October 8, 2021

GTA2021

The title of the big, new exhibition at MOCA is GTA2021. This title “plays on the name of the city’s broad metropolitan area” we are earnestly informed, on the MOCA home page. It wasn’t until I looked at the biographies of the participating artists that I understood why a definition of GTA would be required. Many of these artists have deep connections elsewhere. Places — around the world — are named, where the artists currently live, where they were raised or educated, where they exhibit or find influence and inspiration. Other places and a sense of otherness, are core to many of these artist’s identities and overtly manifest in their work. “GTA” wouldn’t mean much back in their far-flung communities and too, there is the possibility of confusion with a certain popular video game.

What then, does the show say about the GTA? Yes: Toronto is the most diverse city the world! But beyond that cliche, in this context, Toronto doesn’t really exist at all. Instead it has a sort of airport status, bland, meaningless, a place from which to participate in a “global discourse.” A characterless point converged upon rather than a vital place from which art emerges.

21 Greater Toronto artists and collectives address the most pressing issues of our time — and our city.

MOCA GTA2021 brochure

The idea of addressing city issues was not really in evidence. But does that matter? Could be it’s just a marketing glitch. The important thing is there are many interesting things to look at and think about in the GTA2021 show! Here are a few:

Mashrabiya Ghazaleh Avarzamani

On the main floor of MOCA, inserted into the exterior wall, is a sculpture by Ghazaleh Avarzamani. Referencing Islamic screens and patterns, Catholic confessionals and some undefined utilitarian object, the work plays with daylight and shadow and with ideas about private and public, outward and inward and seeing and being seen. Encountering this object upon entering the exhibition sets the viewer up perfectly. This piece is beautiful and thought provoking.

Detail of The Parade of All Feels by Common Accounts

Also on the main floor, displayed in a hard plastic bubble, is a model for a parade float by the collective Common Acccounts.

The Parade of All Feels by Common Accounts

I wish this artwork was bigger! It’s packed with tiny details and shimmering mini-video displays, but it’s so small that it becomes toylike, hard to look at and to take seriously.

Installation by Walter Scott

I’m still on the main floor! Walter Scott could not ignore the pillars in MOCA. He half-dressed them and created a complicated installation with a raw, youthful, shambolic appeal.

In the background are hung big, bold, voluptuous, painted curtains by Julia Dault, one of the most well-known artists at GTA2021.

Paintings by Julia Dault

I wandered upstairs and was startled and impressed to encounter the sound installation by Sahar Te, which consists of a massive SUV, a Toyota Tacoma from 2003, this one draped in stretchy black nylon and emitting a deep, throaty, menacing breath. It made me wonder how many incel creeps are roaming the streets of the GTA in their oversized potential weapons of mass murder!

“Listening Attends” by Sahar Te
2003 Toyota Tacoma

The artist indicates the vehicle beneath the drapery is a 2003 Toyota Tacoma: truly a beast!

Also upstairs, is work by Tony Romano, a Toronto native who is drawn to the imagery and culture of Southern Italy, his ancestral home. Here, Tony Romano fuses fragments of found objects to create a romantic sense of yearning for another place and time. All these pieces have a soft, dreamy, tenderness about them.

Sculpture by Tony Romano
Installation by Tony Romano

Personal ethnic heritage is more often the subject of the art in GTA2021 than Toronto and its problems. Maybe the artists have to look back first, and only then, can they look ahead.

Installation by Azza El Siddique

The artist Azza El Siddique used the “architectural plan of a Nubian burial chamber” to create an atmosphere of decay and abandonement. Cultural artefacts and heirlooms lie scattered, looted, broken and water streams down to further erode and destory. Here there evocation of a cultural past feels sorrowful and bitter.

Installation by Azza El Siddique

I kept going.

At the back of the third floor I found a screening room. Here are the results of a collaboration. Parastoo Anoushahpour, Faraz Anoushahpour & Ryan Ferko worked together to create a truly original, witty and engaging video titled Surface Rights. I was so happy that I made the effort and rounded the corner of the third floor at MOCA to find this wonderful video tucked away in the most distant part of the exhibition.

“Charity” by Ron Baird

This is what it’s all about: The city of Markham has an illustrious past as a leading breeder of dairy cows. A work of public art, in the form of a chrome cow, by the artist Ron Baird, was gifted to the city. From there, everything unfolds.

