excessively needy and too
willing to please, its lack of shit overwhelms it, and it becomes what it
lacks. Kitsch becomes shit.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">In recent
years, Toronto-based artist Katharine Harvey has been creating sculptural
installations using plastic packaging and cheap dollar-store items – materials
and merchandise that are intended only for a single or limited use or for the
stimulation of momentary sentiment – things which, having passed only briefly
through the stage of utility, are destined to quickly become refuse, stuff we
tend to call shit. Harvey’s fascination with this material came from her
experience as a painter trying to capture the fleeting reflections and
refractions of water. Her investigations into water’s infinitely variegated
visual qualities led her to a remarkably similar phenomenon found in the
reflections of store windows. She was drawn to those curious, older,
family-operated stores whose windows display an accumulation of dusty unsold
gift items and <i>bric-a-brac</i></span><span lang="EN-US">. Viewed from different angles, the
windows featured a parade of curios suspended between the reflections of the
activity on the street and glimpses into the store’s interior. Flattened first
through the working photograph and secondly through painting and glazing,
Harvey’s <i>Storefront</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US">paintings became liquid spaces in which
inside and outside flowed into each other, punctuated by a dream-world of
floating Venetian gondolas, ballerinas on point, elaborate clocks and fancy
vases. </span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">Harvey’s <i>Storefront</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US">paintings were elaborations on water as a metaphor of
the subconscious – a diorama of submerged desires and stunted fantasies. They
were also the basis for installations that used existing art gallery vitrines
to assemble fantastic versions of the vernacular (<i>Seasick</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US">, YYZ Artists Outlet, 2003; <i>Storefront</i></span><span lang="EN-US">, Stride Gallery window, Calgary, 2001; <i>To the
Depths, Parts I & II</i></span><span lang="EN-US">, Solo Exhibition, Toronto, 2001-02). In
these installations, Harvey organized dense collections of giftware and costume
jewellery by tone and hue, and in the process created a series of
impressionistic tableaux that deflected attention from the individual objects. The
collections of spectrally shifting coloured objects seemed to strike a familiar
but minor chord, evoking those dyspeptic feelings of detachment and alienation
we often experience during the Christmas season in face of a sea of pointless
merchandise and hollow commercial sentiment.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">During
2006 and 2007, Harvey’s media migrated from glass and ceramic giftware to
plastic packaging and mass produced dollar store items. She continued her
colouristic approach to assemblage, prismatically organizing the recyclable
blister packing and muffin containers as a clear spray at the top of <i>Waterfall</i></span><span lang="EN-US">, (Rodman Hall, 2006-07) down to the deep pools of
translucent greens and deep blues of the plastic waste baskets, water bottles,
dish racks and other seemingly limitless blue-green coloured plastic dollar
store ephemera. In the installations <i>Fountain</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US">(Making
Room, 2006), and in the <i>Waterfall</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US"> (Service
Canada, Harbourfront, 2007), Harvey left behind her dollar-store merchandise to
create impressionistic assemblages made entirely of transparent packing
material – works of pure plastic froth.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">Harvey's
work is notable for the parallel investigations she pursued into both the
optical and metaphorical qualities of her subjects and her chosen media. Her
open process of free association allowed her to move from a study of the
optical effects of water, to water as a metaphorical container of submerged
consciousness, from an investigation into the attractions of kitsch back to the
optical possibilities of colour-classified junk, and from the foamy optical
character of a dense mass of polyethylene packing, back to the existential
reality of a mountain of plastic shit.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">One would
be hard pressed to find two things materially more opposite than plastic and
shit. Plastic is organically inert – a product of the petrochemical industry. Shit
is fetidly natural, organic and very personal. Shit belongs to each of us
individually. Plastic comes from somewhere else. Plastics are associated with
cheapness and disposability. They can be easily moulded and mass-produced. They
can be made flexible, elastic and paper thin or rigid and sturdy in proportion
to their lightweight. Plastic can be transparent or opaque and is highly prized
as an impermeable moisture barrier. All this make plastics cheaper and more
adaptable than either wood, leather, cloth, ceramic, glass or metal would be
used for similar purposes.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">We know,
however, that plastics are not as durable as organic materials and we know damn
well that plastics do not decompose. Moving plastic parts break and wear out
all the time and many plastic objects are just a waste – designed for limited
or single usages, rendering their active life cycle shorter than that of many
insects. And the passive life cycle – life after disposal – is immeasurable. While
many plastics can be vaporized with intense heat, most often they avoid
decomposition and continue to exist somewhere in the world: in a landfill, at
the bottom of a lake or ocean, or ground up and melted down to be made into
more plastic. Plastic is two times shit: first because it so often fails us and
second because we are continuously in the process of disposing it.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">By
representing and including kitsch, plastic merchandise and disposable plastic
packaging in her work, Katharine Harvey ensures that romantic sparkle and
liquid shimmer is not merely a vehicle of escape, but a <i>memento mori </i>of
our embodied subjectivity. That is the existential reality that Harvey’s work
probes. As we find ourselves drowning in our own refuse, we are forced to
examine our habits of consumption and production. In any dollar store, Wal
Mart, Zellers, Canadian Tire or Best Buy we can see our own infantile and
narcissistic desires reflected in row upon row of cheap merchandise and the
mountain of plastic garbage that they generate. This stuff will never die. We
will.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US">Gordon
Hatt, 2008</span><span lang="EN-US"><o:p></o:p></span></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-80741758681867050832008-03-31T19:00:00.000-07:002020-06-25T08:23:08.824-07:00Daisuke Takeya: Kara<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt; text-align: left;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2X0UxyfVz1aJGC_jviFk2Y70QzR7Xefrw5Y0Ie0qxhfAfaEcEVMwfSGjQEetSXh0ewQOl8dVTEuclrrRXES5xLPtGwneC4pBIDT_fiw9WLfMrNZQGxTspXTmOf3tNrjBhktckzxIjhoE/s1600/WAVELESS.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1048" data-original-width="1600" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2X0UxyfVz1aJGC_jviFk2Y70QzR7Xefrw5Y0Ie0qxhfAfaEcEVMwfSGjQEetSXh0ewQOl8dVTEuclrrRXES5xLPtGwneC4pBIDT_fiw9WLfMrNZQGxTspXTmOf3tNrjBhktckzxIjhoE/s640/WAVELESS.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daisuke Takeya, <i>Waveless Ocean</i>, 1999, oil on wood, panel, 32 x 47"</td></tr>
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<span style="font-family: "times new roman" , serif;">When Daisuke Takeya asked me if I would talk about his work on the occasion of his exhibition at the Japan Foundation here in Toronto, I was a little unsure of where I would begin. Takeya is an artist whose work ranges from figurative, portrait and landscape painting to video, installation and conceptual practice. His work is informed by personal experience, social criticism and by his professional training in figurative art – concerns and considerations which at times are articulated in specific bodies of work and at other times can be seen to form threads that connect and reappear at various places in his art.</span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">It is impossible within the limited framework of this talk to adequately address all of the threads and media which encompass the artist’s practice, and I won’t attempt to do it here. Instead, I would like to apply conventional art historical method to a close analysis of some of Takeya’s paintings over the last 15 years. This examination will deal with how the artist’s concerns as a young man were given form within the idiom of his academic figurative art training in the early 1990s. I will trace the artist’s evolving engagement with the figure and the landscape as signifiers of feeling and desire to arrive at the current body of work.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">* * *</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">“Kara” in Japanese means “empty.” Its Kanji character also represents the word for sky, air, and space (“Sora”). Both “Kara,” and “Sora” hover above Toronto and Tokyo, as well as Ottawa, Osaka and the village of Pouch Cove, Newfoundland. It is one thing that all these places have in common. The “emptiness” or the “sky” of the <i>Kara</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">series of paintings can be seen to have its origins as far back as some of the artist’s early student work, where the inclusion of horizons into the backgrounds of figure studies and later as pendants to figure studies come to represent both a rhetorical and literal “emptiness.” </span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">In the mid 1990s, Takeya was a student at the New York Academy of Art, an art school dedicated exclusively to the study of the human figure in painting, sculpture and drawing. The study of the human figure has its roots in classical Greek art and in its Roman imitators, where the gods and goddesses of Olympus were rendered as beautiful and heroic humans wearing little or no clothing. The revival of interest in classical mythology and art during the Italian Renaissance stimulated a return to illustrating mythologies and histories with the naked figure and learning the skill required to render the nude convincingly became one of the pillars of the academic teaching of art.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">The study of the human figure meant originally learning anatomy from skeletons and cadavers. In the modern era photographs are an important source for visual information about the body. But most often the study of the human figure is accomplished through that staple of art school – the life drawing class. In life drawing class, a model disrobes and strikes a pose for a predetermined length of time. The model usually stands, sits or reclines on a low riser, surrounded by students at easels or with drawing pads. Depending on the point of the class, the model may start out with quick gestural poses, and then settle into one or two extended poses. To render a “finished” figure composition convincingly from life (e.g. without recourse to photography) the model must remain in the same pose for hours or in sittings that extend over days. The pose must be something that can be held reasonably still – no extended and raised limbs, or difficult and uncomfortable positions that cause the model to move and adjust position frequently. The job of modelling is not for fidgety people. If a person is capable of relaxing into a state of torpor, they will probably make a good model and the artist will not have to constantly readjust the perspective and recast shadows. The good model is a paragon of inactivity. The good model does nothing. Just stands, sits or lies there. </span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">Initially, working from the model is a transgressive experience. After all, how often do we sit in a room with a naked stranger? But the unsettling nature of this situation soon gives way to the various and complex challenges of rendering accurately the perspective and proportion of the human anatomy. Combined with the study of proportion, the repetition of the practice of drawing from the model in poses of extended duration produces artists who are adept at a naturalistic representation of the human body. </span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">The reality of this practice of learning to draw from the figure, however, has had the inevitable effect of characterizing what we know of as figurative art. It gives us a disproportionately large number of images of a relatively narrow range of human activity and attitudes. Typically subjects recline or sit, are apparently thoughtful or vacant, sexually available or enervated and despairing because, that is what life models do best. Figurative painting can provide us with models of action, but these images are heavily dependent on photography and always betray the conventions of the lens. Painting and drawing from the figure then rely on a stationary and relaxed model and, as a convention, it tends to idealizes passivity, isolation and vulnerability.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">Looking at Takeya’s early figurative work, one can see that the landscapes and environments in which he has placed his figures underscore the apparent enervation and lassitude of his models. Paintings such as <i>Abandon</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> 1993, oil on linen, 81.5 x 43"; and <i>Dead-End Street</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> 1994, oil on linen, 80 x 55" feature the juxtaposition of the naked figure with vacant, despoiled and dark cityscapes. These paintings don’t create believable spaces as much as they describe to us symbolic and psychological states of mind. In <i>Abandon</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> the reclining figure’s legs are supported by what looks to be a pile of junk. Further examination closer to the bottom of the canvas reveals random objects that one might find in an artist’s studio, piled high, occupying almost 90% of the canvas. Above and beyond the pile of junk, is a city scape – the silhouettes of a few tall buildings against a light sky, and above that a dark low-lying cloud. In <i>Dead End Street</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> a model standing in the classic <i>contraposto</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">position with head bowed is surrounded by road and highway barriers, a dust pan, a fire extinguisher, and a welding mask among other objects. A yellow line passes below the triangular police barrier, directing our line of vision to a horizon which is marked by a checkered yellow “Dead End” sign. The dark low- hanging cloud and the pile of junk, the “Dead End” sign, and the various street barriers, all work to signify a mood of pessimism and despair, a mood which already seems to be illustrated by the demeanor of the model</span><span lang="EN-US" style="font-family: "times";">.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">In this early work, one is able to identify a youthful alienation expressed in the language of figurative and landscape painting – enervated figures and the bleak cityscapes are symbolic rendering of the artist’s own feelings. Takeya characterized his mood at this time as being “happy to be sad.” On the threshold of adulthood, his experience of life was coloured by a pessimism born of a personal loss and an isolation that was accentuated by the experience of studying in a foreign country, in a language and in a culture that he was just beginning to understand.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">A series of diptychs produced by the artist in the late 90s (</span><span lang="EN-US" style="font-family: "times";"> </span><i><span lang="EN-US" style="font-family: "times new roman" , serif;">Untitled</span></i><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> 1999, charcoal on paper, 56 x 40.5"; <i>Pornography</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;">1999, oil on linen, 64 x 88"; <i>Waveless Ocean</i>, 1999, oil on wood, panel, 32 x 47"; <i>Eternal Flame</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> 1999, oil on wood panel, 32 x 47"), contrasts, in the right hand panel, figures in various states of repose to, in the left panel, city, sea or landscapes familiar to the artist which are comprised of 80 to 95% sky. The right-hand panels, many of which were based on life modelling sessions, are, like <i>Abandon</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">and <i>Dead-End Street</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> rendered again in moody, dark environments that create a general feeling of languor, aimlessness or despair. Like the earlier student paintings, each figure is cloaked in shadows and revealed only by the raking light of a single source – a light bulb, a television sometimes, but most often from what appears to be a window. One can imagine that the left-hand panel may be the view outside that space, through the window perhaps, or again, psychologically speaking, a symbolization of the figure’s emotional landscape. Takeya has told me that the landscape images are of of Japanese places. Todaiji Temple</span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">in <i>Untitled</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> Yokohama City in <i>Eternal Flame</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;">Yokosuka City in <i>Pornography</i></span><span lang="EN-US" style="font-family: "times";">. </span><span lang="EN-US" style="font-family: "times new roman" , serif;">After the gloomy cityscapes which complete the backgrounds of the earlier paintings, the big skies of the diptychs may seem bright and airy by comparison. But on further examination these big skies are overcast, or dusky or just bleakly empty. Perhaps the dark foreboding and pessimism of the earlier work has cleared up some, and become something a more manageable nostalgia, a little less heavy, and maybe the beginning of something new.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">In the series of diptychs <i>Everybody Loves You</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> done while he was still living in New York, Takeya continues the contrast between a big-skied landscape on the left and a figurative representation on the right. By this time, however, the figure studies have become somewhat uniform head and shoulder portraits lit by a single low frontal light. Recalling his earlier work where the figures were cloaked in shadow, the position of the light in the <i>Everybody Loves You</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">portraits illuminates the tip of the nose, cheekbones, and the brow, and casts heavy shadows on the rest of the head, including the bridge of the nose and the sides and top of the head. The effect, which is similar to holding a flashlight to your chin while standing in the dark, can be quite theatrical. It exaggerates contours, focuses attention on the eyes, diminishes the hair and surface quality of the skin, and in doing so de-emphasizes gender. The effect has been used in the cinema to allude to demonic possession or to an evil alter ego that may emerge after dark. But it is also associated with a type of campfire intimacy – the shared experience of being in the dark with others and the bonding in the face of uncertainty which that brings.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">In other words, Takeya’s choice of lighting may be ideal for the complex topic of speaking of love, de-emphasizing gender and bringing into relief our conflicted identities and often awkward relations with friends, acquaintances and the objects of our affections. Moreover, the expression of affection, which is possibly more freely given in the United States than in Japan or even among the famously reticent Canadians, is none-the-less, universally problematic, and no amount of world travelling relieves the individual from this personal accounting: Do you or don’t you (love me), do you mean what you say (when you say “I love you”) and do you say what you feel (when you say “I love you”). </span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">Perhaps this ambivalence is emphasized by the left-hand panel cityscapes of the New York skyline as seen from Brooklyn. Few other skylines are as recognizable as the New York City skyline, and yet, as Takeya renders it under towering skies, he makes it seem quite ordinary, diminished in comparison to the infinite sky above, suggesting perhaps that like the famous skyline, the words “I love you,” may be just another banal social construction in the grand scheme of things. In <i>Everybody Loves You</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">the moodiness of the early figurative paintings and diptychs has been stripped down into a complex ambivalence. The anonymous and quiescent nudes have morphed into individuals with names – seemingly self-aware and capable of action, but perhaps also with self-identities and beliefs as insubstantial and as unformed as the sky above.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">From being “happy to be sad” in the years immediately following his arrival in North America, Takeya adapted emotionally and philosophically to his new home. In his painting he pared down the conventionalized figurative representations of sadness and despair into existential mug-shot like portraits and flat, almost featureless landscapes expressing neither happiness or sadness, but a heavy, pervasive spiritual emptiness. </span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">The</span><span lang="EN-US" style="font-family: "times";"> </span><i><span lang="EN-US" style="font-family: "times new roman" , serif;">Kara</span></i><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">series of paintings retains and enlarges the city scape with the big sky and altogether dispenses with its figurative pendant. No longer are we asked to consider the symbolic despair of the slouched model, or the identity of the flashlight-illuminated individuals. No longer does the landscape act as an exclamation mark for these figures. Depicting the skies over a number of cities and towns in Japan and Canada, each of the canvases of the <i>Kara</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">series measures 6 feet in height. The cityscapes in each painting occupy less than 2 per cent of the paintings’ vertical height – a proportion of sky to land even more dramatic than in the earlier work. If you watch the reactions of viewers, the natural inclination is to approach each painting in a slight crouch, in an attempt to identify the depicted city scape. Once a landmark is identified and thus the city too, the spectator feels able to stand up straight and back up from the painting to take it in whole. </span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">In the <i>Kara</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">series, questions of identity have shifted from individuals to cities and towns, but perhaps, like the head and shoulder’s portraits of <i>Everybody Loves You</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">which, after a time begin to seem less and less dissimilar, so too seem the cities of Osaka, Tokyo, Toronto and Ottawa when juxtaposed to the vastness of the sky above. The radical perspective of Takeya’s view of the cities which he visited and lived in, reminds one of looking at the earth from space, where countries and ethnicities and borders are invisible. When asked about the feelings behind these images, the artist responded, “I wanted to feel like air.”</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif;">The <i>Kara</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">series was originally painted in 2001 and 2002. Those paintings were tragically destroyed, and the current series of paintings is a recreation of the original, five years later. The discipline required to re-paint the entire series is a testament to the personal significance the works held for the artist. When asked about the inevitable difference between the paintings of five years ago and the contemporary recreations, the artist responded by saying that the current series is more colourful. This is not hard to imagine when we look at the tonality of the city scape panels of the preceding <i>Everybody Loves You</i></span><span lang="EN-US" style="font-family: "times";"> </span><span lang="EN-US" style="font-family: "times new roman" , serif;">series. In <i>Kara</i></span><span lang="EN-US" style="font-family: "times";">,</span><span lang="EN-US" style="font-family: "times new roman" , serif;"> the sequel, Takeya’s work has opened up. The skies begin to be less leaden and airier. A general greyness has given way to a luminous spectral range of colour ranging from sky blue to indigo, to pink and to orange. Emptiness, or Kara, at one time a burden for the Daisuke Takeya, has become a space of possibility.</span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-12884625631725823282008-02-28T21:01:00.000-08:002016-10-30T07:38:17.936-07:00Ed Pien: A Soft and Gentle Darkness<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span lang="EN-US">In a Realm of Others</span></i><span lang="EN-US">