Parastoo Anoushahpour, Faraz Anoushahpour & Ryan Ferko have two pieces in the show. Charity, which you can watch here, is an interactive documentary (jointly produced by the NFB and MOCA) in something called 360 video. “Surface Rights,” a related video, you have to see at the Museum. It’s worth the trip.

I hope one of Toronto’s most celebrated cultural ambassadors makes his way down to MOCA to check it out.

Toronto Booster and Art Collector

September 26, 2021

The end of September is one of those perfect times in the year; the honey-coloured light, the tension between perfection and decay, new clothes and sharpened pencils, and suddenly, Gallery Weekend!

Dahlias peak at the end of September

Everything feels tentative after this long period of fear, isolation and lockdown. I enter cautiously: masked, distanced, with proof of a second dose ready on my phone.

Will this city ever feel carefree again?

Maybe next year.


Bill Burns at MKG127

Installation of view of Bill Burns show at MKG127 titled “The Salt, The Oil, The Milk”

At MKG127 Bill Burns is into the third year of his slow performance, described below:

Bill began his slow performance called variously The Great Trade or The Great Donkey Walk in Amden Switzerland in 2018. With the help of two Donkeys, Bill carried salt from the local salt mine up some gentle slopes in the Swiss Alps and so this project began. Goat milking, donkey walking, sheep shearing, honey rendering, cheese making and occasionally country singing are Bill’s modes. This exhibition includes several dozen drawings that Bill refers to as “pre-documents”, pictures that depict events that have yet to occur, as well as “documents”, pictures of events that have already occurred.

MKG127 handout

The numerous drawings — which are small, pale, delicate watercolours, featuring text, which is sometimes descriptive and sometimes not — were apparently ripped from Bill Burns’ notebooks and then meticulously framed and hung in tight grids.

Detail of drawing by Bill Burns

Detail of drawing by Bill Burns

Installation view of drawings by Bill Burns

It’s such a liberating concept of what art could be: slow, thoughtful, lots of unexpected twists, delightful objects that spin off the activities and make sense in terms of the internal logic of the piece, big questions to mull over.

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Pennants by Bill Burns

I have yet to witness a Bill Burns performance but I am excited to report that I will attend one October 8th, at the Oculus on the Humber River Trail.

In the meantime, I appreciate the meandering, round about, surprising way this artwork touches on so many aspects of our present day world: Where does all the stuff that we have come from? How do things get done, made, traded, shipped, bought and sold? What is our connection to farms, to animals? What kind of hierarchies govern our lives? Our we wasting our time rushing around, getting, and spending? What does time even mean now?

Bill Burns walking a Donkey in Amden, Switzerland in 2018. This was the start of the slow performance.

I really like the way Bill Burns uniquely speculates, slows down and simplifies contemporary life, teases it apart and offers it to us — with a light and playful touch — for consideration.

And what about Donkeys? They are so appealing. I learned the following on The Donkey Sanctuary of Canada website:

Donkeys have been a cornerstone in human existence and they still prop up entire communities today, ferrying water, food and crops.

Donkey carrying water in Kenya



*****

Marcel Van Eeden at Clint Roenisch

Marcel Van Eeden is a major Dutch artist. I learned this from the many publications available at the Client Roenisch gallery, on the occasion of this exhibition, titled “Stolen Pictures.”

Drawing from the Rijks Museum series by Marcel Van Eeden

According to Client Roenisch, there is a key to this artist’s obsessive rendering of imagery which existed prior to his own birth. Marcel Van Eeden came into this world on November 22, 1963. Yes, that was the day JFK was murdered in Dallas! Even as a child Marcel Van Eeden saw the coincidence of the assassination of JFK and the beginning of his own life as an almost mystical nexus.

Marcel Van Eeden’s creative production has been to draw everything – “the light, the architecture, the travel, the people, the cities, the familiar, the foreign, the intrigue, the art, the violence, literally everything” — from the period including the start of photography and concluding at the moment of his own birth.

Drawing from the Rijks Museum series by Marcel Van Eeden

The drawings in the main gallery at Clint Roenisch — which all reference a distant art theft, including text and locale — are huge, powerful, intensely black (rendered in charcoal), and extremely elegant. They have a certain reckless vitality that also manages to be very precise.