</span><span lang="EN-US">is a multimedia installation of drawing, video
and slide projections. The centrepiece of the installation</span><span lang="EN-US"> </span><span lang="EN-US">is a long passageway connected to a
series of three circular chambers made from translucent glassine paper. Enveloping
the structure is a continuous green curtain of glassine, covered with
hand-painted treetops. At one end is a narrow opening leading to a passage
whose curtain walls gently billow around you as you advance. At the end of the
passage are the inner chambers – round curtain walls of white glassine rising
to the ceiling. These walls are animated by graphic images of twisted and
disfigured ghouls and demons – horrible, nightmarish figures surrounding and
hovering threateningly above images of vulnerable and frightened children. </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Located
in the innermost structure of the installation is a video monitor showing a
succession of children attempting to make scary faces and threatening noises. The
video of children exploring their ideas of monsters is paralleled by a second
video, outside the glassine structure, of adults recounting their personal
ghost stories. The children in the video puff themselves up to become what they
imagine to be frightening and monstrous. They’re cute in their play acting, and
it seems they needed little prompting to mug and growl for the camera.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Being
inside the enveloping structure of <i style="mso-bidi-font-style: normal;">In a
Realm of Others</i></span><span lang="EN-US"> </span><span lang="EN-US">is
an extraordinary experience. The walls transmit a diffused coloured light, and
they move as you move, like a sympathetic living organism. The ink drawings of
monsters are unsettling and disturbing – ghostlike, when seen through a second
layer of the translucent glassine. Passing out of the inner sanctum you notice
overhead a violet-mirrored image of tree tops – a sort of moving Rorschach blot
– projected on a hanging disk. It is dizzying, disorientating and exciting – an
intriguing and complex punctuation to a remarkable journey. I feel sad that it
is over, sad to be leaving this space. </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">“If
I die before I wake I pray the Lord my soul to take.” How strange it is to
remember these words today, words I at one time recited before every bedtime. Sleeping
alone in the dark would seem to be frightening enough for any child without
introducing the idea of sudden death. The prayer, I now realize, was a parent’s
small plea for mercy, pitched from the tiny voice of a child. Walking through
the installation</span><span lang="EN-US"> </span><span lang="EN-US">I
find myself thinking about childhood nighttime fears, bedtime stories and
prayers. Here between these satiny sheets I am reminded of the painful
anxieties and candied dreams of my childhood. </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Fear
of abandonment, I think, may be one of the most profound traumas of childhood. Looking
back, I know that it was a critical aspect of my childhood psychological
development. It is easy to see how this anxiety at an early age can have
profound effect on the development of character. Most people can remember the
childhood anxiety of being temporarily separated from a parent in a crowed
place, or being the last child to be picked up at school. For a child, the
possibility of abandonment is a reality of every waking moment – living in a
world that is largely mysterious, and dependent on adults for every need,
monsters and demons have the potential to lurk in every closet and under every
bed. Abandonment, loneliness and isolation, of course, are only places where
fear begins. It is the imagination of what happens next, which is the stuff of
dreams, nightmares, fairy tales and art.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Some
parents tell their children fairy tales before bedtime. Stories such as the
Grimms’ fairy tales “Hansel and Gretel” and “Little Red Riding Hood” or the
Taiwanese fairy tale “Tiger Grand Aunt,” explore childhood night fears. Passage
through a dark, malevolent forest is a common metaphor in these fables. Adults
in these fables are ambiguous figures – alternatively protectors and predators,
nurturing parents and savage beasts. Wolves and tigers impersonate grandmothers
and grand aunts. Mothers, and surrogate mothers in particular, play important
roles, as symbols of the anxiety of separation and abandonment. Fundamental to
the stories is the young protagonist’s success at tricking the demon; killing
it and managing to successfully escape its clutches. The endings are always
more or less happy.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">The
fairy tales that were told to me as a child, or the prayers I recited at
bedtime did little to either stimulate or allay my fears of the night. A bigger
factor in my falling asleep was more likely the comfort provided by a seam of
light filtering through a bedroom door left slightly ajar. That light was my
link to the world of the living – to the gentle clink and clatter of dishes
being washed, to muted adult voices and to the resonant hum of the television
still on in the living room.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">*
* *</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">I’m
on the outside now, standing in the soft green glow of the glassine. Scanning
the monumental image of treetops, I can almost feel them swaying and groaning
in the wind. Here outside, this luminous paper giant feels strange and
threatening. I turn around and go back, to feel again the thrill of moving
through the maternal folds of the passageway, of the walls of light that flow
magically around me. I am drawn again to the hearth-like inner sanctum, which,
in changing from green to white, this time seems hotter and angrier. </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">In A Realm of Others</span></i><span lang="EN-US">
</span><span lang="EN-US">seems to be an inversion. Instead of the passage
leading you into darkness, like the process of falling asleep, or walking into
a dense forest, going from the outside to the innermost sanctum</span><span lang="EN-US">,</span><span lang="EN-US"> you pass into light. But it is not a
metaphorical enlightenment to which we are drawn, rather it is as if travelling
to the molten core of the earth, to the white-hot source of passion, and
anxiety, to the reptilian brain of this strange creature. These kids and their
monster faces and noises only teach us that we are born of fear, and that at
the centre of our personality is insecurity and doubt and the trauma of
separation. And as we turn to leave that bright white place and distance
ourselves from the primal scream, as we talk to our therapists and begin to
take control of our inner child, it is not a light we step into, rather a soft
and gentle darkness. </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span lang="EN-US" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Gordon
Hatt, 2005</span><span lang="EN-US"><o:p></o:p></span></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-54286613287653276202007-12-10T21:20:00.000-08:002016-10-30T07:15:25.896-07:00Marla Hlady: Playing Piano<div style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
Being in a room with a piano is an immersive experience. When a piano is played, the large wooden body of the instrument resonates and everything in the room resonates with it. Sound is cast off in every direction, bouncing off the ceilings and the walls, enveloping and at times overwhelming you. Among musical instruments the piano has an unmatched dynamic range – sound grows in volume and diminishes, fills the surrounding space only to recede from it. In the hands of an experienced pianist the piano is a tool of domination and submission, of seduction and conquest.<br />
<br />
To experience a player piano is to add a further level of complexity. Piano keys move and notes sound as if struck by invisible fingers. But the music issuing from the instrument isn’t light and ethereal, as one might imagine coming from some ghostly spirit playing a piano. Rather, the music is robust, dynamic and rhythmic – everything we associate with performed piano. Unlike the experience of listening to a conventional recording, one keenly perceives the trace of an absent musician. <br />
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A 19th century mechanical engineering project, the player piano was perfected in the early 20th century. The basic principle involves music which is “recorded” by making a series of perforations corresponding to musical notes on a roll of paper. The paper is scrolled mechanically across a pneumatic “tracker bar” and as the paper perforations run over the tracker bar air is allowed to pass through, triggering the operation of switching valves. These switches open larger valves which effect the piano action – the hammer striking the string. The later development of the "reproducing" player piano saw an elaboration of the system of valve switches to enable the instrument to perform the tempo, phrasing, dynamics and the pedalling of a performance.<br />
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Paper perforations on the music roll have been likened to an early form of binary code and indeed, all contemporary versions of the player piano replace the paper roll with a digital MIDI interface. The basic pneumatic system of the player piano anticipated its later application in robotics and machinery and like a primitive programmable robot the player piano mimics basic human functions – the piano roll its programmed brain, its compressor the heart and lungs, its tubing and valves a system of veins and musculature.<br />
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Player pianos were a significant presence in the popular culture at the same time that artists in other fields were becoming inspired by the machine. Futurists, Dadaists, Suprematists and Constructivists as well as avant-garde filmmakers, dramatists, choreographers and architects proclaimed their love of the machine and aspired to make their new art with the angular, hard edge and mechanical qualities of turn of the century industrial culture. It is not hard to imagine that the rhythmic and contrapuntal qualities of Ragtime and Dixieland were a response to the accelerated tempo and mechanization of life at this time and the rote mechanical reproduction of the basic player piano may have been particularly popular for its ability to perform this up-tempo and impressionistically mechanical sounding dance music.<br />
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At the turn of the century the player piano competed as a new recording and entertainment technology alongside the Victrola and the moving picture, but it now exists as a curious historical footnote at the margins of our consciousness. While recorded music and cinema grew to become the basis of the 20th century entertainment industry, the emergence of commercial radio in the 30s was the beginning of the end for the player piano.<br />
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“Playing Piano” is an open ended investigation into the mechanics of sound. It is an open journal describing the way the artist listens, looks, thinks and explores the material world. Marla Hlady takes apart machines and exposes their inner workings to rebuild them as versions of their former selves, building and rebuilding machines that make and record sounds. Taking a thing apart is a critique – a way of honouring the thing, a way of admiring its construction and the many decisions of its designers and makers. It exposes the assumptions and aspirations upon which the thing is made and it reveals the author’s inventions and limitations. Rebuilding the thing is a form of love and respect. Adding to a thing – decorating it, manipulating it, customizing it – is to enter into a dialogue, to talk to the thing and to engage its maker’s spirit, to speculate on its history, to revel in its possibility and to indulge in creative anarchy. Among artists, Marla is a “hot-rodder.” She adores machines by taking them apart, honours them when she rebuilds them, and engages them in a dialogue by adapting them, reinventing them and “playing” with them. She builds and rebuilds machines in ways that describe the way sound would look like if you could see it, touch it, walk around it.<br />
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“Playing Piano” begins with the thing itself. An upright reproducing player piano is at once full of social, cultural and private histories (witness the little nicks and dents in the body, the missing pieces of moulding) and yet curiously also something of a blank slate. Slightly compact in appearance it could be overlooked in a home (especially if you don’t know how to play the piano), a large piece of furniture concealing its musical potential and its mechanical sophistication. But where to begin?<br />
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For Marla, “playing piano” means to explore the instrument's sculptural and aural potential. Making reference to a history of music that employed “prepared pianos,” she set the terms of her engagement by deciding to explore the range of sounds she could get out of the piano with various mechanical adaptations. Getting started meant pulling out the keyboard, eliminating the temptation to engage the piano conventionally inside the thing. Once the keyboard was gone, it reverted from a musical instrument to a machine. She then stripped away the front panels to reveal the strings, valves and music roll mechanism above, the power source, valves and bellows below.<br />
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Marla then proceeded to “eviscerate” the piano, to gut it, by removing the electric motor and bellows compressor, the source that activates the valves and hammers. She pulled the motor and the compressor out of the piano and across the room, reconnecting it with lengths of rubber tubing. It is the air pressure in the system of tubing that determines the median tempo of the piano and by stretching, extending and reducing the air pressure in the system she began the process of slowing the tempo of the playback mechanism. Having exploded the air compression source, she turned her attention to the music roll assembly. She removed it too from the body of the piano and remounted it above, in the process extending the system of pneumatic tubing to reach the elevated the music roll and its air motor and adding further drag to the tempo. The once the familiar jazz melody on the found piano roll now plays so slowly as to be completely unrecognizable.<br />
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Pulling out the “guts” of the upright piano revealed its strings. In pianos hammers “strike” strings, but strings can be activated in other ways. She fabricated a strumming mechanism from a cannibalized photocopier then added two pie-plate press machines. She also added two whistle machines and microphones to the bellows and the air vents of the tracker bar. Each of these devices is initiated by vibration sensors attached to the piano's strings. When a string vibrates, it causes a sound event by one of the machines or activates one of the microphones. To make these sounding mechanisms audible she attached two surface resonating speakers to the piano soundboard, amplifying the discreet strumming and damping sounds though the native amplification system.<br />
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Marla’s removal of the keyboard and her extrusion of the piano’s heavy air compressor and music roll assemblies are physical aggressions; her affixing of a variety of light mechanical electronic devices to its sound board and strings are a series of gentle caresses. In her hands the player piano has begun to resemble a mechanical “one-man-band” with her electronic preparations creating a half dozen simultaneous sound events and actions. She has taken a magnifying glass to the instrument so that we can experience it – as a musical instrument but also as a fascinating piece of vintage mechanics. She has drawn and stretched the piano outside of its body to expose its internal system as a network of distances – a network of sources and pathways and destinations that circulate, escape and return within a closed but leaky system.<br />
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Gordon Hatt, 2007</div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-58094441899697884202007-10-22T05:10:00.000-07:002016-10-30T07:25:57.327-07:00Fool for Love<div class="separator" style="clear: both; text-align: center;">
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Love makes me treat you the way that I do,<br />
Gee baby, ain't I good to you?<br />
There's nothing in this world too good<br />
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For a girl so good and true.<br />
Gee baby, ain't I good to you?<br />
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From the song, Gee Baby, Ain't I Good To You? (Don Redman, Andy Razaf, 1929)</div>
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What role do visual fictions play in our consciousness? How do we respond to enacted images of happiness on billboards, sadness in television melodramas, or fear in horror movies? Do we rush to emotionally embrace each unfolding narrative, fooled every time as it were, empathizing with people who act out our daydreams and nightmares? Some suggest that we have a unique ability to temporarily suspend disbelief, to empathize with pictures as if the narratives they describe were real, and then to cleanly disengage as the credits roll and we turn the page. Can we maintain objective distance, and release only a fraction of our potential emotional response for fictions, reserving real empathy for real people and real events?1</div>
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The ability to discriminate between real and manufactured emotion is a talent individuals possess in varying measures. Yet our ability to negotiate the emotional power of fictional imagery may be compromised by sheer volume. Everyday life is saturated by the proliferation of fantasy-based advertising imagery, coupled increasingly with an omnipresent popular culture of superheroes and supermodels that enact fantasies of prowess and attraction. Many times a day, we are seduced by images of wish fulfillment. Many times a day, we are invited to consider the disappointments of our own lives.</div>
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Vancouver artist Susan Bozic’s Dating Portfolio is a series of fifteen photographs that describe the iconic moments of the modern dating ritual as staged by the artist and a male store window mannequin she calls Carl. Through the series of images, the two unlikely lovebirds enact simple pleasures, from sharing a coffee in a café or enjoying a picnic, to more glamourous dates such as yachting and drinking champagne on a private jet. Taken as a whole, the dream-like images tell a story of the progressive staging of declarations of love, from casual meetings in public places to increasingly elaborate, formal dates. The narrative describes a modern dating ritual that is both humorous and psychologically complex, revealing dating as a socially constructed behaviour. The Dating Portfolio is a series of projections from the point of view of the female subject who is the active agent in the creation of every scene. Bozic’s store-window mannequin brings into relief the fantasy driving these images and defines an empty space of desire within the perfected image of relational happiness. The empty space, or the lack, represented by the male mannequin in Bozic’s images, functions as an ironic site of unrequited longing.</div>
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Bozic’s images combine the aesthetic values of commercial photography – contrived, tightly composed scenes, highly focused and controlled lighting, extensively refinished surfaces in post-production – with scenarios derived from romance literature and illustrated consumer advertising. The enacted photograph, the stock-in-trade of commercial photography, is a medium ideally suited for the visual realization of a contemporary idea of classical perfection. Conventionally used to sell hair and skin care products, make-up, spring wardrobes and automobiles, commercial photography is in the business of spinning dreams. Other-worldly glamour is lent to people and things through staged scenes of luxury and comfort that arephotographed in highly controlled lighting and polished through post-production photographic manipulation.2 Bodies can be toned and slimmed, images of food can be made to seem more appetizing than in real life, interior design and gardens can be rendered as small corners of heaven. In the enacted photograph and in the photographic still-life, every visible detail can be controlled and perfected, every gesture and nuance can be scripted. Life can be messy. Photographs can be perfect.</div>
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Eating popcorn and smiling a big, cover-girl smile, a young woman sits in a movie theatre curled under the arm of a store-window mannequin. The contrast of that smile and that stiff embrace is simultaneously humourous and disconcerting. Bozic calls the image He let me pick the movie – the “He” being, of course, her imaginary boyfriend Carl, the male mannequin with whom she sits in the cinema. The couple in the movie theatre is an icon of happiness and as such, He let me pick the movie doesn’t fail to charm. It is an image that generously communicates a flush of warm thoughts: the pleasure of human sociability, the warmth of companionship, the social approval of a public relationship and the thrill of romantic love. The movie theatre is a democratic space – indifferent to class or wealth. They eat popcorn – so we know it’s a light comedy or a popular film, a passing diversion – neither high art nor serious documentary. Between them, there is no question of status or power or money. The charm of the image is in the absence of guile: the couple is there for no other reason than they simply enjoy each other’s company.</div>
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The charming images depicting simple shared pleasures in the Dating Portfolio eventually give way to an escalating fantasy of devotion and adoration. This is the fantasy of “Carl’s girlfriend.” Every activity is imagined from the point of view of her desire. The titles of the photographs name the things that Carl has done for her: He let me pick the movie; Carl takes me to the nicest places; He surprised me with a romantic getaway; He remembered our anniversary. Her imaginary boyfriend is so good in fact, that he is able to anticipate her needs in images such as All I said was my feet were a little sore, and He’s so thoughtful, it wasn’t even my birthday. Each consecutive image in The Dating Portfolio builds toward the inevitable emotional crescendo of the white wedding, a fantasy of mutual adoration codified in popular women’s literature, music and cinema.</div>
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Bozic’s staging of the Dating Portfolio recalls the highly aestheticized narratives of traditional romance fiction. In its styling, the portfolio reprises the cover illustrations of the so-called “marriage” sub-genre of romance fiction, where marriage is the ultimate goal and the story-line traces a growing but somewhat dispassionate love. Marriage romances typically featured illustrations of attractive, well-groomed couples decorously, if stiffly, embracing.3 The lack of passion in this genre may account for the crucial role of the mannequin in Bozic’s restaging of the fantasy. However, she has updated the genre in many ways. The sketchy pastel renderings of the traditional romance covers are replaced here by saturated hues, satiny shimmer and the sharp-focus gleam of polished surfaces. In the image The picnic was his idea, the budding romance takes place under a clear blue sky and beneath falling cherry blossoms. In He remembered our anniversary, there is little left to chance in the wardrobe or setting. Carl’s girlfriend meets him at the door in pearls, embroidered satin skirt and matching satin shoes.</div>