Artwork by Marcel Van Eeden
Artwork by Marcel Van Eeden

There are also some small paintings, some in colour, also referencing the past, which is moving further and further away from Marcel Van Eeden.

Video about Marcel Van Eeden

I found this video on You Tube. It goes deep into the practice of this fascinating artist, his relentless drawing and his obsessions. There is very little talking in the video, although at one point the artist does explain his underlying motivations and what he’s getting at and why and just what its all about and so on… but then, of course, I don’t speak Dutch.


*****


Rae Johnson at Christopher Cutts Gallery

At the Christopher Cutts Gallery Rae Johnson’s paintings are on display. Sweeping vistas and low horizons, serene and majestic, filled with awe and reverence, these paintings express a deep and joyful love of nature and an acknowledge of the stark indifference we are all faced with — in our brief, frantic lives — as we look out, in a moment of calm, on this astonishing world.

STORM FRONT BREAKING, 1989, painting by Rae Johnson

The show is called “Of Light and Dark” Water, Land and Sky Paintings: 1989-2009.

SELKIRK/GROUND SHADOWS, 2008, painting by Rae Johnson

In many of her paintings, not shown here, Rae Johnson has depicted archetypes of depravity and redemption, populated by lonely, dreamlike sylphs in dimly lit nighttime haunts, or caught in painful scenes under a harsh fluorescent glare. This exhibition is another side of Rae Johnson’s work. Here, she is enthralled by the elements: air, light and colour

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STORM FRONT WINNIPEG MANITOBA, 1998, painting by Rae Johnson
GREEN SKY, 1989, painting by Rae Johnson

I wanted to bring the sublime into people’s existence.

Rae Johnson

It’s so uplifting to wander around the Chris Cutts Gallery, look at Rae’s paintings and realize that yes, she definitely succeeded in her goal.

*****

April 7, 2019

Koffler Gallery – Nevet Yitzhak

On the eve of the Israeli election, where the polls are projecting “King Bibi”, it seems like a good idea to check out Israeli artist Nevet Yitzhak and her exhibition, titled WarCraft, at the Koffler Gallery.

Detail of WarCraft video installation by Nevet Yitzhak

When I arrive, Nevet Yitzhak is speaking about her work to a rapt audience of a few dozen. The gallery lights are off, the only illumination of the event comes from the huge, animated digital projections on three sides of the space.

The projections look like very large rugs. They are flat, patterned expanses, with light coloured strips of fringe running down both vertical ends. The projections share the flattened, stylized look of traditional rugs from the Middle East. And they have the same warm palette of reds, ochers and yellows. But traditional subject matter, that of animals, plants and various domestic scenes, has been replaced with something new. In fact they are “war rugs,” – reminiscent of those that emerged during the Afghani conflicts – displaying the implements of contemporary warfare, like choppers, tanks and AK-47s.

Detail from digital video animation by Nevet Yitzhak

And the rugs move. In a rather slow, desultory manner, bombers cruise here and there, missiles are dispatched and explode, helicopters meet dramatic ends and fires continually burn. The slowness and repetition gives the scene a routine, humdrum feel.

Detail of animated digital video by Nevet Yitzhak

Meanwhile in the gallery, the artist is describing her family background, which is Yemeni, Kurdish Iraqi and Syrian. She tells the audience about the Arabic Jewish communities within Israel and their attempts to maintain their cultural identities, and, about her sense of self as an Arabic Jew growing up in a state of continual conflict, where Arabs are the enemy. She tells the audience that she has no hope, her generation has no hope, and, that this artwork is not a metaphor. This artwork reflects reality.

She also talks about Afghani war rugs and how they inspired her. But in this respect Nevet Yitzhak emphasizes the fact that, unlike the Afghani rug producers, she is a citizen of the aggressor state, and, her audience is mainly an Israeli audience.

Afghan war rug from 2002

Q & A Period arrives: Someone in the audience suggested that the artist’s work celebrates war. “It is the opposite of Picasso’s Guernica, ” the person complains, “It does not show suffering.”

Detail of Guernica by Pablo Picasso

Nevet Yitzhak responds to the question as follows: She repeats she is an Israeli citizen. She can not show the victims of Israeli aggression, because that is not who she is.

In an aside, the artist mentions that textiles are always political. I never really thought about that before, but, yes, remember the Pussy Hat? It is now a cultural artifact, frequently disparaged.

Pussy Hat is now decried as racist and trans-phobic

Exhibiting concurrently with Nevet Yitzhak’s show is a work by Shaista Latif. Shaista Latif’s video work, called “Learning the Language of my Enemies” (I have to go back and see it!) was created as “an intervention and an attempt at empathetic critique” of the work in the main gallery.

Still from two channel video piece by Shaista Latif

Shaista Latif has a very charming, bubbly personality and she jumps into the rather tense Q & A session with a declaration of herself as working class, Afghani-Canadian and Queer. She somehow gets the assembled group to agree with her that when you are in Toronto it is very important that you identify where you are coming from, what your point of view is and who you are speaking for.

Nevet Yitzhak’s English is a little shaky and in fact, she has a translator with her. Someone in the audience asks her if her work is political. She talks to the interpreter for a few seconds, and then she replies: “Everything in Israel is political.”

Map of Israel and surroundings


April 5, 2019

InterAccess

“Film Path / Camera Path with under-titles” by Daniel Young & Christian Giroux

The multi-media sculpture, by Daniel Young and Christian Giroux, on display at InterAccess is a dazzling feat of mechanical production wrapped around an idea. A film loop whips rapidly through a complex roller-coaster-like construction, in the center of which a giant, antique film projector is fed. The machine projects the depiction of the path the film takes through the sculpture. It’s a dizzying, hectic journey, and, watching the film – the ultimate, self-absorbed travelogue – is weirdly tension inducing and hypnotic at the same time.

Sculpture by Daniel Young and Christian Giroux

The piece, shown in the darkened gallery at InterAccess, is composed of big tangled loops of tubular steel. The loops, which create a kind of knot, are lined with brackets to hold the moving film. Even though the steel structure is still, there is a lot of intense movement going on as the film zooms around. In fact, the racket of the whirling film is so frenetic the whole thing feels like it could fly apart at any moment.

Rear view of sculpture by Daniel Young and Christian Giroux

Below the screen, sits a electronic text box slowly revealing rather opaque phrases. The script is displayed in a tingly blue LED, which casts the room in a dreamy light.

Details of Sculpture by Daniel Young and Christian Giroux

And what about the text box?

I was told that the artists invited thirteen individuals to contribute “under-titles” for the piece. A pamphlet containing all thirteen texts is available in the gallery. I knew of a few of the writers, but not many.

Details of sculpture by Daniel Young and Christian Giroux

The writings tend to be poetic and/or philosophical. Here is a particularly lovely piece written by Erin Moure:

It was a harsh and brutal climb across the wastelands and we were unprotected from ideas that lashed us left and right each day till tears streamed down our girlish faces. The air crackled. Ice pans heaved up in the river and we had to cross in wet shoes over the abyss of orange contradiction that grabbed us by the throat until we could no longer utter human sound. Language left us. Sound left us. There was a human track across the ditch full of coarse reeds and small animals trembling where the ice dissolved into such torrents we could not cross O vertigo…tanto queremos vivir neste mundo di frio… incorruptas nas ondas onde non haixustia nin palabrina ni corpo

Erin Moure

I googled a few of the contributors to see if there might be some common denominator. What turned up was lots of impressive accomplishments and associations with prestigious institutions. It’s harder to find out much, if anything, about some of the contributors, particularly the poets.

John Barlow –Poet

Ina Blom – Writer and Academic

Eric Cazdyn – Critic and cultural theorist

Geoffrey Farmer – Sculptor

Agnieszka Gratza – Writer

Daniel Hambleton – Mathematician and designer

Erin Moure – Poet and translator

Bridget Moser – Video and performance artist

Judy Radul – Multidisciplinary artist, writer and educator

Patricia Reed – Artist and writer

Reza Negarestani –  Philosopher and writer

Mohammed Salemy – Artist, critic and curator

Michael Snow – Artist

March 29, 2019

It can be tricky to find the right building in the maze of U of T. Look for Sidney Smith Commons and you will find your way to the Trans-Disciplinary and Trans-National Festival of Art & Science Exhibition. This year’s theme: Evolve, Mutate, Transform!

What better time to follow the lead of those in the Art & Science Salon and opt to “reflect on the condition of co-habitation and co-existence of human and non-humans in this world (and beyond?) and pose questions about transformation; forced or elective mutation and survival; agency and decision making; conservation and intervention.”