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In Carl takes me to the nicest places the pair are out on the town in matching black. The marriage fantasy in the images is strongly equated with a fundamental materialist ethos. Make-up, hair and wardrobe are always fresh and perfect for the occasion. Deeper passion is equated with greater expense and better clothes. There is little that is spontaneous or left to chance in The Dating Portfolio. In her aestheticizing of the dating ritual, Bozic describes for us a culture in which the material qualities of life trump life itself.</div>
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If consumerism may be a characteristic particular to our time, commercial photography has lent itself well to the promotion of consumer values. In the Dating Portfolio, Bozic has referenced the photographic advertising conventions of magazine and billboard advertisements for jewellery, liquor, clothing and tourist destinations. Her actors enact their devotions to each other on a conventional stage, facing an unseen audience. Glamour is the focus of every shot, whether it is mountains, pearls, champagne or apparel. Bozic moves beyond the conventions of commercial still photography in Bedroom, however, where the mannequin’s back to the camera recalls the conventional and economical staging of the daytime soap opera. Little is expended here in terms of adornment, the focus being on the anticipation of sex. Images such as Photo Booth and All I said was my feet were a bit sore point to a greater naturalism – seemingly referencing spontaneous photo booth sessions or casual snapshots. Yet even these apparently spontaneously captured moments have been codified, conventionalized, and marketed as signifiers of “unaffected” charm and affection.</div>
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The marketing of images of affection in cinema, television, and publicity plays on the inherent voyeurism of people and the Dating Portfolio images work within this convention. We have become accustomed to living vicariously through the emotional lives of celebrities and actors. The viewer of popular media functions as a fly on the wall, unseen by the actors who pretend to be in intimate situations and who behave as if there was no one watching, making the viewer's experience akin to that of a peeping-tom. Each episode produces a frisson of excitement similar to the feeling we get from looking through someone else’s private photos, or coming across someone's discarded photo-booth pictures, where we are afforded a fraction of a second of someone else's interior life.</div>
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The fantasy of Carl’s girlfriend’s that Bozic describes is clearly as hollow as Carl. While we are charmed by these images of simple affection and by the more elaborate displays of devotion, and drawn to the aura of glamour each image holds, there is a hole in the centre of the picture. Carl’s girlfriend seems not to notice that her dream date is a dud. His perfect hair and rugged jaw line are only a cartoon fantasy of maleness. The viewer can’t help but laugh – perhaps at her naiveté, perhaps at our own. Is the joke on us? The empty space, or the lack, represented by the male mannequin in Bozic’s images is ironic, making reference to desire through the absence of its object. The enacted scenes are expressions of Carl’s girlfriend’s need for approval and for displays of affection and of her desire for unconditional love. One criticism of romance fiction is that such fantasy becomes a substitute for agency in women. To quote Germaine Greer, “This is the hero that women have chosen for themselves. The traits invented for him have been invented by women cherishing the chains of their bondage.”4 </div>
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In Susan Bozic’s the Dating Portfolio, the emperor has no clothes. The imprisoning agent of her heroine’s desire is revealed as an empty shell. The artist mocks the fantasy of prince charming, and the contemporary culture of materialism associated with it, ironically asserting the emptiness of that dream. With the Dating Portfolio, Bozic directs our attention to the difficulties of establishing and maintaining meaningful relationships in a world of increasing atomization, digitization, and materialism, where face-to-face contact seems increasingly elusive. But the dream persists, even if the centre is hollow. Desire, that need for physical and emotional completion, persists even after we think we have deconstructed its political biases. We desire a connection to someone who listens to us, understands us, protects us and adores us. The possibility and promise of human connection suggest that with it, everything is beautiful and everything is possible. Instead, the desire for human completion remains chimerical – its emotional consolation a sterile and destructive dream of limitless consumption.</div>
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1. Cf. Naomi Rosenblum, who suggests that, “Camera images have been able to make invented ‘realities’ seem not at all fraudulent and have permitted viewers to suspend disbelief while remaining aware that the scene has been contrived.” Naomi Rosenblum, A World History of Photography, 1984, p. 495.</div>
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2. Historically, photographic retouching was done using the airbrush. Contemporary photographic manipulation is now primarily digital, involving computer programs – the most popular being Photoshop.</div>
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3. Jennifer McKnight-Trontz, The Look of Love: The Art of the Romance Novel (New York: Princeton Architectural Press, 2002), 35.</div>
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4. Germain Greer, The Female Eunuch (New York: McGraw-Hill, 1971), p. 176.</div>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-72778773389793199392007-09-10T13:46:00.000-07:002019-12-30T14:02:31.867-08:00Objects of Affection: Press Release<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
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Curated by Gordon Hatt, featuring work by Susan Bozic, Meesoo Lee, Jillian McDonald, Maria Legault, Warren Quigley & Tanya Read<br />
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<span style="font-family: "calibri" , sans-serif;">Objects of Affection was an exhibition about misplaced love. Desire, that intoxicating stirring of affection for someone or something, is a constant throughout our lives. The objects of our affection, however, are constantly changing. What do we desire? Why do we desire, and how do we express this desire? </span><br />
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<span style="font-family: "calibri" , sans-serif;">Desire is of course shaped and channeled by religion, tradition, education, class and culture. We are educated in wants and needs, taught what to hope and wish for and what to disdain. But lurking beneath our educated restraint are subconscious desires, desires motivated by needs other than those determined by culture and society. Our needs may be a striving for personal completion and fulfillment, something which may be little more than a projection of our own narcissism. Never quite satisfied, we are driven to confront a gnawing existential unhappiness, constantly desiring, in an endless search to somehow fill the feeling of an emptiness within. </span><br />
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<span style="font-family: "calibri" , sans-serif;">The six artists in Objects of Affection address this existential longing through their work. Popular culture, that great vehicle for the creation and imaging of desire in the service of the consumer society, is referenced by all of the artists in the exhibition. Romance novels and advertising, Hollywood movies and fan magazines, soap operas and comics are the direct or indirect subjects of these artists. The artifacts of popular culture reflect back to us both our ideal and our comically pathetic selves. We attempt to measure ourselves against these representations but they never seem to fit. Engaging popular culture by appropriating its means, in effect talking back to it, these six artists create spaces for the desiring subject in a culture of publicity and celebrity. They address the inadequacies of popular culture's representations of who we are and what we feel, and confront the feelings of emptiness that these images of popular culture do much to create. </span><br />
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<span style="font-family: "calibri" , sans-serif;">Vancouver artist Susan Bozic has created the Dating Portfolio, a series of staged photographs depicting a young woman's romantic fantasies. Her fantasy date in these photographs is a store window mannequin. Together they enact images that recall romance novels, billboard advertising, television commercials and Hollywood films portraying the blissful co-existence of happy couples. Her matinee idol mannequin is a pliant clothes hanger, providing an amenable but insensate partner in the illustration of the young woman's impossible desire.</span><br />
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<span style="font-family: calibri, sans-serif;">Meesoo Lee, also of Vancouver, has produced a series of videos he calls Pop Songs. Working within the genre of music video, Lee samples television and video, selectively editing and adding soundtracks. His resulting modifications tease out the structural relationships of the media and its content, focussing our voyeuristic gaze on televisual images of figure skaters, rodeo riders, actors and the other shooting stars of our media environment. Lee's Pop Songs reveal video and film as a virtual peep show that feeds false intimacy to an atomized and insatiably desiring public.</span><br />
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<span style="font-family: calibri, sans-serif;">New York-based artist Jillian McDonald 's video Me and Billy-Bob is a projection and examination of the obsessional fantasy that fuels our now pervasive celebrity culture. Me and Billy-Bob is a collage of clips from movies starring the actor Billy-Bob Thornton. McDonald digitally inserts herself into existing film clips as the recurring object of actor Billy-Bob Thornton's affection. They exchange looks of longing, pleasure, and pain, yet the desire remains unconsummated, looping infinitely. McDonald's intervention is part of a larger body of work that includes other videos, a website, a photo series, music, and a participatory tattoo project for fans.</span><br />
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<span style="font-family: calibri, sans-serif;">Toronto-based performance artist Maria Legault's work is based around a life-sized puppet she calls Plus One. As the name implies, Plus One is Legault's imaginary partner, a foil and a projection of her desires and anxieties in being part of a couple. Their marriage and its disintegration are the subject of a performance where intimacy and communication are doomed from the start. </span><br />
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<span style="font-family: calibri, sans-serif;">Ridgeway, Ontario artist Warren Quigley creates an installation environment through the arrangement of aspects of a motel room. His Love Motel makes reference to bordellos from New Orleans from the turn of the previous century, to the Love Motels of Asia in the 60s and 70s, to the North American roadside motels spawned by car culture. While other artists attempt to describe the illusiveness of desire through surrogate love objects, Quigley describes desire as a vacant shell of anticipation and regret.</span><br />
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<span style="font-family: calibri, sans-serif;">Toronto-based artist Tanya Read created Mr. Nobody in 1998, a black-and-white anthropomorphic animal resembling a cross between a panda bear and a cat. Mr. Nobody is not the ideal integrated self, but the self as fragmented, aimless, confused and desiring. Like his popular television counterpart Homer Simpson, Mr. Nobody is a bottomless well of omnidirectional need and comic pathos. </span></div>
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<span style="font-size: x-small;">Image: Susan Bozic, <i>He let me pick the movie</i>, C-print, 30 x 40 inches, 2005. </span><o:p></o:p></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-63405566945447970892006-04-01T07:54:00.000-08:002020-07-17T07:59:33.021-07:00Forward! Introduction to University of Waterloo Fine Arts 4th Year Studio Exhibition Catalogue<div class="MsoNormal" style="margin: 0in;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Nineteen students will graduate from fourth year studio at the University of Waterloo Department of Fine Arts this spring. Nineteen students will take the experiences and learning they have acquired in this past year and in the past four years and apply it to the next ten years of their lives. Give or take a few years. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Give a few years extra if you have been present for every class, and used every spare time opportunity to work in the studio. Give a couple more years if you collected postcards or stole invitations from the bulletin boards containing art work that attracted you, irritated you, charmed you or otherwise turned your head, and then give a year or two more if you regularly stayed up late trawling the Internet or combing the library stacks looking for other images by those artists or reading interpretations of their work. Add a couple of months if in the past year you have had at least one drunken argument with a fellow student where the subject was the relevance of art in the contemporary world. Add a few months if you have fallen asleep with your head in an art book. Add a couple more months if it completely screwed up your dreams that night and tack on some more time if you woke up the next morning still thinking about it.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">I don’t have to explain how you take years off. If you missed a bunch of classes for no good reason, rarely spent time in the studio, and gave little thought to the discipline of art during the rest of the day or week, then this experience will not linger. You won’t have to worry about fitting all of your art work into the van when you move. What the hell, what you have you probably won’t even bother moving – might as well just leave it for the custodians to deal with. With little invested, little will be returned and in a couple of years the whole experience will be a vague memory.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">By the time you read this all of the above will be water under the bridge. You will have either done the work or you haven’t. The larger question facing you will be “To what end?” Upon graduating, will you be able to enter the world as a professional artist? Probably not yet. Those who are considering that route should be planning on a lot more work and study before that becomes a possibility. Will this programme significantly add to your employment prospects? No, not significantly, but neither will your fourth year psychology credit. Will you have become a sophisticated consumer of cultural products? Well, let’s put it this way. It’s a start.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">When people question the importance of a fine art education today, I counter that it has never been more important. In a world where knowledge is increasingly mediated through images rather than text, where else do we study the construction and the interpretation of pictures? In our society, those who have the ability to control, shape and distribute images also have, not coincidentally, the greatest political and economic power. An educated population is no longer one that is just literate and numerate, an educated population today is also visually literate. An educated person today understands that we can be lead by our dreams and our fears and that those dreams and fears are often constructed by others through visual media. True freedom is the ability to perceive seduction, manipulation and coercion for what it is, and to act, speak and create and exchange images that are our own, consciously, freely, humanely.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, it’s a start. Your education is truly the beginning of your freedom.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Gordon Hatt, 2006</span><span style="font-family: "times new roman" , serif; font-size: x-small;"><o:p></o:p></span></span></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-23305884427313505422006-03-27T21:25:00.000-08:002016-10-30T07:16:36.845-07:00Forward!<div style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
<div class="MsoNormal" style="font-size: 12px;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Nineteen students will graduate from fourth
year studio at the University of Waterloo Department of Fine Arts this spring. Nineteen
students will take the experiences and learning they have acquired in this past
year and in the past four years and apply it to the next ten years of their
lives. Give or take a few years. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Give a few years extra if you have been
present for every class, and used every spare time opportunity to work in the
studio. Give a couple more years if you collected postcards or stole invitations
from the bulletin boards containing art work that attracted you, irritated you,
charmed you or otherwise turned your head, and then give a year or two more if
you regularly stayed up late trawling the Internet or combing the library
stacks looking for other images by those artists or reading interpretations of
their work. Add a couple of months if in the past year you have had at least
one drunken argument with a fellow student where the subject was the relevance
of art in the contemporary world. Add a few months if you have fallen asleep
with your head in an art book. Add a couple more months if it completely
screwed up your dreams that night, and tack on some more time if you woke up the
next morning still thinking about it.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I don’t have to explain how you take years
off. If you missed a bunch of classes for no good reason, rarely spent time in
the studio, and gave little thought to the discipline of art during the rest of
the day or week, then this experience will not linger. You won’t have to worry
about fitting all of your art work into the van when you move. What the hell,
what you have you probably won’t even bother moving – might as well just leave
it for the custodians to deal with. With little invested, little will be
returned and in a couple of years the whole experience will be a vague memory.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">By the time you read this all of the above
will be water under the bridge. You will have either done the work or you
haven’t. The larger question facing you will be “To what end?” Upon graduating,
will you be able to enter the world as a professional artist? Probably not yet.
Those who are considering that route should be planning on a lot more work and
study before that becomes a possibility. Will this programme significantly add
to your employment prospects? No, not significantly, but neither will your fourth
year psychology credit. Will you have become a sophisticated consumer of
cultural products? Well, let’s put it this way. It’s a start.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">When people question the importance of a
fine art education today, I counter that it has never been more important. In a
world where knowledge is increasingly mediated through images rather than text,
where else do we study the construction and the interpretation of pictures? In
our society, those who have the ability to control, shape and distribute images
also have, not coincidentally, the greatest political and economic power. An
educated population is no longer one that is just literate and numerate, an
educated population today is also visually literate. An educated person today
understands that we can be led by our dreams and our fears and that those
dreams and fears are often constructed by others through visual media. True
freedom is the ability to perceive seduction, manipulation and coercion for
what it is, and to act, speak and create and exchange images that are our own,
consciously, freely, humanely.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Yes, it’s a start. Your education is truly
the beginning of your freedom.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span lang="EN-US">Gordon Hatt, 2006<span style="font-size: 12px;"><o:p></o:p></span></span></div>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-89047623150074382722005-09-15T08:16:00.000-07:002016-10-30T08:24:55.907-07:00Anitra Hamilton: Bomb Ride<div class="MsoNormal" style="margin-bottom: 12.0pt;">
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Anitra
Hamilton’s <i>Bomb Ride</i> is a decommissioned and disarmed American-made
MK-82 aerial bomb mounted on a children's coin-operated mechanical riding
amusement like those found at the local supermarket or shopping mall. She has
painted the bomb with stripes of red, blue, orange and white – colours that
make the bomb look fun and festive but which also allude to the colours of
military insignia. <span style="mso-spacerun: yes;"> </span>Put a loonie ($1
coin) in the machine and you can ride it for three minutes.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">A bomb is
an explosive filler enclosed in a casing. Bombs are generally classified
according to the ratio of explosive material to total weight. The principal
classes are general-purpose (GP), fragmentation, penetration and cluster bombs.
<u style="text-underline: #0000E3;"><span style="color: #0000e3;">1</span></u> <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The image
of an adult riding a bomb recalls the comically patriotic Major T. J.
"King" Kong (played by the actor Slim Pickens) in the satirical
anti-war movie Dr. Strangelove. The image of a child riding a bomb produces
more disturbing associations. Images of children burned and mutilated and
orphaned by aerial bombing have become icons of the cruelty of modern war : a
crying Chinese baby abandoned in the bombed out station during the Japanese
rape of Nanjing in 1937; the image of the naked Kim Phuc, her clothes burned
from her body, frantically running to escape the inferno of an American napalm
attack during the Vietnam war. In 2003, the image of the orphaned, armless and
severely burned twelve-year old Ali Ismail Abbas became the most recent symbol
of aerial bombing’s cruel and indiscriminate victimization of children. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">2</span></u><o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Approximately
50-percent of the General Purpose [GP] bomb's weight is explosive materials. These
bombs usually weigh between 500 and 2,000 pounds and produce a combination of
blast and fragmentation effects. The approximately one-half-inch-thick casing
creates a fragmentation effect at the moment of detonation, and the 50-percent
explosive filler causes considerable damage from blast effect. The most common
GP bombs are the MK-80 series weapons. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">3</span></u><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Grocery
store riding amusements seem to have been a rite of passage for many children
growing up in post-war North America. The rides are aimed at pre-school
children and their parents and feature cast fibreglass images of saddled horses,
lions, tigers and giraffes, miniature cars, boats, airplanes, rockets and
trains. Many parents obtain great pleasure in plopping a barely walking one
year old child on a gently rocking airplane or mechanical horse. Often, the
toddlers are terrified and have no interest in the ride – mostly they
tentatively smile back at the their greatly amused parents. Following the
initial Kodak moment, the kids gradually loose their fear of the rides and
begin to look forward to the prospect of another three minute riding adventure.
Parents, on the other hand, regret their initial enthusiasm in promoting these
amusements to their children and grow weary of the prospect of spending another
dollar on such an underwhelming adventure. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Blast is
caused by tremendous dynamic overpressures generated by the detonation of a
high explosive. Complete (high order) detonation of high-explosives can
generate pressures up to 700 tons per square inch and temperatures in the range
of 3,000 to 4,500º prior to bomb case fragmentation. It is essential that the
bomb casing remain intact long enough after the detonation sequence begins to
contain the hot gases and achieve a high order explosion. Approximately half of
the total energy generated will be used in swelling the bomb casing to 1.5
times its normal size prior to fragmenting and then imparting velocity to those
fragments. The remainder of this energy is expended in compression of the air
surrounding the bomb and is responsible for the blast effect. This effect is
most desirable for attacking walls, collapsing roofs, and destroying or
damaging machinery. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">4</span></u><o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The
storybook image of the pre-schooler riding off into dream-land on an affable
tiger is soon enough replaced by an active fantasy life of power and conquest. Pre-adolescent
children act out these fantasies in the form of magic wands, ray-guns, swords
and pistols as well as becoming fervently engaged with super-hero comic books,
action movies and violent video games. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">5</span></u> T he dream resides in almost every
school-aged child of possessing god-like powers of life and death. Little boys
especially like to pretend that they can fly like Superman, be impervious to
assaults like Ironman, and possess super human strength like the Hulk. This
childish dream of flying, shooting, killing and pretend-dying has been
identified as a way in which children act out and deal with anxieties and
fears. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">6</span></u><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">The
attack or bombardment, by whatever means, of towns, villages, dwellings, or
buildings which are undefended is prohibited.” <u style="text-underline: #0000E3;"><span style="color: #0000e3;">7</span></u> Hague Convention, 1907.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">According
to the United States Airforce, Lt. Myron Crissy holds the honour of being the
first man to drop a live bomb from an airplane. It happened during a civilian
flying meet near San Francisco on January 15, 1911. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">8</span></u> The first aerial bomb was
dropped in combat on November 1, 1911 by the Italian pilot Lieutenant Guilio
Cavotti. Cavotti made history by leaning out of his monoplane and dropping a
two kilogram hand-grenade on the North African oasis Tagiura near Tripoli. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">9</span></u> <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Cavotti’s
bomb began modern history’s dark chapter of bombing in the cause of colonial
subjugation. Where previously it had been agreed upon by international
convention that the bombing of non-combatants constituted a war crime, now a
combination of economics and the belief in European racial superiority
permitted the indiscriminate bombing of Arab, African, Indian and Asian people.
Aerial bombing was literally a license to kill and contemporary European legal
opinion cleared the way for bombing in the colonies that in other circumstances
have been consider war crimes. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">10</span></u><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Reading
about these historic firsts, one can’t help but sense the elation, the sense of
unlimited power that aerial bombing produced. These early bomber pilots were
unassailable – gods with super powers, impervious to the primitive weaponry of
the colonial trouble makers and savages they were sent to sub-due. They were
like children on their mechanical hobby horses, zapping and vaporizing their
enemies, and never having to die – big kids playing war. War at its root, is
dangerous play – thrill seeking, joy riding, hunting, fighting, wrestling,
banging, screaming, flying fun. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Wars,
according to Martin van Creveld, are not engaged in order to achieve goals,
rather, goals are chosen in order to create an excuse to wage war. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">One very
important way in which men can attain joy, freedom, happiness, even delirium
and ecstasy, is by not staying home with wife and family, even to the point
where, often enough, they are only too happy to give up their nearest and
dearest in favour of – war. <u style="text-underline: #0000E3;"><span style="color: #0000e3;">11</span></u><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">When
Anitra Hamilton’s <i>Bomb Ride</i> is described, invariably what ensues is a
nervous giggle – a giggle that recognizes the ironic play of associations – the
adorable toddler on a coin operated riding amusement contrasted with the cruel
reality of bombing. <span style="mso-spacerun: yes;"> </span><i>Bomb Ride</i> punctures
our idealized notions of art and human improvement to declare them a thin cover
for our innate potential for violence. It is a picture of humanity, as seen by
Hamilton – we <i>are</i> Slim Pickens riding the bomb in Dr. Strangelove. Bruno
Bettelheim suggested that violent fairy tales have the purpose of guiding the
child to “relinquish his infantile dependency wishes and to achieve more satisfying
independence.” <u style="text-underline: #0000E3;"><span style="color: #0000e3;">12</span></u>
Would it be so.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">We
recognize ourselves as we watch the kids jump up and straddle Hamiton’s <i>Bomb
Ride</i> like some magic rocket. For three minutes, they are flying into a
weightless space of power and unassailable omnipotence. Just like the kids we
entertain violent fantasies and we allow ourselves to be entertained by fantasy
violence. We are all kids at heart.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Gordon
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<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span lang="EN-US" style="font-family: "times new roman";">End
Notes</span></div>
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<u><span lang="EN-US" style="color: #0000e9;">1</span></u><span lang="EN-US">: </span><span lang="EN-US" style="font-family: "times new roman";">Bombs for Beginners,
<http://fas.org/man/dod-101/sys/dumb/bombs.htm</span><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "times new roman";">>.</span></div>
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<u><span lang="EN-US" style="color: #0000e9;">2</span></u><span lang="EN-US">: </span><span style="font-family: "times new roman";">Ali
Ismail Abbas has a web site dedicated to his story at <http://www.aliabbas.net>.</span></div>
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<span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<u><span lang="EN-US" style="color: #0000e9;">3</span></u><span lang="EN-US">:</span><span lang="EN-US"> </span><i><span lang="EN-US" style="font-family: "times new roman";">Bombs
for Beginners</span></i><span lang="EN-US" style="font-family: "times new roman";">.</span></div>
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<span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<u><span lang="EN-US" style="color: #0000e9;">4</span></u><span lang="EN-US">: </span><i><span lang="EN-US" style="font-family: "times new roman";">Bombs
for Beginners</span></i><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "times new roman";">.</span></div>
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Jones, Gerard,</span><span lang="EN-US"> </span><i><span lang="EN-US" style="font-family: "times new roman";">Killing Monsters: Why Children Need Fantasy,
Super-Heroes and Make-Believe Violence</span></i><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "times new roman";">,
Basic Books, New York: 2002.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<u><span lang="EN-US" style="color: #0000e9;">6</span></u><span lang="EN-US">: </span><span lang="EN-US" style="font-family: "times new roman";">Jones,
Gerard, <i>op. cit.</i></span><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "times new roman";">, ch. III, “The Magic Wand,” pp. 45- 63.</span></div>
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<span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<u><span lang="EN-US" style="color: #0000e9;">7</span></u><span lang="EN-US">: </span><span style="font-family: "times new roman";">Laws
of War: Laws and Customs of War on Land (Hague IV); October 18, 1907, The
Convention, Annex to the Convention: Regulations Respecting the Laws and
Customs of War on Land, Section II, Hostilities, Chapter I, Means of Injuring
the Enemy, Sieges, and bombardments, Art. 25.
<http://www.yale.edu/lawweb/avalon/lawofwar/hague04.htm>.</span></div>
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States Airforce Museum, http://www.wpafb.af.mil/museum/history/preww1/pw18.htm</span></div>
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Sven, </span><span lang="EN-US"> </span><i><span lang="EN-US" style="font-family: "times new roman";">A
History of Bombing</span></i><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "times new roman";">,
translated by Linda Rugg, New York, The New Press 2001. Pocket edition with new
preface 2003, chapter 4, “Death Comes Flying,”</span></div>
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<span lang="EN-US"><o:p></o:p></span></div>
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#123 p. 52. Bombing of colonies was considered acceptable at this time
because a) colonies were considered the properties of European powers and as
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van Creveld, <i>On Future War</i></span><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "times new roman";">, London: 1991. From Lindquist, p. 185</span></div>
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Bruno, <i>Children Need Fairy Tales</i></span><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "times new roman";">, 1976, p. 11.</span></div>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-25382752218900618662005-06-04T07:56:00.000-07:002019-06-04T07:58:36.145-07:00Max Streicher’s Inflatables<div class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; line-height: 26.666664123535156px; margin: 0cm 0cm 0.0001pt;">
<span style="font-size: 12pt;">In his development of the inflatable as kinetic and interactive artwork, Max Streicher has located images of our greatest joys and our deepest fears. Combining industrial fans and simple valve mechanisms with light and papery materials, Streicher animates his fabric forms with an effortless naturalism which recalls,</span><b style="font-size: 12pt;"></b><span style="font-size: 12pt;">quite eerily, the sensation of breath. Often drawing on literary and biblical sources for his imagery, Streicher’s work provokes strong, spontaneous, and deeply psychological reactions in people of all ages and backgrounds.</span><span style="font-size: 12pt;"> </span></div>
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<span style="font-size: 12pt; line-height: 32px;">Born in Alberta, Canada in 1958, Max Streicher’s early interests were in the areas of theology and English literature. He later transferred from the seminary to studies in visual art, completing degrees at the undergraduate and graduate level. Graduating from the Master of Fine Arts programme at York University in Toronto in the late 1980s, Streicher gravitated to the artist run spaces and artist collectives that were beginning to gain prominence in the Canadian art world in the early 90s. <o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">Artist collectives in the 1990s emerged in part as a response to a withering economic recession in Canada, and they quickly moved to fill the void of a collapsing art economy. Groups of artists began producing exhibitions and art events unmediated by established curators and they were making and exhibiting art that was often far outside the pre-existing commercial mainstream. The collective exhibitions seemed to fit a new cultural mood in the country, one that had grown sceptical of the art market and weary of the hype that characterized international art in the 1980s. Resembling less conventional exhibitions than spontaneous actions and ephemeral performances, the artist collective exhibitions were evidence of the presence of a new generation of artists emerging from Canadian university art programmes. This new generation was not only prepared to do it themselves, they were also trained in post-modern cultural criticism and saw themselves as part of a larger international cultural revolution in the making – deconstructing the ideologically loaded art object and proposing feminist and post-colonial critiques of the institutions of Western culture.<o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">It is in this context that Max Streicher produced his first inflatable work, <i>Breathe</i>(1989), exhibited at the Bloor Street United Church in Toronto.<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[1]</span></span></span></a>It was Streicher’s first work after graduate school, a response to the new freedom from the demands of graduate school, a piece he later described as being at the time whimsical – “a lark.”<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[2]</span></span></span></a>It consisted of a sewn nylon bag, inflated by a vacuum cleaner. <i>Breathe</i>emerged from a series of free association drawings the artist was making in the months just after having completed graduate school. One of the drawings depicted two ram’s heads connected at the nose by a pipe. Open to the vagaries of chance and happy accidents, Streicher came across a vacuum cleaner and a sewing machine in the street, which he incorporated in the final work. The finished piece was brought to life by the spectator who activated a timer, initiating the inflation of a sewn nylon bag. Each time <i>Breathe</i>inflated, it became a giant stiffening ram's horn, while the vacuum made a remarkably loud and high-pitched sound, contrasting, not incidentally, with the otherwise serene church interior. There was something slightly rude about the piece: its size and noise and its suggestion of a male erection – the kind of iconoclasm possible only by a former seminary student.<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[3]</span></span></span></a>At the end of the timed inflation, the whine of the vacuum would stop, the form would gently sag, droop and return to a tousled mass on the floor. The anti-sculptural act of deflation was as dramatic as the work’s inflation, an element that reoccurs in Streicher’s later inflatable work. <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">Breathe</span></i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">made an impression on many people, including John Dickson and</span><span style="font-size: 12pt; line-height: 32px;">Lyla</span><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">Rye, who were looking for artists to form the collective which came to be known as Nether Mind.<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 12pt;">[4]</span></span></span></a></span><span style="font-size: 12pt; line-height: 32px;">Nether Mind’s </span><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">first exhibition took place in an old industrial basement in the King Street West area of Toronto. Streicher exhibited the work <i>Boiler</i>in this inaugural show, a work which is essentially an </span><span style="font-size: 12pt; line-height: 32px;">elaboration of <i>Breathe</i>. The figures in <i>Boiler </i>were conceived as tripedal bunny suits – each with three ears, arms and legs tapered to points, like abstracted jesters. Viewers animated the pieces by engaging separate fan switches for each ‘figure,’ allowing the viewer the power to choreograph their movements.<b></b>The inflation, much like <i>Breathe</i>, was startling – the gloomy setting of the installation only enhancing their frightening presence. <o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">For <i>Boiler</i>, Streicher had discovered<b></b>Tyvek, DuPont's brand name for a water resistant synthetic paper, made from very fine, high-density polyethylene fibres. Tyvek behaves much like a hybrid of paper and fabric: it is lightweight, smooth, opaque and very “durable” – well suited to being sewn – and in its commercial form, bright white. It is primarily used as a vapour barrier in home construction, as a material for coveralls for painters and for toxic waste clean‑up. Its relative impermeability is perfect for holding air. Its papery lightness responds easily to changes in air pressure and became, for Streicher, an expressive medium capable of suggesting living flesh. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12pt; line-height: 32px;">The white, airy lightness and billowy softness of the Tyvek inevitably recall clouds. <i>In Where There Is Smoke</i>(1992) Streicher executed a private commission in the manner of a baroque ceiling painter, suggesting the illusion of an opening through the roof to the sky. It is a caricature of a cloud or of a plume of smoke – a pulsating vision animated by varying air currents. Another play on this theme is <i>Pillars of Cloud</i>, (1992). The <i>Pillars of Cloud</i>were mounted on modified golf carts and inflated by the squeezing of a hand-break mechanism. The title is a Biblical reference to when <i>Yahweh</i>was leading the Israelites out of Egypt and through the wilderness – leading them<b></b>"by a pillar of cloud by day . . . and a pillar of fire by night."<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 12pt;">[5]</span></span></span></a>In the process of realization, the soft billowy cloud forms gradually came to resemble more the sharp "peaks of church steeples and Thai architecture."<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn6" name="_ednref6" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 12pt;">[6]</span></span></span></a>These pillars of cloud are like modern conveniences or consumer appliances – personal augers to the promised land of consumerism – and seem as though they should be available at any department or hardware store. </span><span style="font-size: 12pt; line-height: 32px;"><o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">Streicher’s fullest elaboration on this theme, however, came in the work <i>Cloud</i>, exhibited at the Art Gallery of Ontario in 2004. Hovering a little under two metres above the floor,<i>Cloud</i>towers upwards to a height of ten metres. Apart from the stunning and uncanny presence of a cloud in an enclosed space, the spectator was offered the opportunity of entering the piece, by simply ducking under its bottom edge, giving new meaning to the experience of “having your head in the clouds.”<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn7" name="_ednref7" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[7]</span></span></span></a>Indeed,<i>Cloud</i>was inspired by Streicher’s<b></b>initial encounter with the proposed exhibition space, the Tannenbaum Atrium at the Art Gallery of Ontario, where the gridded floor and<b></b>airy, light‑filled two‑storey atrium recalled for the artist a memory of flying over the Western Canadian prairies, – a feeling of being in and around clouds, a feeling Streicher likens to being inside a painting by Tiepolo or Correggio. <o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">A counter-point to Streicher’s impressionism is his interest in the intersections of spirituality, commercialism and consumerism – a theme illustrated in <i>Pillars of Cloud</i>and elaborated in the work <i>this flesh . . .</i>(1993). <i>this flesh . . .</i>featured a 16 mm film loop of an appropriated advertising inflatable effigy crudely painted to resemble the Toronto discount retailer Honest Ed with two sewn-on arms spread wide to welcome (or bless?) shoppers. The image was projected on an arrangement of four mirrors that fragmented the image and enhanced the cruciform character of the inflatable. The cruciform resemblance of the Honest Ed effigy may be merely coincidental, but the Christ-like death and resurrection character of many of Streicher's figurative inflatables is hard to miss. Streicher’s interest in theology in part reflected a fascination with the forces that animate matter. While the forces in his work are mechanical, his figures, even at their most abstract, inflate like heaving chests, and pulsate like beating hearts. They are present as physical bodies and remind us of life as both miraculous and ephemeral. <o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">The Endgame series began in 1999 continued a similar critique of consumer society. <i>Endgame</i>was inspired by Samuel Beckett’s play featuring the two tragically absurd characters Hamm and Clov. In Streicher’s outdoor installation gigantic inflated clown heads inhabit various urban locals. The heads lay on their backs, sometimes bobbing and buffeted by the wind. Seemingly oblivious to the elements and to the commercial life of the city below them, the heads appear to gaze at the sky with expressions that read as a combination of bewilderment, alarm, and awe. With their ridiculous size and bold simple contours, they resemble advertising released from its commercial moorings. The heads appear to gaze at the sky with expressions that read as a combination of bewilderment, alarm, and awe. Instead of engaging and seducing the viewer with promises of gratification these characters are freed from commercial responsibility. They redirect our gaze to the passing clouds. They are an invocation to <i>being</i>as opposed to <i>buying</i>.<o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">A major theme in Streicher’s inflatable sculpture has been the figure. First intimated at in the work <i>Boiler</i>, with its abstract yet unmistakably anthropomorphic character, the figure in Streicher’s hands could be frightening, but also, and more often, somewhat ridiculous and pathetic. <i>Quartet in a Box </i>(1995) is four inflatable figures arranged in a circle, each connected to an air source through the top of the head. Each figure pulses and writhes as a rotating valve mechanism changes the air pressure to each figure. The spectator recoils with feelings of revulsion and morbidity as they inflate, recognizing in their jerking and quivering a kind of physical seizure – bodies out of control. <o:p></o:p></span></div>