Detail of “Mud (Lake Ontario)” by Nicole Clouston

The exhibition is on a relatively modest scale. For example, the flourishing colonies of microbial life displayed by Nicole Clouston, in her piece called “Mud (Lake Ontario)” fit into a few feet of eye-level vitrine. The contained ideas, however, are big, highly original and delightful to observe.

“My work with mud arose out of a desire to engage with microbial life,”

is how Nicole Clouston describes the origins of her project, which involves harvesting mud from the lake bed and nourishing it with sunlight and nutrients until the living colonies are visible. Looking through Nicole Clouston’s on-line book, Lake Ontario Portrait, gave me an optimistic sense of the irrepressible life-force all around us.

Detail of Mud (Lake Ontario) by Nicole Clouston

No subject is too large for the trans-disciplinary crowd. Jenifer Wightman, for example, addresses our prevailing creation myth — including the tree, the snake, the apple, and, Adam and Eve — in her piece, Addendum (to the Gutenberg Bible).

The piece consists of a single page letterpress broadside, which updates the story of Genesis, using contemporary scientific images and references.

“Addendum (to the Gutenberg Bible)” by Jenifer Wightman

In 2014 this artist pulled 180 editions of the print (shown above) in the style and dimensions of the 42-line Gutenberg bible. That same year, she began hand-delivering editions of the “Addendum” to the 49 libraries and institutions of the world which hold these priceless artifacts, i.e. the world’s last remaining Gutenberg bibles.

One of the shimmering, ethereal “multi-species portraits” by Gunes-Helene Isitan is on display in the exhibition. Gunes-Helene Isitan refers to these portraits, which include the microorganisms from her subjects faces, as “Hybridities.”

“Zania-Microorganisms Hybrid” by Gunes-Helene Isitan

The artist regards the notion that a human is a “unified and autonomous entity” as stemming from “a modernist conception of ‘human exceptionalism.'” In fact, she points out, we are all made up of 50% microbial cells!

And microbial cells can be beautiful. When I googled “microbial” I was surprised to be shown this page from Zazzle (which is a global shopping platform) and given the opportunity to buy DNA MICROBIAL MISCROSCOPIC CELL STRAND LEGGINGS. 92.00 CAD

Suzanne Anker showed several small black sculptures. They have the appearance of some obscure, minute insect life, or maybe they reference Rorschach blot tests. Were they made with a 3D printer? They have an appealing weighty, mysterious quality.

Sculpture by Suzanne Anker

On her website Suzanne Anker’s creative interests are described as follows: “Concerned with genetics, climate change, species extinction and toxic degradation, she calls attention to the beauty of life and the “necessity for enlightened thinking about nature’s ‘tangled bank’.”

Possibly the artists in this exhibition represent the vanguard of change in how humans think about the biological world; the “tangled bank” not simply as a resource to master and exploit, but as a sentient partner and ally.

Biosphere 2

Back in 1991, it was not that way. “Biospherics” – the study of closed systems that recreate Earth’s environment – found some deep pocketed adherents and Biosphere 2 was built, in the Arizona desert, near a town called Oracle. I am trying to imagine the hubris of deciding to build a closed system replicating all the complexity of Biosphere 1.

Biosphere 2 was an epic failure.

Elaine Whitaker filled a vitrine with vaguely organic shapes entangled with human by-products.

“Intertwined” by Elaine Whitaker

The piece, called “Intertwined” seems to suggest that organic life forms are responding rapidly to human intervention. Or maybe not rapidly enough.

Marta de Menezes included a video in the exhibition. In this video, the artist and her partner, Luis, undergo skin grafts from one another. The grafts are summarily rejected as anti-bodies are created. How does the body identify itself and it’s non-self?

Still from video “Anti-Marta: Self and Non-Self” by Marta de Menezes

Despite the rather shocking gore – the bloody operation is witnessed in the tape – the artwork is charged with philosophical suggestions that will take some time to unravel.

Meanwhile, Marta and Luis are recovering nicely.

January 24, 2019

Mickalene Thomas: Femmes Noires

My attitude toward our southern neighbour swings wildly, from: “That hell hole,” to “We have so much to learn from the USA!”  The work of Mickalene Thomas, and her show at the Art Gallery of Ontario (AGO) titled Femmes Noires, makes me truly appreciate the USA and the driving, pure, singular force of innovation that springs up fairly frequently in that turbulent and mesmerizing country.

“Visibility, empowerment, celebration.” That is a quote from Mickalene Thomas, talking about what she wants people to take away from her AGO show.  She succeeds.  It is an exultant display, uplifting to visit.  So many images of queenly, glittering, sumptuous women.  I guess it takes a gay, black woman to shrug off deference to a male art world and let glitter and sequins reign.

The paintings shown in the Femmes Noires exhibition – collages of oil paint, photographs, and other materials – often refer to revered works by male artists from the past, like Picasso, Manet or Ingres. The women that emerge in these paintings have a deep sense of themselves: Their gaze is frank, self-contained, self-knowing and profoundly calm in the center of riotous color and pattern.

The painting titled “Shinique: Now I Know” references the Neo-classical touchstone “Une Odalisque.” This painting, by Ingres, above, was widely reviled when it was first shown. Critics pointed to the elongated curved creature in the painting as anatomically impossible. And yet this picture has endured, sits in the Louvre to this day, and is included in every Art History survey around the world.  Apparently, it had more than anatomical correctness going on.

People respond deeply to Ingres’ painting.  What is it that makes people decide to redo it, or use it in provocative sloganeering, as per the Gorilla Girls famous poster above.  Maybe there is something essentially irritating about “Une Odalisque” itself, that paradigm of “Orientalism.”

The Femmes Noires show is big! There are two massive galleries where the visitor can lounge in a living room environment — with potted plants, comfortable chairs and cushions — browse novels or other works about the black experience, and watch media (some random snippets are included below:)

Video by Mikalene Thomas

It seemed like there was a bit of a disconnect from the present. We see Whitney, Eartha, Pam, Diana and so many other fabulous black women icons from the past but where are today’s powerful black women?  In fact Mickalene Thomas has collaborated with Solange, Beyonce (The Queen!!!) and other contemporary black superstars but that work just doesn’t happen to be included in this exhibition.

portrait-of-solange-thinking-about-you-by-mickalene-thomas-2013-color-photograph-and-paper-collage-on-archival-board--2a4c1af070127b96

I was feeling pretty good about my former homeland by the time I left the Mickalene Thomas exhibition at the AGO.  What an exciting place of invention and possibility!  All the fraught recriminations and anger that characterize this contentious era in the USA don’t really come up at Femmes Noires.  It’s like an invitation to a new world.

September 15, 2019

Loner Culture at Inter/Access

To be a loner today is to raise suspicions.  We know now that Alek Minassian, Adam Lanza, Dylan Klebold, Elliot Roger, and many others, stayed in their rooms, alone, until rage and frustration drove them out, in a frenzy, to commit mayhem.

Loner Culture, the exhibition currently on display at Inter/Access is about something else.  It’s about trying to connect.  It’s social.  And weirdly, to be social, is to exclude one group in favour of another.  That’s the human way!  Sometimes the exclusion piece means solitary confinement in a pink bedroom.  But it’s temporary — a brief, high-drama interlude, an emotional eddy on the river towards self-actualization.

The exhibition re-creates vestiges of the long lost bedrooms where the tender, new self was honed and tested.

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Above: Installation at Loner Culture

I chatted with one of the artist’s in the show, Suzanne Kite, through her live link on the Discord Platform.  She described how in her late teens and early twenties she traveled hours on connecting buses to make the scene.  In her case, the scene was an all ages DNB Happy Core Trance House DJ event in some off-the-beaten track warehouse in a remote corner of sprawling LA.  That is dedication!  That is really wanting to be there!  Needing to get it absolutely right and knowing that the others at this event are just like you!

By the way, if you do not know — like me– the difference between DNB (Drums and Base) and Happy Core you can watch a tutorial above:

Suzanne Kite identifies herself as a Oglala Lakota performance artist.  When the movie Pocahontas came out in 1995 Suzanne Kite’s parents bought her absolutely every conceivable Pocahontas tie-in item.