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<i><span style="font-size: 12pt; line-height: 32px;">Sextet</span></i><span style="font-size: 12pt; line-height: 32px;">(1996) was an enlargement of the <i>Quartet in a Box</i>model. The Sextet figures were 1.5 times life size and they were attached at the navel with flexible duct that ran to a central mechanism. Each figure would strike a different pose; some sitting upright with splayed legs, arms lifting at their sides. As the valve mechanism rotated it would send an alternating pulse of air from figure to figure. This movement takes place quickly, creating the impression of a frantic, manic energy – reckless, dizzying and out of control.<o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">With the introduction of simple electrical switching mechanisms Streicher found the ability to animate his figures with greater dramatic effect. <i>Balancing Act</i>(1995) consists of a pair of figures suspended from the ceiling that appear to exchange breath through rubber tubes inserted in the mouth. As each figure inflates, its chest fills and its arms thrust forward, while the back arches and legs and feet stiffen to a point. As it deflates, the stiffness slowly disappears and the legs dangle limply. The inflation is alternating, so that one figure is always inflating while the other is deflating. Streicher likens the effect to a dance, a<b></b>mechanical and preposterously literal variation on Nijinsky’s expiring dance in the Rites of Spring. The power of this work is that when a figure loses air, it is seemingly the illusion of physical life itself that disappears – vanishes in front of our eyes – becoming nothing more than a limp cloth bag. Quickly and unconsciously, we become intimate with these figures. As they inflate and we hear air rush into the body, we form a sort of interspecies bond – the kind of bond one might feel watching the breathing of a sleeping companion.<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn8" name="_ednref8" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[8]</span></span></span></a>These works focus on the central role of air and the imitation of breathing, and the many emotions that it elicits. We breathe differently when asleep and awake, when we are nervous, when we are calm. By adjusting and controlling the rhythm, the sound and the speed of inflation and deflation, the artist controls these perceptions and tells a story. Currents of air in the work of Max Streicher are indeed feelings given form.<o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">Recent works <i>Blow</i>(2004) and <i>Romulus and Remus</i>(2005) share the same mechanics, applied here to an even more dramatic effect. Returning to this theme almost ten years after <i>Balancing Act</i>, Streicher seems to have exchanged the gentle symbiotic melancholy of the former for a brutal co-dependency. Connected through the backs by a short piece of flexible duct, <i>Blow</i>and <i>Romulus and Remus</i>resemble blow-up Siamese twins. Not only do the figures inflate more quickly and forcefully, but unlike <i>Balancing Act</i>, where one figure passively deflated as the other inflated<b>,</b>now the inflating figure literally sucks the air from its counterpart. In<i>Blow</i>and <i>Romulus and Remus</i>deflation is experienced empathetically, as though it were a human expiration.<o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">Fascinated with the effect of complete deflation, Streicher decided to show these diaphanous works vacuum packed, flatted and on the wall. In 2004 this idea evolved into a series of photograms, where light replaces air in bringing his inflatable figures to life. The photograms, like the inflatables, have a ghostly animus, a sense of a fleeting presence, a remnant or trace of a mysterious, now departed being. These images are created by positioning deflated and flattened figures directly on a large format photographic paper and exposing them to light. The translucency of the nylon spinnaker allows light to pass through it and on to the photographic paper creating fascinating and subtle tonal gradations. What emerges within the silver gelatine emulsion is the impression of a figure. The subtle shading is the result of the folding and overlapping of the material when the figure is flattened, yet these figures appear three dimensional. The seams, the result of Streicher’s inflatable fabrication process, create lines that read as various internal systems – musculature, nerves, and veins. It is neither a literal three dimensional rendering, nor a representation of the fully inflated figure. These images have the mysterious and puzzling appearance of some unconventional imaging source, of an ultrasound perhaps, or the x-ray of ancient mummified corpse. <o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">Scale as a element in Streicher’s inflatables was on the artist’s mind as early as 1993 when he appropriated the image of the Honest Ed inflatable in <i>this flesh . . .</i>The version of <i>Boiler</i>exhibited in the at the Power Plant exhibition in 1994 was a scaled-up version of the original to twice life‑size.<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn9" name="_ednref9" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[9]</span></span></span></a>It was also around that time that he began to develop ideas for the gigantic <i>Swan Song</i>, for an exhibition at the Southern Alberta Art Gallery in Lethbridge in 1996.<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn10" name="_ednref10" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[10]</span></span></span></a><o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;"> “My intention is to overwhelm the gallery space and impose on the viewer a sense of scale like that which a toddler might experience. I am attempting to recreate a situation like that of childhood encounters with humongous snow banks or haystacks; structures that invite a physical exuberance which in turn leads the imagination. . . In this work I want to physically embrace the viewer within a tension between pleasure and threat, enchantment and self reflexive awareness.”<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_edn11" name="_ednref11" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[11]</span></span></span></a><o:p></o:p></span></div>
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<i><span style="font-size: 12pt; line-height: 32px;">Sleeping Giants</span></i><span style="font-size: 12pt; line-height: 32px;">, (1998), and Streicher’s later version <i>Silenus</i>(2002), bring together the phenomenology of the physical body first ventured in <i>Quartet in a Box</i>with the scale of <i>Swan Song</i>. The giants in their great mass heave and sigh to the timed intervals of the blowers. Lying on their backs and sides, heads rise from the floor, legs stiffen, and chests inflate, only to relax again, as if in some futile attempt to get out of bed or off the couch. The giants recall the body as gross anatomy – of a soul trapped within spoilable flesh, and the dispirited body, incapable of action because of the sentiment of futility. The giants also recall the tragic body, the self-perpetuating machine – needy, voracious, desiring – independent of consciousness and will. <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">Floating Giants</span></i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">(2001) installed at the Canadian Broadcasting Corporation building in Toronto, combined Streicher’s interest in high-wire acrobats and oversized figures. Fabricated from nylon spinnaker, the <i>Floating Giants</i>are held aloft by helium balloons and tethered to the ground by a flexible duct that also fills them with air. Measuring<b></b>seven metres tall but nearly weightless, they ascend and fall, bouncing in the breeze. They are courageous and vulnerable – the image of a naïve fantasy – a dream of flying.<o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">Streicher’s bestiary of works including <i>Swan Song</i>(1996), </span><i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">Stuck Unicorn </span></i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">(2003), <i>Four Horses</i>(2003) and now <i>Dung Beetle</i>(2005) are an elaboration of the metaphorical possibilities that he began with his figurative work. With </span><i><span style="font-size: 12pt; line-height: 32px;">Swan Song,</span></i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">Streicher </span><span style="font-size: 12pt; line-height: 32px;">sought a “threatening beauty,” choosing the swan because as an animal it is commonly known as a symbol of beauty and elegance, but at the same time feared for its strength and its potential for violence. Yard upon yard of silky white Tyvek pulsates and roars from the industrial fans, creating an experience for the viewer to wade through that is simultaneously dreamlike and nightmarish. As in a dream, the scale is distorted and no contour is solid – everything collapses to the touch or seems beyond reach. <o:p></o:p></span></div>
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<i><span style="font-size: 12pt; line-height: 32px;">Equestrian Monument #1, (2003) Stuck Unicorn (2003)</span></i><span style="font-size: 12pt; line-height: 32px;">and<b></b></span><i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">Four Horses (2003)</span></i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">upset expectations that come from the history of equestrian sculpture. In stark opposition to, for example, Verrocchio’s <i>Equestrian Monument of Bartolommeo Colleoni (ca. </i>1481), a bronze monument to military prowess, Streicher’s air-filled horses slumber improbably on roof tops like nesting pigeons. Shifting and nodding in the wind they appear to survey the human traffic below with blithe indifference. Too puffy and weak in the knees to consider galloping away, these horses are, like their <i>Endgame</i>counterparts Hamm and Clov, contently indolent.</span><span style="font-size: 12pt; line-height: 32px;"><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">Dung Beetle</span></i><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">(2005) is a 9-metre-long black beetle lying on its back. Like <i>Endgame</i>, Streicher has returned to classic existentialist literature for his inspiration, in this case Franz Kafka’s Metamorphosis. And like <i>Endgame</i>, <i>Dung Beetle </i>embodies a similarly implicit critique of the culture of publicity, as the body of beetle is not made from Streicher’s</span><span style="font-size: 12pt; line-height: 32px;">favoured</span><span lang="EN-US" style="font-size: 12pt; line-height: 32px;">Tyvek or nylon spinnaker, but from vinyl that has been recycled from billboard advertising. The tragedy of Gregor Samsa’s new insect body in Kafka’s Metamorphosis is related through the reactions of his horrified family. Streicher places us all in the position of family members – sympathizers with a pointless and futile struggle, witnesses to a ghastly and unmentionable spectacle. <o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">The inflatable as art – the balloon, the soap bubble, the inflatable toy – is something we typically dedicate to children. Max Streicher has taken the inflatable, the prepubescent symbol of wonder and tragedy and rehabilitated it, or rather; he has given it an adult life. He has done this not by stripping the inflatable of those characteristics that appeal to children, but by probing those aspects that are fundamental to understanding ourselves. He creates tension between the playfulness of the medium and an experience that is both physical and empathetic. We favour children with balloons and they in turn are fascinated by their lightness, enthralled by their buoyancy, and devastated when they break. With each balloon, we create a round, pudgy, brightly coloured life – symbolizing at once our joy in creation and our awareness of life's fragility. And therein lies its magic: the inflatable makes the abstract character of our organic existence visible. We know we were born from nothing, we feel our breath now, and we know that we will expire. <o:p></o:p></span></div>
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<span style="font-size: 12pt; line-height: 32px;">Gordon Hatt <o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[1]</span></span></span></span></a><span lang="EN-US"><i>The Crossing</i>, Bloor St. United Church, coordinated by Mediums Art Centre, Toronto.<o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[2]</span></span></span></span></a><span lang="EN-US">Conversation with the Artist, 1998.<o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[3]</span></span></span></span></a><span lang="EN-US"></span>Streicher’s free association drawings, recycled tools and found parts recall the tradition of artist <i>flâneurs </i>– those artists and writers from Baudelaire to Breton to Debord who traversed the city in states of distracted attention, cultivating random, spontaneous associations, drawing on the unconscious and the urban environment as a source and site for poetry. <span lang="EN-US"><o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[4]</span></span></span></span></a><span lang="EN-US">Other artists exhibiting with Nether Mind included Tom Dean, Catherine Heard, Greg Hefford, Mickey McCarty, Mary Catherine Newcomb, Reinhard Reitzenstein, Carl Skelton, Anastasia Tzekas, and Manrico Venere. <o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[5]</span></span></span></span></a><span lang="EN-US">"The Lord was going before them in a pillar of cloud by day to lead them on the way, and in a pillar of fire by night to give them light, that they might travel by day and by night. He did not take away the pillar of cloud by day, nor the pillar of fire by night, from before the people" (Exodus 13:21-22).<o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref6" name="_edn6" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[6]</span></span></span></span></a><span lang="EN-US">Interview with the artist, March 20, 1998.<o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref7" name="_edn7" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[7]</span></span></span></span></a><span lang="EN-US">Similarly, in the work <i>Pleasure Dome</i>(1997) exhibited at Pyramida Centre for Contemporary Art, Haifa, Israel, Streicher invited viewers to step inside, to share the sensations of being inside the piece.<o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref8" name="_edn8" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[8]</span></span></span></span></a><span lang="EN-US">Yet, as Streicher is aware, “the source of that breath, industrial fans and rather crudely fashioned valve mechanisms, are reminiscent of respirators or some equally intrusive medical gadget, and this breath is not life, just its sobering mechanics.”<o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref9" name="_edn9" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[9]</span></span></span></span></a><span lang="EN-US"><i>Naked State</i>, curated by Louise Dompierre and Arthur Renwick, The Power Plant, Toronto,1994.<o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref10" name="_edn10" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[10]</span></span></span></span></a><span lang="EN-US">This piece was also exhibited at the Art Gallery of Peterborough in 2002 under the title <i>Lamentation</i>.<o:p></o:p></span></div>
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<a href="applewebdata://64B08AA8-525F-42A1-BB84-65451B10FFFF#_ednref11" name="_edn11" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US"><span class="MsoEndnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 10pt;">[11]</span></span></span></span></a><span lang="EN-US">Artist's statement, February 1998.<o:p></o:p></span></div>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-73918312924588229042004-10-30T21:32:00.000-07:002016-10-30T08:22:06.302-07:00The Dream of Painting and Angela Leach's Thirty-Two Colours*<div style="font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: normal; line-height: normal; margin: 0px 0px 12px;">
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<i><span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>*Ivory, Buff White, Buff Medium, Buff, Tan, Coral, Pumpkin, Salmon, Red, Wine, Grape, Purple, Deep Periwinkle, Indigo Periwinkle, Indigo, Blue, Aqua II, Aqua, Mint, Mint Light, Lime, Lime Light, Lemon, Lemon Light, Leaf, Olive, Khaki, Forest, Ebony, Oak, Walnut and Mink</i></span></span></i></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Once, while looking at a painting by Angela Leach, it occurred to me that what I really wanted to do was to jump inside it. Not normally given over to wild physical expressions of enthusiasm for an artist's work, and naturally prevented by the limitations of the medium, I instead remained standing before it. The feeling, however, was rare enough to remark upon. How often do I encounter paintings that are visually thrilling? How often do I encounter a painting whose presence is so physically pleasurable, that I want to get inside it and roll around?</span></span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">In the mid-nineteen-eighties, Angela Leach studied at the Ontario College of Art and Design in Toronto and at Sheridan College's School of Crafts and Design in Oakville, Ontario. Having been introduced to the discipline of painting at OCAD and to textile design at Sheridan College, Leach eventually found her way to a marriage of the two. In nineteen ninety-two, around the same time as she began working as a commercial hand weaver, she started working on a series of paintings called Abstract Repeat. Nineteen ninety-seven marked the beginning of her signature Abstract Repeat Wave series, whose basic linear formula - the intersection of repeated horizontal simple waves with vertically repeated sine waves - has continued to the present. With the intersection of these two waves at critical points Leach creates the illusion of linear perspective. Each successive sine wave moving across the surface of the painting appears to taper and thicken in proximity to the next wave. This attenuation leaves the impression of a spatial recession characterized by a rolling wave. Leach then applies to these drawings a restricted colour palette of thirty-two colours that she organizes in complex repeating patterns. By repeating a sequence of colour placed in order from dark to light, for example, following the placement of the four darkest colours, she can complete a painting as a series of logical next steps. By altering the sequence or the colour key, Leach can create an almost infinite variety of unique colour patterns. </span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Most observers of Leach's work, however, have tended to focus on the optical illusions generated by her drawing and compare her to the British Op artist Bridget Riley. While Riley uses elements of graphic design and colour theory to achieve her optical effects, Leach's images are arrived at as intellectually conceived complex repeating patterns. Colour rarely plays an illusory role in Leach's work. It is simply there. In thirty-two infinitely varying parts.</span></span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">There is a dream about painting that it is a pure thing, and that the act of painting can magically connect directly to feeling - not needing or using language or symbols. Colour and mark-making in this dream don't signify or describe ideas and feelings - they are ideas and feeling that, through magic or the genius of the artist, and with the requisite labour pains, may be born as pure uncorrupted feeling on canvas, as painting, and as art.</span></span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">That's the dream, anyway. Unfortunately (or fortunately), artists are not mood rings that simply emote colour. Pure painting exists only in the world of dreams because during the process of painting, consciousness asserts itself. The artist must choose colour. Colour must be mixed - the quality of the hue, tone, opacity or translucency must be considered. It must be applied with the correct consistency, and dry with the appropriate gloss or matte surface. If it is wrong, the artist removes it and tries again, or the canvas is discarded and another is started.</span></span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Consciousness asserts itself in the viewer as well. Colours and marks can generate lateral associations and trigger unintended responses in the viewer. References may awaken the memory of other works of art, to other times and places, and to mundane things. Any colour may recall not only a similar colour in some other painting, but also the colour of a dinner napkin, a piece of commercial packaging, or perhaps an article of clothing. That little drip of paint can start to look uncomfortably like some other artist's little drips, and that spot of yellow may look too much like the yellow on that box of laundry detergent that just went out in the recycling this morning. All of which is okay if that is the ride the artist wants to take you on. An X-Ray of the artist's soul, however, it most probably is not.</span></span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Which brings me to Angela Leach's colour charts, the sheets of paper filled with tiny hand printed colour names, which she brings out when asked about her preliminary sketches. Leach doesn't make colour renderings per se, she makes lists of colours, columns of colour names, maybe a page or a page and half of colour names for each painting. Colour, for Leach, is a game where all possible combinations and outcomes exist only to be explored. She doesn't make an emotional investment in any one colour or set of colours. She has only a vague idea what a painting will look like when she begins, how its dominant colouration might appear. In her system of charts and lists, colours change - spectrally from warm to cool and back again. They skip and repeat in predetermined sequences. She is interested in how colour mutates, how it can start out as one thing and become its opposite. Leach's thirty-two colours may be analogous to the musical twelve-tone scale, where all notes on the scale are given equal value - the closest comparator perhaps being the rhythmic polytonal repeating patterns of Phillip Glass's compositions.</span></span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In the end, her colour patterns resist logical or sequential apprehension. They actively push back when you try to understand them in relationship to each other. Her patterns may coalesce into a virtual waterfall of shifting colour values or fragment into seemingly infinitely variegated and contrasting groupings. But I can't figure it. Every time I think I have found the key to one of her colour schemes, it starts to come undone. The repeating pattern changes - the colour I anticipate should be there, isn't. And maybe that's as it should be.</span></span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I stand before these paintings and I am enthralled, as I observe how the artist has been able to construct from the same box of colours both gentle spectral shifts, and vibrating complementary contrasts. Enigmatic highlights appear to shine, and curious dark spaces appear to recede. Tonal areas and patterns at times seem to levitate above the surface, spontaneously and unexplainably, like the appearance of crop circles or mirages. Having failed to enter these paintings both physically and syntactically, I have returned to the surface, where I am seduced by appearance, and where Angela Leach's paintings gently toss and roll, hover and settle, sparkle, vibrate and shimmer.</span></span><br />
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Gordon Hatt, 2003</span></span></div>
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GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-6826834748845958042004-09-15T08:20:00.000-07:002016-10-30T08:26:41.410-07:00Paulette Phillips: The Secret Life of Criminals<div class="MsoNormal" style="mso-pagination: none;">
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<span style="mso-ansi-language: EN-CA;">Like a kaleidoscope the image multiplies, distorts and blends beyond