According to Wikipedia:

… promotional tie-ins included Burger King distributing 55 million toy replicas of the film’s characters with kids’ meals, Payless Shoes selling a line of moccasins, and Mattel peddling a Barbie-like Pocahontas doll.[93]

Payless!  Obviously Indigenous youngsters, especially girls, were starved for dolls, toys and anything else Mattel and Payless could come up with that somehow related to them.  Suzanne Kite has carefully saved these items.  They are displayed on the walls of the gallery overlaid with projections of posters from her youthfully intrepid music life.

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Detail of installation by Suzanne Kite titled “Better Off Alone”

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Installation view of Suzanne Kite artwork “Better Off Alone”

Typing on the keyboard filled the large space at Inter/Access with Suzanne Kite’s favourite music from that era:

Video of interactive installation by Suzanne Kite

With all the memorializing of the past bedrooms of origin it is hard to keep the decades straight.  Patti Smith, Michael Jackson, Lydia Lunch and B52s must mean late seventies or early eighties.  But no, nostalgia has already kicked in.  This is a moment in the early 2000s where icons from twenty years prior are revered.

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Above: Installation detail from Loner Culture exhibition, re-creating a bedroom from the 2000s.

Both Thirza Jean Cuthand and Fallon Simard presented bedroom-ish settings and both featured monitors.

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Installation by Fallon Simard

In Fallon Simard’s piece the utterly bland dresser, standing alone in the rather cavernous, grey space, has a bleak feeling.  It is free of knickknacks and/or personal items of any kind, something that might indicate an era or anchor a sensibility. Instead there is a cold sense of isolation and detachment. The monitor displays anti-homophobic/transphobic internet memes with vague, delicate, pastel backgrounds.

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Art work by Fallon Simard

A camera is clipped to top of the  monitor in the Fallon Simard piece.  Are we observing or being observed? 

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Installation by Thirza Jean Cuthand

Thirza Jean Cuthand provides a heap of cushions and head phones to kick back and watch videos.   The tapes by Thirza Cuthand have a graceful poetic sensibility throughout.  The artist is fearless: sex, insecurity, fear, sex, mental illness, rage, grief, sex, youth, race, sex.  All the topics that are endlessly pondered in bedrooms around the world are covered here in an inventive and original voice.

August 18, 2018

For me, there is a true sense of luxury in slipping into a museum for a short visit.  The edifice – in this case the AGO – becomes like my local library.  It’s no big deal.  I’m merely popping in.  Two wonderful shows were just waiting for me…

Jack and the Jack Paintings: Jack Goldstein and Ron Terada

Jack Goldstein and the CalArts Mafia is available for purchase on Amazon for CDN 52.94.  Complete pages of the book, which was written by Jack Goldstein and a collaborator, are reproduced as large paintings; white text on black, in Ron Terada‘s show, Jack and the Jack Paintings, at the AGO.

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Jack by Ron Terada

The paintings are fascinating. They contain so much: cringe worthy emotionalism, insight and aspiration, the personal/political dichotomy, and, most importantly, they are powerful objects, flickering between realms of subjective and objective meaning.

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Photograph of Jack Goldstein

CalArts was the so-called “sister” school of NSCAD.  Maybe Jack Goldstein was a visiting artist?  I remember the name but…  Was he dating a friend of mine in the eighties?

The viewer can’t escape the texts, which constitute the paintings.  (I tried looking at them as white marks on black ground but I have not reached that level of enlightenment, yet.)  And these texts are so dense with 80’s art world gossip – all the references to Robert, Cindy and Helene!   All the resentment, whining and profound sadness.  It’s all too much.  Finally, the whole idea of the art world becomes something absurd, tainted and shameful.

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Jack by Ron Terada

Included in the show is one of Jack Goldstein’s paintings.  It is large, about 8 feet long, and solemn.   It adds a lot to the exhibition: it  is a calming force, dark and silent, judgement free, and, pain free.

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Painting by Jack Goldstein

Joseph Beuys

On the AGO’s main floor, at the end of trek through the Ken Thompson knickknacks, is a small room filled with many drawing, and, two sculptures.  These are early works (late 50s and early 60s) by Joseph Beuys; prior to the global fame precipitated by iconoclastic performance artworks such as I Like America And America Likes Me or How To Explain Pictures To A Dead Hare.