recognition. In <i style="mso-bidi-font-style: normal;">The Secret Life of
Criminals</i> (2000) the reflected video images of contortionist Jinny
Jacinto’s impossibly malleable legs twist and spiral up the inside of the cone
and stretch until they seem to touch your nose. You are literally sucked into
this woman’s world, which is both familiar yet also so alien. Comprised of a
stainless steel cone mounted over a small LCD screen, <i style="mso-bidi-font-style: normal;">The Secret Life of Criminals</i> has the appearance of a laboratory
experiment. The viewer participates, looking through the cone at a putative
criminal (as the title of this work invites you to believe) and becomes part of
this experiment, to become both the investigator and the investigated, to lean
over and look through the cone to see, and to become part of the image.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">* * *<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Writer, performer, filmmaker, videographer, installation artist: Paulette
Phillips has combined the varied facets of her art practice of twenty years to
create <i style="mso-bidi-font-style: normal;">The Secret Life of Criminals</i> –
a series of video installations that marry short dramatic performances and
staged scenarios with the texture and three dimensionality of installation
sculpture. The “apparatus of delivery” as Phillips call it – the projectors,
the screens and supports – are the physical component of her work. These
objects are not a mere media “means to an end” but are integral to her shaping
our apprehension of her work. The apparatus of delivery is by turns disruptive
or expressive, either confounding our habits of viewing or extending the
metaphors and symbols of the recorded drama into real space. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Phillips's video installations disrupt traditional narrative structures
and collapse the comfortable space we place between ourselves and the fictions
we are invited to consider. Her fictions are, however, only half that – they
are true stories heard, events seen and felt, investigations without resolution
– facts that live large as both individual and collective apprehensions of the
world. <o:p></o:p></span><br />
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<span style="mso-ansi-language: EN-CA;">Influenced by the political theatre of Bertolt Brecht, and by
contemporary theories of narrative, each work by Phillips is an essay into the
space of the viewer.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[1]</span></span><!--[endif]--></span></span></a> Each
work is an attempt to blur the line between the observer and the observed, to
compromise the viewer, to destabilize the leering, judgmental gaze and to
engage us as inherently prurient – as both voyeurs and a co-authors of the
tragedies played out before us. Phillips invites us into scenarios and dramas
and sculptural environments that penetrate our contentment and direct us to
recall the source of our own compulsive narratives and adult anxieties. The
viewer is never allowed the luxury of turning out the lights, to slump down in
the anonymity of a dark viewing room to empathize with some tragic narrative,
or to be swept away by the artful evocation of sublimity. We are instead
constantly recalled to our physical circumstance, to our own position as
observers and participants in the spectacle before us.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">It is obviously
staged, but that seems not to matter. The image is appalling just the same. <i style="mso-bidi-font-style: normal;">“It’s about how people judge appearance”</i>
(2000) is a flat panel video monitor, built into the wall and framed in pink
faux ostrich skin leather. On screen, a woman walking in an alley approaches
the concrete base of a loading dock. She deliberately, and with considerable
force, proceeds to smash her own head against it. The camera follows her from
the left as she steadies herself on the adjacent wall with her right arm and
focuses on the concrete. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><i>She is visibly
counting: <o:p></o:p></i></span></div>
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<span style="mso-ansi-language: EN-CA;"><i>One, she inclines
forward, then pulls back. <o:p></o:p></i></span></div>
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<span style="mso-ansi-language: EN-CA;"><i>Two, she inclines
forward more strongly and again pulls back. <o:p></o:p></i></span></div>
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<span style="mso-ansi-language: EN-CA;"><i>Three, she leans back
sharply at the waist, closes her eyes and launches herself head-first into the
concrete. </i><o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">The action is
accompanied by a sound – something like a pumpkin smashing or a watermelon
dropped from a height – a sound that is very credibly that of a skull being
crushed.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Phillips’s unfortunate
heroine bounces off the wall and the camera changes angle. We see her from the
front now. She recoils and slumps to her knees with a bloody gash on her head. Steadying
herself, she struggles to stand up, touching her hand to the wound. Phillips
doesn’t leave it at that, however. She plays out the scene twice more in
different edits, before it is looped to begin again. You watch the loop once,
twice, maybe three times before it becomes too much, and then you turn away. But
of course the image remains. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Real and enacted
violence directed at others is an ancient form of entertainment. Codified in
folklore and myth, perfected as spectacle in the Roman games, rationalized as a
source of wealth in professional sports and now a multi-billion dollar corporate
industry of film, television and electronic games, the representation of
outwardly directed violence is an expression of the commonly held inner desire
to strike out and to be decisively effective. We want to become super heroes. We
recognize in our emotional responses to violence a primal desire for
domination, a fantasy of freedom from coercion and an escape from feelings of
powerlessness. Violence as spectacle plays a redemptive role in our popular
culture and it is as American as apple pie, as Canadian as maple syrup, as
common as dirt.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">The image of a woman
smashing her head against a wall remains indelible (forget the fact that she
gets up and walks away in the end – this does not let her, or us, off the
hook), as do many of Paulette Phillips’s images, because that violence is
self-inflicted. Self-directed<i style="mso-bidi-font-style: normal;"> </i>violence,
lacking the conventional de-sublimating energies associated with striking out,
isn’t widely consumed as entertainment. Buffoons and tragic heroes don’t
inflict injury on themselves – their injury is unintentionally the result of
foolish neglect or unavoidable fate. We laugh at the buffoon, a subtle
maliciousness, not far from violent fantasies of superiority and domination. We
identify with tragic heroes mawkishly, as valiant characters like ourselves –
comrades with whom we bravely, and at great sacrifice, strive against all odds.
<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Clearly, <i style="mso-bidi-font-style: normal;">“It’s about how people judge appearance.” </i>recounts
an unpleasant truth. Phillips’s troubling image illustrates how far these
fantasies of domination are from the lives we lead. Neither heroes nor
buffoons, our demons are invisible and complex, as much the product of our own
minds as invading foreign bodies. We pathologically internalize and nurture our
psychic pain, obsess over our shortcomings, nurse our emotional injuries and
repeatedly act out our dysfunctional narratives. The subject lashes out, not at
some other poor soul, but against the self, inflicting harm as a means of
making emotional pain physical and visible – stimulating pain and denying
pleasure to generate feeling and to stave off existential emptiness and
hollowness.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Self-inflicted
violence is an acting out of the text, “I feel like bashing my head against a
wall,” or “I want to injure myself,” or even the milder and seemingly
innocuous, “I want to deny myself pleasure.” It is not a frustration against
the outside, it is a revolt of the inside. Even if it doesn’t present itself in
such dramatic terms as head bashing, it may be more commonly manifest in, say,
the refusal to participate in something that might be pleasurable or
beneficial, or risky behaviour that verges on the reckless. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">On another level,
Phillips’s protagonists are invariably female, part of the profile of the
typical victim of self-directed<i style="mso-bidi-font-style: normal;"> </i>violence.
Making bad choices and repeat offending is clearly a universal malaise, but the
particular masochism of self-injury<i style="mso-bidi-font-style: normal;"> </i>represented
by Phillips in her work speaks to us of a pathology most often associated with
women and victims of sexual abuse. Andrea Dworkin provides a troubling
narrative to this particular gender dysphoria:<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">The female life-force itself is characterized
as a negative one: we are defined as inherently masochistic; that is, we are
driven toward pain and abuse, toward self-destruction, toward annihilation –
and this drive toward our own negation is precisely what identifies us as
women. In other words, we are born so that we may be destroyed. Sexual
masochism actualizes female negativity, just as sexual sadism actualizes male
positivity.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[2]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Or maybe not. Dworkin’s pessimism leaves out
the possibility for agency and makes all women out to be victims, while
Phillips marvels at the motivation of her protagonists –<i style="mso-bidi-font-style: normal;"> </i>that they are not frozen by their lives but moved to act in such a
dramatic, if self-destructive, fashion.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">* * *<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>O
sublime Goddess! O naked oneness!<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>What
is the meaning of your nakedness?<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Are
you shameless, Divine Lady?<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Yet
even when discarding<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>royal
silks, and golden ornaments<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>for
earrings, bracelets, and anklets<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>fashioned
from human bone,<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>you
retain the dignity of bearing<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>suited
to the daughter of a king.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[3]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">In the video installation <i style="mso-bidi-font-style: normal;">Ecstasy</i>, (2001) two asynchronous videos follow the progress of a
woman walking in a snowy and barren industrial lot. Presented on a glass shelf,
the image on the left is projected on its surface from above, while on the
right another image appears on an adjacent LCD which sits in a depression in
the glass. The projected image on the left focuses on the woman’s journey,
while the LCD images follow the ground, passing over the snow and the rocks and
the stalks of dead grasses that crunch underfoot. The LCD image feels like a
monitor – it operates the way our eyes scan the ground, like an extension of
the self, a material sensor for where we are in the world. The projection, by
contrast, feels like a narrative or a myth. It has the warm glow of the
projected image, a reality even more ephemeral than the hardwired LCD screen. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">We follow the image of the woman in the heavy
coat and hood who emerges from the tall reeds. She tosses her hood back and
loosens her coat to hang from her shoulders, and then to slide down her arms. She
pulls the coat tightly around her, takes a deep breath, closes her eyes, then
kneels down, pressing her forehead into the snow. She rolls on to her back,
gathers fistfuls of snow on to herself, then spreads her arms and legs to make
a snow angel.<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">We watch her get up, slip off her coat,
carefully fold it and place it on the ground. She removes her gloves and boots,
places them beside her coat and begins to walk again, untying her hair and
shaking it out. She removes her dress, her tights and her underwear, and lies
down on her side in the snow, where she remains motionless. The LCD on the
right holds this image – an image of a reclining (or is it recumbent?) woman
who is “nude” and who seems to have become part of the landscape, while the
projected image frames from above a woman who is “naked,” lying in the snow,
zooming in on the head, zooming out, zooming in again like the subject of some
television homicide drama, then panning the ground and the milkweed pods and
the sky to begin the loop again. On the right and left the images overlap at
the point where the woman and the ground appear to have become one. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">Presenting the two images on the shelf,
Phillips makes this narrative at once mythic and intimate. She illustrates a
story the way one might imagine it taking place. She illustrates the prosaic
detail of the woman making a snow angel. She undresses – not in a theatrical
manner, but as one would undress before bed, privately, at the same time
folding clothes and putting them away. As spectators and voyeurs we lean over
the table on which this story is played out for us, shifting our attention from
left to right and back again, from the mythic narrative on the left to the
physical detail – “what it known” – the discovery of a body, her neatly folded
clothes, and the cold hard ground which has become the theatre for this final
sleep. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">As a eight year old child in Halifax, the
report of the discovery of the body of a naked woman in a nearby wood lot
profound impact on Phillips. Decades later she researched the unexplained death
of Joyce Belliveau, a woman who, according to some accounts, was “known to take
off her clothes.” Like Phillips’s protagonist in <i style="mso-bidi-font-style: normal;">It’s about how people judge appearance</i>, her mythic heroine in <i style="mso-bidi-font-style: normal;">Ecstasy</i> is pushed (or pushes) to the
edge of her existence, the place where life and its absence are closest. If the
former work makes reference to clinical self-inflicted<i style="mso-bidi-font-style: normal;"> </i>violence and masochism, the latter is less clear. Is Joyce
Belliveau<i style="mso-bidi-font-style: normal;"> </i>the author of her demise,
or a victim? Was her walk in the snow as Phillips imagined it, or is this just
a convenient fiction fabricated to make a terrible reality comprehensible? Marginalised,
dislocated, dispossessed, Phillips’s heroine is, perhaps, a woman who,
abandoned by the world, simply returned to the earth. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>O
Mother of the Universe,<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>this
child is terrified by your naked truth,<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>your
unthinkable blackness, your sheer infinity.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Please
cover your reality with a gentle veil.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[4]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">* * *<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">“It is a feeling which he would like to call a
sensation of ‘eternity,’ a feeling as of something limitless, unbounded – as it
were, ‘oceanic’.”<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[5]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">Windows, picture frames and video screens are
portals between physical and psychic spaces. We look through windows to connect
to other worlds. As a literary convention, the view from the window can
establish the space for the first person narration of the memory of another
time and place, or of a dream. So it is that Paulette Phillips’s video
projection, <i style="mso-bidi-font-style: normal;">The Floating House</i>
(2002), begins with the view of a bay as if one were looking out a kitchen
window. Across the water, on a drizzly overcast day, a small clapboard<i style="mso-bidi-font-style: normal;"> </i>house with a brand new cedar-shingled
roof drifts into view. It passes in and out of the picture frame in a series of
edits – sometimes closer, sometimes further away. A droning cymbal and voices –
children and adults – and the chirping and squawking and barking of animals
accompany the house on its voyage.<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">The image of the floating house engages two
large metaphors of feeling. Houses, frequently the subject of children’s art,
are often understood as a representation of the self. The representation of the
house – its structure, functionality and stability – may be an indication of a
fragmented or integrated personality and may reveal feelings of well being or
fears of loss, exposure or dysfunction. Water can mean many things, but it is
often symbolized as either a source of life or its all-consuming opposite –
deep, dark and unfathomable nature. Water can trigger deep fears of engulfment,
submersion and drowning. In Phillips’s work, water clearly plays both roles. A
house floating on the water is both a dream and a disaster. It is a dream of
freedom, of disembodiment – to float buoyantly, aimlessly, to be part of the
world, to be in the world, but detached and above it at the same time. Rootless,
adrift, the floating house is the ego in full flight from necessity, a meditative
state perhaps, like that of a dervish, a feeling of eternity, like Rolland’s
“oceanic” state to which Sigmund Freud makes reference.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[6]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">The house comes into closer focus and we can
observe the details in the windows. The window coverings move in the wind in a
ghostly fashion, as though someone is pulling them aside to look out, and we
scour the windows anxiously for signs of life. The sound track suggests the
sounds of a family life that may have once fill this home. The building lists
forward perilously, as the water reaches up to the bottom of the window sash. The
camera tracks around the structure and the gentle bobbing feeling gives way to
a slow but powerful spinning. The water appears choppier, darker, menacing, and
the windows begin to fill with water. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">In the first part of the video, the house
gently bobs across the bay. There is something magical and slightly absurd
about this house that is cut loose from its foundations to be carried by the
current. Quickly, however, the aimlessly drifting house appears to be have been
sucked into a whirlpool. The water changes from buoyant and supporting to
ravaging and consuming. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">The absurdity of a house floating languidly in
a bay calls to mind the similar, strangely beautiful absurdity of the woman in <i style="mso-bidi-font-style: normal;">Ecstasy</i> who removes her clothes to lie
naked in the snow. Like the way we unconsciously touched our hand to our
foreheads after watching <i style="mso-bidi-font-style: normal;">It’s about how
people judge appearance</i>, we root for the little house, identify with it –
feel a sinking feeling as we watch it fill up with water and discharge its
human artifacts to float on the surface. It seems only natural to identify with
it as a container of human feeling.<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">But for a brief moment all logic is suspended
and we imagine that these things are not only possible, but also desirable. We
are children again. We can cut loose our ties to the earth and drift away. We
can shed our clothes and play naked in the snow. Then we are seized as
Phillips’s protagonists are engulfed by their fate. We are consumed by their
demise the way we are transfixed by any disaster, no matter where it takes
place. We watch, not because we love to, but because we feel we must. We watch,
because we are implicated as both conspirators and victims. We watch because we
are part of this laboratory experiment. We watch because the creator and the
destroyer demands it.<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">Is my Mother Kali really black? <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">People say Kali is black,<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">But my heart doesn't agree. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">If She's black, <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">How can she light up the world? <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Sometimes my Mother is white, <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Sometimes yellow, blue, and red. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">I cannot fathom Her. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">My whole life has passed trying.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">She is Matter, <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Then Spirit, <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-CA;">Then complete Void.<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_edn7" name="_ednref7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[7]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ansi-language: EN-CA;">Gordon Hatt, 2004<o:p></o:p></span></div>
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Endnotes<span lang="EN-US"><o:p></o:p></span></div>
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<br />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="mso-pagination: widow-orphan; tab-stops: -79.7pt -.5in 0in .5in 1.0in 1.5in 2.0in 2.5in 3.0in 3.5in 4.0in 4.5in 5.0in 5.5in 6.0in;">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span style="font-family: "times new roman"; font-size: 12.0pt;">[1]</span><!--[endif]--></span></a>. Cf. Among
others Roland Barthes, “The Death of the Author,” <i style="mso-bidi-font-style: normal;">Image, Music, Text</i>. Ed. and trans. Stephen Heath. New York: Hill,
1977, where it is suggested that a narrative is an ‘intransitive’ function, and
that insofar as any meaning is to be made, it is made by the reader, not by the
‘author’.<o:p></o:p></div>
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<div id="edn2" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="mso-pagination: widow-orphan; tab-stops: -1.0in -.5in 0in .5in 1.0in 1.5in 2.0in 2.5in 3.0in 3.5in 4.0in 4.5in 5.0in 5.5in 6.0in 6.5in 7.0in 7.5in 8.0in 8.5in 9.0in 9.5in 10.0in 10.5in 11.0in 11.5in 12.0in 12.5in 13.0in;">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span style="font-family: "times new roman"; font-size: 12.0pt;">[2]</span><!--[endif]--></span></a>. <span lang="EN-US" style="mso-ansi-language: EN-US;">Andrea Dworkin, <i style="mso-bidi-font-style: normal;">Our Blood: Prophecies and Discourses on Sexual Politics</i>, 1975.
<http://www.nostatusquo.com/ACLU/dworkin/OurBloodIII.html>.</span><o:p></o:p></div>
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<div id="edn3" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="mso-pagination: widow-orphan; tab-stops: -1.0in -.5in 0in .5in 1.0in 1.5in 2.0in 2.5in 3.0in 3.5in 4.0in 4.5in 5.0in 5.5in 6.0in 6.5in 7.0in 7.5in 8.0in 8.5in 9.0in 9.5in 10.0in 10.5in 11.0in 11.5in 12.0in 12.5in 13.0in;">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span style="font-family: "times new roman"; font-size: 12.0pt;">[3]</span><!--[endif]--></span></a>.<span style="mso-ansi-language: EN-US;"> <span lang="EN-US">Kali is "The hungry
earth, which devours its own children and fattens on their corpses . . . It is
in India that the experience of the Terrible Mother has been given its most
grandiose form as Kali. But all this and it should not be forgotten is an image
not only of the Feminine but particularly and specifically of the Maternal. For
in a profound way life and birth are always bound up with death and
destruction." Elizabeth U. Harding, <i style="mso-bidi-font-style: normal;">Kali:
The Black Goddess of Dakshineswar</i>, Nicolas Hays: 1993. <<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#BM_1_"><span style="color: blue;">http://www.geocities.com/Area51/Shadowlands/5229/kali/kali.html</span></a>></span></span>
and <span lang="EN-US" style="mso-ansi-language: EN-US;">Rama Prasada, <i style="mso-bidi-font-style: normal;">Devotional Songs: The Cult of Shakti</i>,
(1718-75), published in 1966 by Sinha Pub. Calcutta.</span><o:p></o:p></div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="mso-pagination: widow-orphan; tab-stops: -1.0in -.5in 0in .5in 1.0in 1.5in 2.0in 2.5in 3.0in 3.5in 4.0in 4.5in 5.0in 5.5in 6.0in 6.5in 7.0in 7.5in 8.0in 8.5in 9.0in 9.5in 10.0in 10.5in 11.0in 11.5in 12.0in 12.5in 13.0in;">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span style="font-family: "times new roman"; font-size: 12.0pt;">[4]</span><!--[endif]--></span></a>. <i style="mso-bidi-font-style: normal;">Ibid.</i><o:p></o:p></div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="mso-pagination: widow-orphan; tab-stops: -1.0in -.5in 0in .5in 1.0in 1.5in 2.0in 2.5in 3.0in 3.5in 4.0in 4.5in 5.0in 5.5in 6.0in 6.5in 7.0in 7.5in 8.0in 8.5in 9.0in 9.5in 10.0in 10.5in 11.0in 11.5in 12.0in 12.5in 13.0in;">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span style="font-family: "times new roman"; font-size: 12.0pt;">[5]</span><!--[endif]--></span></a>. Sigmund Freud,
citing his famous correspondence with Romain Rolland in <i style="mso-bidi-font-style: normal;">Civilization and its Discontents</i>, 1930. <a href="http://www.freud.org.uk/religion6.html"><span style="color: blue;"><http://www.freud.org.uk/religion6.html</span></a>>.<o:p></o:p></div>
</div>
<div id="edn6" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="mso-pagination: widow-orphan; tab-stops: -1.0in -.5in 0in .5in 1.0in 1.5in 2.0in 2.5in 3.0in 3.5in 4.0in 4.5in 5.0in 5.5in 6.0in 6.5in 7.0in 7.5in 8.0in 8.5in 9.0in 9.5in 10.0in 10.5in 11.0in 11.5in 12.0in 12.5in 13.0in;">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ednref6" name="_edn6" style="mso-endnote-id: edn6;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span style="font-family: "times new roman"; font-size: 12.0pt;">[6]</span><!--[endif]--></span></a>. <i style="mso-bidi-font-style: normal;">Ibid.</i><o:p></o:p></div>
</div>
<div id="edn7" style="mso-element: endnote;">
<div class="MsoEndnoteText" style="mso-pagination: widow-orphan; tab-stops: -1.0in -.5in 0in .5in 1.0in 1.5in 2.0in 2.5in 3.0in 3.5in 4.0in 4.5in 5.0in 5.5in 6.0in 6.5in 7.0in 7.5in 8.0in 8.5in 9.0in 9.5in 10.0in 10.5in 11.0in 11.5in 12.0in 12.5in 13.0in;">
<a href="https://www.blogger.com/blogger.g?blogID=482515116633859928#_ednref7" name="_edn7" style="mso-endnote-id: edn7;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span style="font-family: "times new roman"; font-size: 12.0pt;">[7]</span><!--[endif]--></span></a>. Kamalakanta
Bhattacharya (1769-1821).<o:p></o:p></div>
</div>
</div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-85583407030018128342004-07-09T06:36:00.002-07:002021-04-02T06:49:15.956-07:00 That Obscure Object of Desire: A Group Exhibition of Visions of Delight, Fascination and Desire<p><span style="font-family: Verdana; font-size: 13px;">"That Obscure Object of Desire" begins with the title of the 1977 Luis Bunuel film</span><span style="font-family: Verdana; font-size: 13px;"> </span><span style="font-family: Verdana; font-size: 13px;">the title being a point of departure for a collection of otherwise unrelated work. In Luis Bunuels film That Obscure Object of Desire, one man obsessively pursues the love of a young woman. The film is made strangely compelling by the fact that the director used two different and dissimilar women to play the leading role. In doing so, Bunuel generalized the object of his protagonist's love, making the focus of the film instead the character's obsessive behaviour and the shapeless and shifting identities of our objects of romantic longing.</span></p><p><span style="-webkit-font-kerning: none; font-family: Verdana; font-size: 13px;">It is said that the desire to connect goes back to the infant's separation from the mother's breast. </span><span style="font-family: Verdana; font-size: 13px;">From that grows a life-long search for love and the creation of a system of language and symbols to express that desire. Prose and poetry, music and art are inexact yet necessary means to evoke, however directly or obliquely, the goals of our longing. The works in this exhibition address fantasy, play, consumption, memory and mystery as identifiable characteristics of that obscure object of our desire.</span></p><p><span style="font-family: Verdana; font-size: 13px;">Featuring work by Jane Adeney, Sara Angelucci, John Armstrong, Santo Barbieri, Dianne Bos, Gabrielle de Montmollin, Phil Delisle, Evergon, Lee Goreas, Catherine Heard, Clarissa Schmidt Inglis, Amelia Jimenez, Dan Kennedy, Anda Kubis, Kristiina Lahde, Bonnie Lewis, Joe Lima, Jennifer Linton, Gwen McGregor, Michael Morris, Lisa Neighbour, Reinhard Reitzenstein, Kris Rosar, Mona Shahid, Joanna Strong, Diana Thorneycroft, Philip Vanderwall, and Rhonda Weppler.</span></p><p style="font-family: Times; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="font-family: Verdana;"><span style="font-size: x-small;">Exhibition runs from July 9 through August 14, 2004. </span></span><span style="font-kerning: none;"></span></p>GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.comtag:blogger.com,1999:blog-482515116633859928.post-45644908695480473962003-08-26T22:18:00.000-07:002016-10-30T08:03:55.627-07:00ars longa, vita brevis<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The installation of work of
public art is a special moment, and for that we hold a small celebration and
dedication. I would like to speak a bit about public art and how it is different
from the domestic arts, those art works that we place in our homes or offices.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "arial" , "helvetica" , sans-serif;">First of all – domestic
art: easel paintings, watercolours, photographs, collages and montages,
engravings and prints, glass and small cast sculpture, ceramics, needlework,
found objects, action figures, Kinder Surprises, foreign money, postcards and
greeting cards, fridge magnets . . . For all of the images I have a
collected in my life I vainly try to find a place in my home. The most recent
acquisitions find a prominent place in the living room or the study, the older
pieces are relegated to a spare bedroom or hallway or stored in a closet, in a
box. In my kitchen I hang posters and postcards and stick my son’s elementary
school art work to the refrigerator – things that can be cleaned or thrown out
or folded up and put away if damaged or no longer wanted. And in my bathroom, I
try to find artwork that will withstand the dampness of the shower and perhaps
articulate for me the romance of water and the banality of ablution.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "arial" , "helvetica" , sans-serif;">Domestic art for me may be
a little bit sentimental, recalling people I have known and worked with over
the years, places I have been, or enthusiasms and interests that I have long
since left behind. My domestic art might also be a charm, some dangling thing
that is sweetly optimistic and speaks to my sunny side, or a talisman, a
container for my fears and nightmares – an object that carries good luck, and
wards off the bad.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "arial" , "helvetica" , sans-serif;">What characterizes domestic
art for me, however, is its temporality. We can change it according to our
moods. We may acquire it impulsively, rearrange the furniture to accommodate
it, paint the walls a different colour to frame it, then in a few months, or a
year or two, grow tired of it. It gets knocked and jostled, acquires a wine
stain from a party, a chip from the Nerf ball fight the boys had in the living
room. The new girlfriend hates it. The old one takes it. Eventually it ends up
in a garage sale. The life of an image begins again . . .<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "arial" , "helvetica" , sans-serif;">But a work of public art? Now
that is a different life entirely. A work of public art is not an expression of
personal taste or impulsiveness. Public art is a social activity from the
beginning, the product of planning committees, juries, and advisory panels. The
artist becomes a catalyst for the hopes and fears of the community. A public artwork
may reflect a sentimental side or mark a milestone in the community’s history. In
this way public art is not so different from its domestic cousin. The
expression of the individual becomes the expression of the community.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "arial" , "helvetica" , sans-serif;">Public art is different
because it is made to endure, because the sun and the rain and the cold and the
wind erode even stone over time. The surface must be resilient to withstand the
probing and stroking of a million hands and the structure must be sound to
support the climbing of a thousand children. Pubic art is made to endure the
elements and in so doing, it lives a different life. We see it under different
conditions. In the heat of the summer when we seek shelter from the sun and
when shade seems hard to find, the artwork does not sweat. In the fall, when
the wind blows cooler and the days begin to shorten, the artwork may begin to
cast larger shadows, and glow in that peculiar orange light that I associate
with autumn, and it will seem somehow strange that the artwork does not regret
the passing of summer. In the winter, when we dress to ward off the cold, the artwork
is naked but for a thin skein of snow or a decorative trim of icicles. It will
appear to laugh at our frailty and our sensitivity to the cold. And in the
spring it is new again, in those first warm sunny days, alongside the budding
trees it shares that green and yellow light of the next growing season. <o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "arial" , "helvetica" , sans-serif;">Carol Bradley's genius is
to give what is durable – glazed and fired clay – the texture, sparkle and
magic of lapping water, an image that is at once transitory and timeless. Where
this artwork is placed, it won’t be climbed upon or receive the caresses of a
million hands, but it will be there through the seasons and the years. In its
position over the door I hope that it doesn't develop icicles. Carol has caught
the blues, greens and turquoises we associate with a pool of water's colour
refractions and she has given them back to us. In the summer when we are dry
this Pool will signal the promise refreshment. In the winter, when we are
cold, this Pool promises a tepid bath. For toddlers, Carol's Pool will always
be associated with Water Babies, a first swim with a parent. For elementary
school children, these colours and shapes will be associated with going to
swimming lessons. For teenagers, this image of water will become a symbol of
early romantic flirtations. For adults, the rippling surface of this artwork
may come to represent the bittersweet discipline of regular physical exercise,
or the pool lanes may become a symbol of a place of meditation and stress
reduction from the burdens of work. Seniors will retain this image in
connection with aquabics, the social life that this water activity affords
them, and wonderful feeling buoyancy that water can give to an aging body. <o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "arial" , "helvetica" , sans-serif;">The life of this mural will
span generations whose memories of home, family and friends will take place
under this sign. Children will be born, grow into adults and eventually die,
yet the blue, green and turquoise of Carol's mural will continue to lap and
sparkle – a constant in our always changing lives.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-family: "arial" , "helvetica" , sans-serif;">ars longa, vita brevis (art
is long, life is short) <o:p></o:p></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Gordon Hatt, 2003 </span><span style="font-size: 16pt;"><o:p></o:p></span></span></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-3432102576574078762003-06-03T16:57:00.000-07:002019-06-03T16:58:23.361-07:00Interior Life: Paintings and Prints by Moira Clark<br />
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Ghosts, it has been suggested, are the product of our living with the physical artifacts of past generations. We associate objects with individuals – Robert’s tools, Lisa’s desk, Mary’s car. We do it collectively too – the family cottage, the community pool, the neighbourhood store. When confronted by the objects we associate with the dead and departed, when we handle these objects, we feel a connection to those people – their presence – and we call these presences ghosts.<o:p></o:p></div>
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Townscapes (including cityscapes and rural agricultural landscapes), Interiors and Still Life are genres of painting and photography that represent the artifacts of people. These types of representation are literally, “art about art.” That is to say, the objects represented are the artifacts of culture – public places and private homes, domestic furniture, plates, pitchers, bottles, and food, both plain and fancy.<o:p></o:p></div>
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As signs of culture, these types of representation have great flexibility and are capable of speaking to us in very subtle ways. The still life tradition that can be traced to Roman times, for example, may speak to a culture’s love of feasting, revelry or earthy humour. Dutch still life has been variously interpreted as celebrating national prosperity, or as a moral reminder of life’s transience. Abundance and scarcity, wealth and poverty, exoticism and simplicity have all been allegorized by the subjects of still life. Flowers in full bloom, ripe unblemished fruit and full pitchers of fresh milk have typically signalled a sanguine and optimistic attitude towards life. These are the still lifes in waiting rooms and Holiday Inns that make up much of the chintz and wallpaper of our lives.<o:p></o:p></div>
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In the modern period, artists followed Cezanne’s example and still life became a mute support for formal experimentation and abstract composition. In the nineteen-eighties, when traditional genre was reconsidered as art photography, still life, interiors and townscapes were once again understood as symbolic and meaningful. In contrast to traditional genre, a number of photographic artists began to produce pessimistic and highly self conscious images that embraced the representation of age through distressed and accreted surfaces (Roy Arden) material exhaustion and pollution (Edward Burtynsky), and obsolescence (Bernd and Hille Becher). More recently, the German photographer Andreas Gursky has produced large format, digitally manipulated images of super abundance in a dystopic vision of globalized production and international corporate anomie.<o:p></o:p></div>
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It is in this context that the still lives and interiors of Moira Clark stand in quiet opposition. Her interest in genre was stimulated while a student in the nineteen-seventies. At that time, still life, interiors and landscapes were seen as the beginning of a reductive process that lead inevitably to a painted abstraction of the physical world. However, Clark’s still life and interiors, while spare and economically rendered, resisted resolution into compositional abstractions. Instead, rhythmic composition, counter point, pattern and symmetry, traced from the objects of her environment, continued to retain a prosaic and human character.<o:p></o:p></div>
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It is difficult today to imagine just how hard it was to paint genre in the nineteen-seventies. In those years, art schools and public and commercial galleries were in the full embrace of abstraction. For artists like Moira Clark who wished to pursue subject matter in their art, printmaking was one of the few viable alternatives. In the print shop the artful manipulation of the techniques and disciplines of etching, lithography, and block printing took precedence over the ideological battles against representation. As a result, the print studio at York University and the co-operative Open Studio in Toronto provided supportive and stable environments for Clark and other artists who desired to make non-conforming art in a less hostile atmosphere.<o:p></o:p></div>
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The art historian Norman Bryson has suggested that one of the unique characteristics of still life is it’s timelessness. The conventional subject matter of still life, for example – food and food service objects – are virtually indistinguishable from generation to generation. A Roman still life with fruit, or a breakfast composition by Chardin look as edible today as when they were painted. Images like these collapse time into an unchanging and indifferent present, and here lies both still life’s appeal and it source of friction. For those who desire art to bridge generations and ages, still life can be a comforting reminder of constant unchanging values. But for those who feel that a contemporary art should address the dynamism and forces for change in the present, still life is potentially reactionary. Unless pessimistic and critical, like some of the contemporary still life photography that I have cited above, conventional still life proposes relative, detached values – it exists outside politics and the issue-oriented debates of the day.<o:p></o:p></div>
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Moreover, conventional still life poses the uncomfortable question of gender roles. Still life was considered a minor genre by the academicians of the eighteenth and nineteenth centuries – a suitable occupation ideally for a female artist. Of course, one today would never establish such a hierarchy and appoint women to its lower orders, yet the conventional still life may be an area of unconscious discrimination. Here again Norman Bryson sheds valuable light on the gender character of the still life. Comparing still lifes painted by male artists to those by female artists, Bryson notes that inevitably, those painted by males seem to occupy the perspectival centre of the visible universe, as though those objects, or those foods, were the sole and unique property and subject of the viewing artist. He notes however that still life, as painted by female artists, has the character of existing independently of the artist and viewer, as the tools and products of work – not solely of work’s delectation – but as the evidence of “the creatural and ordinariness of domestic culture.” Perhaps then, according to this understanding, we should more correctly distinguish between the genres – still life may be better characterized as male, and the interior genre – female.<o:p></o:p></div>
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Indeed, what has strikes one about Moira Clark’s work is that the subjects of her painting and printmaking are never about her or her surrogate viewer alone. Each work affirms the value of interlacing, interdependence and connection. So, for example, an early etching such as the Staircase with Artichoke Tiles (1979), is a study in asymmetrical symmetry, where the left and right mirror images are almost, but not quite identical. Adjacent doors, parallel staircases and bannisters, and the rendering of the tile pattern are very faithfully described, and yet, as much as the print is an abstract exercise, it is also a metaphor of attachment and identity, where these doors are markers in space for the beginnings of similar, connected, but separate lives. <o:p></o:p></div>
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In Sunlight Through Glass (1982), a still life arrangement of an empty bowl and three tomatoes sits on a table occupying an almost overlooked place in the near foreground, while two pots of geraniums, sit on a widow ledge in the background. Together these objects define a space that otherwise consists of a tangle of confusing shadows and reflections. The physical, tangible character of the still life objects contrasts with an interior space of shifting phantoms and shadow presences. Domestic space in this image may be considered to consist of objects which reflect the spirits of those who live there and whose long shadows are cast over the hard and soft edges of the room. <o:p></o:p></div>
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A rare image by the artist featuring the presence of human figures, The Three Sisters (1986) tends to reinforce the sense that human presence is ineffable at best in Clark’s work. Here it is the figures that are pushed to the edges of the frame and which define the common central space of the table top. Rather insubstantially and summarily rendered, the three sisters form a circle of charged space – a space that is defined by their interaction. The table top is a medium, not unlike a Ouija board, which each of the sisters touch, with arms and legs interleaving above and below the table in circle of connection. In contrast, when the figures are absent from the picture plane altogether as in Three Chairs After Dinner (1977) and All Night Café (1982), everything is more substantial. Chairs that look quite capable of sustaining weight, have not been pushed back to the table, and their random arrangement betrays a recent and hasty departure. The repetitive patterns on the table cloth in Three Chairs After Dinner , or carpet patterning and abstracted arrangements of plants in the back ground of All Night Café are more substantial, more regular and more firmly contoured than any of the three sisters.<o:p></o:p></div>
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In the early 1990's Clark left the print shop. She left the layered, methodical and distanced discipline of printmaking to develop her imagery in the more tactile and direct medium of acrylic. In the process, she moved away from the spatial and compositional explorations of the interiors and began to focus on isolated objects. These objects – food and flowers, plates, bowls, glasses and pitchers – rendered weightless in space, began to hover over soft indeterminate grounds, as though they existed as pure ideas, outside the work-a-day world of food service and hospitality. Sometimes, Clark would present these objects lined up on a narrow ledge, like the unique and individual characters in a family portrait. Flowers, at one time subjects of her still life, became decorative motifs that floated in well ordered columns and rows, in front of and behind of Ironstone plates and pitchers, finally, in later work, to come to rest on the china itself, as part of its decorative surface.<o:p></o:p></div>
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The surfaces surrounding and supporting Clark’s still life objects eventually crystallized into tight weaves of coloured bands, reminiscent of cane or wicker – grounds that began to function as optically vibrating planes – flattening the spaces and removing the air that had at one time had flowed around and between her subjects. She superimposed translucent cut glassware over her colourful grids, muting and softening the hard edges, and in the process these still life objects began to dematerialize. The glassware has become a cipher – a thin veil described only by white contour lines and refractions and extremely subtle modulations of the interleaving grid in the background. Those solid objects that had at one time hinted at human presence, seem to be no longer necessary. Clark has moved on now, to describe the trajectories of connection itself, through weaving, interleaving, intersecting and connecting of bands colour.<o:p></o:p></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-10869394055620613552003-03-27T08:21:00.000-08:002019-06-04T08:45:39.140-07:00The Art of Gardening<div class="MsoNormal" style="font-family: "Times New Roman", serif; margin: 0in 0in 0.0001pt;">
The Art of Gardening<o:p></o:p></div>
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At some point, just about every gardener feels the urge to place a work of art amongst the annuals and the groundcover, to nestle a sculpture in a budding grove, or to frame it with a wall of ivy. It is curious, this urge, because we tend to associate gardening with a love of nature, and art sometimes seems so “unnatural.” Art is symbolic. Art represents human feeling and thinking, and by its very definition, something made by human hands. But gardening isn’t entirely ‘natural’ either. Gardening is the human cultivation of the natural world – a humanization of the wild. “Select this flower. Plant its seed here. Trim this bush and make a place for people.” Next will come a bench, a small table, and then maybe, some art.<o:p></o:p></div>
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Both gardening and art making are component parts of place making. We make places by projecting ourselves into a space. When we garden, we project our place in the natural world. We prune and shape bushes to create paths and walk ways. We plant grass to grow under our feet, flowers to bloom around us, trees shade us from the sun. When we make art we gather the things around us that we love and admire, things that remind of the past, charms and votive objects that represent our hopes for the future, and our talismans for the things we fear. This now is a place that we can call home.<o:p></o:p></div>
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And so when it came to discussing the little piece of land owned by the city of Cambridge – that lot adjacent to the Ferguson Cottage at 37 Grand Avenue, just the other side of the fish and chip shop – and whether it was to stay as it was or become a parking lot, Heather Franklin, artist and member of the Galt Horticultural Society and Judy Welsh, executive member of the Horticultural Society, proposed to the city in 1999 to establish the Cambridge Sculpture Garden. The Cambridge Sculpture Garden would be a place where contemporary artists would place their work on the banks of the Grand River, on land that would be cultivated and tended by the horticultural society, in the old community of Galt, for the residents of the modern city of Cambridge.<o:p></o:p></div>
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One of the first accomplishments of the Cambridge Sculpture Garden was the relocation of Andreas Gehr’s sculpture, <i>Twilight</i>, in September of 2000, from its location at the Grand River Conservation Authority. Andreas Gehr’s piece was originally built in the nineteen eighties as part of Cambridge Galleries’ Public Art Programme. The once electrified and illuminated piece had since that time languished in benign neglect. Yet, even minus its electrical peripherals, the rust red spiralling tower is still a remarkable sculptural object. Part ‘Tower of Babel,’ part soft ice cream swirl in rust red steel – it is dramatically visible again, thanks to the sculpture garden.<o:p></o:p></div>
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Early commissions by Sculpture Garden were undertaken for short terms and special occasions, and the committee began to experience the challenges of exhibiting art outdoors. To celebrate the opening in the fall of 2000, Graham Todd, Dennis Bolohan, Scott McNichol and Allan Flint were invited to install temporary works. Dennis Bolohan’s <i>Labyrinth,</i>a maze planted in the summer of 2001, suffered from an exceedingly hot and dry summer and never fully realized the artist’s conception. Scott McNichol’s <i>A Question of Who’s in Charge</i>, originally constructed impermanently of painted Styrofoam and installed just for the opening, was recreated in fibreglass for long term installation in the summer of 2001. Unfortunately, the piece has been repeatedly vandalized. The bold rhetorical challenge to authority posed by the artist in the work has been played out in real life, as the Sculpture Garden struggles to assert its right to exhibit art outdoors and to present artistic expression in a public space. <o:p></o:p></div>
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One of the landmark pieces of the Sculpture Garden has been Allan Flint’s <i>Use</i>, installed in the spring of 2001. Flint was originally invited to participate in the grand opening, but his work arrived later, and in a much more resilient form. A concatenation of large, yellow, three dimensional letters, <i>Use</i>seems like text on a holiday, where language and meaning withdraw from the world of chatter to sink into a primordial garden of sights and sounds and smells. <o:p></o:p></div>
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Thanks to a project grant from the Ontario Arts Council, a call for entry was circulated in the province and a jury was convened to commission three new works in the Spring of 2002. Ryzsard Litviniuk, Max Streicher and Marguerite Larmand were charged with creating semi-permanent works of art – artworks that would endure the arbitrary temperaments of man and nature for one calendar year. Ryzsard Litviniuk’s hollowed wood sculpture <i>Tension - 14 from 2</i>, was the first of this group to be installed in the summer of 2002. Litviniuk wields a chainsaw like a scalpel, and cuts thick unseasoned tree stumps into delicately telescoping forms. The piece installed at the Sculpture Garden consisted of fourteen sections cut from two triangular shaped stumps and mounted on steel reinforcement rods. There is an elegant machismo to all of Litviniuk’s art. In the grand tradition of male abstract sculpturing, his work expands and rises with strength and virility – a strength which in his case is also tempered by the deftness and delicacy with which he directs his roughly hewn material.<o:p></o:p></div>
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Ironically, the delicate parts of Ryszard Litviniuk’s sculpture proved too delicate for the Cambridge Sculpture Garden. <i>Tension</i>was vandalized and the piece was removed. The Sculpture Garden was relandscaped and berms were created to prevent vandals from driving their vehicles on to the property to tow or drag the sculptures from their moorings. Subsequently, the works proposed for the site by Max Streicher and Marguerite Larmand both included design considerations to deter further vandalism.<o:p></o:p></div>
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Max Streicher’s piece, <i>Windsock</i>, was installed in October of 2002. Streicher has become internationally known for his inflatable sculpture and recognized locally for his 1998 exhibition at Cambridge Galleries. Obviously, a thin mechanically inflated membrane, sitting on the ground would be impossible given electrical power limitations and increasing security concerns for the site. Streicher decided that instead of using electrical fans to inflate his work, he would elevate the figures on flag poles, and open them up to collect the prevailing winds like windsocks. The adult male figures that he customarily uses in his inflatables was substituted for an infant toddler proportioned figure. The proportionately larger head and little round pot belly recall the famously animated dancing baby hallucinated by Calista Lockhart on the television show Ally McBeal. But Streicher’s babies, blowing with the winds high above the Grand River, are not biological determinism’s siren song. Rather, they resemble more the spirit of the lullaby “Rock a bye baby” – lazily lolling in the breeze like kites, rising and falling, sleep inducing and hypnotic. <o:p></o:p></div>
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Similarly, Marguerite Larmand, whose work <i>Afloat</i>was installed in May of 2003, chose to elevate her wax figures in towers constructed of young maple trees. In contrast to Streicher’s floating figures, Larmand’s sentinels are made of sterner stuff. As is customary for the artist, her figures are created and then wrapped and supported by natural elements, articulating her belief in humanity’s cyclical place in the eco system. Yet this work is not dewy-eyed naturalism either. These sober figures seem to survey the community from fortified watchtowers, as if they might be at once both the city’s guardians and its prisoners. Perhaps Larmand’s sentinels are like an ecological and art settler movement, as they greet the elements and challenge the vandals from their fortified towers: “We are here,” they seem to be saying, “We are strong and multiplying.”<o:p></o:p></div>
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The art of gardening requires that every spring the dead and dying plants and vines are cut back and new life is transplanted and seeded. The life of cities needs replanting too, and the Cambridge Sculpture Garden is one of those new seeds.<o:p></o:p></div>
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Gordon Hatt, 2003<o:p></o:p></div>
GWHatthttp://www.blogger.com/profile/15665649698397576733noreply@blogger.com0tag:blogger.com,1999:blog-482515116633859928.post-47781714363943403962002-09-15T11:40:00.000-07:002019-03-09T09:20:09.531-08:00Review: Who Means What / Brent Roe / Paintings / 1992-2001<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZS7KLi0xXoUnvUyWOPhxouLG7_IiXwrT38pJiPRUq9BeS4u76_qVv2gXYiQlD-amCzcDt0B_1X-V1qtWHablJXw_7Xzk_l-6AutVQwa7kohs8stHDGL1GbeL4rADJ-QRRMWT0ImEGtgM/s1600/br3m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="289" data-original-width="213" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZS7KLi0xXoUnvUyWOPhxouLG7_IiXwrT38pJiPRUq9BeS4u76_qVv2gXYiQlD-amCzcDt0B_1X-V1qtWHablJXw_7Xzk_l-6AutVQwa7kohs8stHDGL1GbeL4rADJ-QRRMWT0ImEGtgM/s400/br3m.jpg" width="294" /></a></div>
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<span lang="EN-US">Agnes Etheringon Art Centre, 5 January - 28
April 2002<o:p></o:p></span></div>
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<span lang="EN-US">Since the early 1980's Toronto painter
Brent Roe has been exhibiting his work in parallel spaces, artist collective
exhibitions and in small annual and biannual shows at Wynick Tuck Gallery. He
first gained attention for a narrative cartoon-style of painting that commented
ironically on cold war politics. By the mid-eighties he had replaced the
caricature style and political references with a looser, schematic figurative
rendering accompanied by captions and texts describing conundrums, solipsisms
and random streams of consciousness. <o:p></o:p></span></div>
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<span lang="EN-US">The essential components of Brent Roe's
mature style have changed little since that time, but in spite of that his work
has evolved markedly. Figure ground relationships, paint handling, colour,
surface texture, canvas sizes and proportions have constantly changed in
relationship to each other in a concentrated on-going activity reminiscent of a
chemist's careful measuring and testing of the volatility of his compounds.
Through the waxing and waning of stylistic and ideological enthusiasms in the
1980's and 1990's it became apparent that Brent Roe had been focused on a
specific and unshakable mission. Just what this mission is, however, remains a
slippery subject. <o:p></o:p></span></div>
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<span lang="EN-US">In the quest to understand Brent Roe's
mission I organized a five-year, 31 piece survey at Cambridge Galleries in
1997. John Massier tackled an ambitious 10 year, 93 work survey of Roe's work
at the Koffler Gallery in 1998. The third and current survey, organized by John
Armstrong and Michelle Jacques for the Agnes Etherington Art Centre, falls
somewhere in the middle of the previous two. In the quantity of work and in its
1992 starting date, it is closer to the Cambridge survey. But like the Koffler
exhibition, this show also contains a selection of sketchbooks and the baroque
touch of the artist's idiosyncratic miniature graffiti on the walls between the
paintings. Also in a manner similar to the Koffler survey, the conventional
horizontal alignment of paintings at eye level is supplemented by the
additional hanging of works high above – salon style. An added feature of the
Agnes Etherington exhibition is the existence of a ping-pong table in the
middle of the gallery. Demonstrating perhaps a newfound tongue-in-cheek
interest in the decorative arts, the surface of the ping pong table and its
paddles have been painted by Roe in his characteristic manner.<o:p></o:p></span></div>
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<span lang="EN-US">Roe's characteristic manner is typically a
combination of a painterly abstraction with ironic, deflating texts. Often, the
texts seem to mock not only the pretensions of painting, but of all redeeming
notions of art. The belief that some larger meaning can be divined from
studying art, for example, is derided by texts like "truth and meaning can
be found within 5 metres of this spot" or "All those seeking meaning
line up behind this canvas," configured either as the visual voice
balloons of declaiming cartoon figures or slogans painted on an abstract and
expressionist ground. Expression, essence, truth and genius, and other popular
notions associated with art receive similar treatment at the hands of Roe.<o:p></o:p></span></div>
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<span lang="EN-US">Of course irony and sarcasm can quickly
wear thin, and thinness is the most common criticism leveled against Roe's
work. This perception is not diminished by the institutional and logistical
imperatives of both commercial and public galleries to emphasize solo
exhibitions. I don't think I have ever left a Brent Roe exhibition wanting
more, and in fact the artist has a history of crowded solo exhibitions, which
have included just too many works. It is my experience that these paintings
work best not in solo exhibitions where they can begin to seem like a string of
one-liners (and where one begins to suspect that he's got more than a million
of 'em), but in-group shows. There, surrounded by extroverted expressions of
earnestness and virtuosity, the negative ions thrown off by Roe's paintings
create deep rich spaces of calm and existential awareness – a cold steely
clarifying of the moment – not unlike the way a great wit can at once celebrate
and expose the pretensions of the guests at a party.<o:p></o:p></span></div>
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<span lang="EN-US">Never-the-less, a solo survey exhibition
gives us the opportunity to examine constant thematic and stylistic devices and
the conscious changes that the artist engages over a period of time. On the
occasion of the Agnes Etherington exhibition, the organizers provided
interpretative assists in the form of a colour-illustrated catalogue with an
essay by curator John Armstrong and an interview with the artist by Michelle
Jacques. A panel discussion focusing on Roe's use of language in his paintings
was held toward the end of the exhibition. An added bonus was the recorded
audio guide conducted by the artist. <o:p></o:p></span></div>
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<span lang="EN-US">Armstrong's essay introduces the focus and
the scope of Roe's art-about-art commentary and Jacque's interview reveals the
artist's playful, evasive, reflective and iconoclastic character. On the audio
guide Roe offers up startling details about the iconology of the paintings in
the exhibition. It is worth listening just to be able to experience the depth of his engagement with the ideas he presents. The symposium was less
successful, focusing perhaps too much on the history of texts and voice
balloons in art and not enough on what makes these devices effective in Roe's
paintings. Two comparisons made by Armstrong at the symposium, however, were
illuminating. <o:p></o:p></span></div>
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<span lang="EN-US">Beyond the common use of text, the
proximity of Roe's work to that of the senior American artist Ed Ruscha had not
previously presented itself to me so forcefully. However, their similar
preoccupation with the tensions between image and words and abstraction and
representation contribute to a shared ascetic mysticism and a riveting
evocation of the existential present. This is an aesthetic which has roots in
the early modernism of Picasso and Braque and which had its most theatrical
presentation in the work of Jackson Pollock and the abstract expressionists. It
is no accident that these are among the artists cited as influences by Roe in
the catalogue interview. <o:p></o:p></span></div>
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<span lang="EN-US">But why text? Why use language in a
painting, in a picture, which, as the saying goes, is worth at least a thousand
words? It seems to me that question is partially addressed by another image
cited in the panel discussion. An Annunciation by Simone Martini showing the
Virgin Mary being informed by the angel Gabriel of the immaculate conception
and the impending birth of Jesus. In an attempt to mimic the way words are
directed from one person to another, Martini has laid text on the surface of
the painting in a straight line beginning at the angel's mouth on the left and
heading toward of the head of Mary. Language and text in the biblical sense are
traditionally associated with the divine revelation of God's laws and
interventions. Applied to the painting's surface, text makes the image
revelatory.<o:p></o:p></span></div>
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<span lang="EN-US">Brent Roe's text balloons function as
gem-like personal revelations, and for the viewer they work like a cleverly
pointed reality check. I suspect however, that the issue for the artist is not
his use of language in painting, rather, it is what painting and language can
uniquely achieve when combined, for Roe is first and foremost a painter. Every
one of his paintings foregrounds the act of painting, with references to
painterly abstraction and other historical styles, or in his decorative
doodles, flourishes and graffiti inspired markings. <o:p></o:p></span></div>
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<span lang="EN-US">T. J. Clark, in his fascinating study of
Jacques-Louis David's Death of Marat, draws attention to the two letters in the
painting and contrasts them with the great expanse of scumbled, burnt umber
that occupies the canvas's upper half. Clark sees this large area of dark
ground as the objective reality of paint, the “endless, meaningless objectivity
produced by paint not quite finding its object.” He contrasts that with the
deception of the Charlotte Corday letter in Marat's hand, and the <i style="mso-bidi-font-style: normal;">trompe d'oeil</i> illusionism of the letter
on the plinth that appears to project into the viewer's space. In the visual
telling of this revolutionary tragedy, illusion and deception are in a struggle
against truth.<o:p></o:p></span></div>
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<span lang="EN-US">It is text that clarifies the activity of
painting, and brings us in someway closer to its uncanniness. But it is also
painting that makes language present, frames it – makes it more real. And
making both painting and language more real, may just be Brent Roe's mission.<o:p></o:p></span></div>
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<span lang="EN-US">Gordon Hatt <span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
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