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How to Explain Pictures to a Dead Hare – photograph of performance by Joseph Beuys

The exhibition notes state that the works on paper “revolve around the theme of death.”  Renderings of the body: truncated, naked and anguished are displayed, images of sunken graves, darkness.  They appear to be made hastily/compulsively, on cardboard, newsprint, office forms, file folders.  Some of the drawings are partially obliterated with opaque black or terra cotta coloured paint, or decorated with the ubiquitous silver or fat substances that Joseph Beuys frequently employed.

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To Saturn by Joseph Beuys

The lights are dim in the exhibition and the delicate, fragile works are framed with excruciating care.   But despite the best attempts by museum preservationists there is a sense that they will not last.  But maybe that’s as it should be, as per the quote from Joseph Beuys below:

That is why the nature of my sculpture is not fixed and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, decay, drying up. Everything is in a state of change.

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Two Women by Joseph Beuys

The sculptures – one: broken and shambolic, the other: mysterious intertwined totems – are displayed in large vitrines.

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Hasengrab  (Hare’s Grave) by Joseph Beuys

 

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Sculpture by Joseph Beuys

During his life Joseph Beuys created the role of Shaman for himself; a figure of healing for modern society.  He engaged in social, political and environmental matters and explored the trauma of his WWII plane crash, and subsequent rescue by nomadic Tartars.  I was grateful to look at this work and to spend some  time thinking about how Joseph Beuys might respond to our current social upheaval and environmental crisis.

 

 

July 18, 2018

Report from Montreal

Life in graceful Montreal moves at a sauntering pace.  The sidewalks feel broad and unhurried.  There is always a table to be had, even at peak time.  The movie is never sold out.  In the hot, white glare of an afternoon in mid-July downtown Montreal feels nearly deserted and the saunter slows to a languid drift.

I am drawn to the churches: hushed, dark, cool, grandly capacious and filled with exquisite objects.  Mary, Queen of the World Cathedral is my favourite.

20180715_160250Narthex of “Mary, Queen of the World Cathedral” in Montreal

The role of the non-cloistered female orders and their leaders, particularly Saint Marguerite Bourgeoys, are exalted in this edifice.  There are a number of depictions of her, always looking beatific, in the Cathedral.

20180716_140119Saint Marguerite Bourgeoys teaching her indigenous pupils in 1694 on ground belonging to the Sulpicians. Work by Georges Delfosse.

20180715_155617Portrait of Saint Marguerite Bourgeoys

I was thinking way too much about faith, charity, devotion and, becoming hypnotized by the candles burning in the dim light.  It was time to buy a Mother Theresa medal and move on to the Museum.

The Museum of Contemporary Art

Richard Ibghy and Marilou Lemmons piece titled The Prophets creates the absorbing core to a group exhibition of the same name.  Spread about on high tables, Ibghy and Lemmons’ delicate, petite sculptures relate in a playful, irreverent way to the conceptual and/or formalist artworks, by renowned artists, on the surrounding walls.

20180718_143319Detail of “The Prophets” by Richard Ibghy and Marilou Lemmons

20180718_143407Detail of “The Prophets” by Richard Ibghy and Marilou Lemmons

The succinct transmission of information in charts, graphs and process maps is slightly subverted here.  Drole captions hint at meaning but these are gestural data depictions, not literal.  They use the familiar forms of  the financial pages but have more in common with Russian Constructivist graphics.  Their connection to, for example, the Sol Lewitt prints in the same room is definite but updated.  Whereas the early conceptual artists, like Sol Lewitt, were obliged to create text instructions accompanying their visual production — the formal texts sounding rather like logic statements or algorithms — Richard Ibghy and Marilou Lemmons experience no such constraints.  They just go for it.

It seems to be a very popular show.  Visitors linger and are compelled to take numerous photographs, intently focused, peering into their smart phones and leaning over the tables of sculptures they wile away the summer afternoon.

20180718_143533Museum goer photographing art work by Richard Ibghy and Marilou Lemmons, while standing in front of a painting by Jack Bush

Also at the Museum of Contemporary Art is a massive exhibition of the work of Rafael Lozano-Hemmer.  The show is called Unstable Presence. 

Rafael Lozano-Hemmer is interested in human interaction with systems, benign and otherwise.  Sometimes the work manifests as big, flashy public-type display, something you might see at Nuit Blanche.  For example: A sensor detects a human heartbeat and ignites a dazzling display of glittering bulbs in the museum rotunda.  I guess the “unstable” is the human participant.

20180718_154903   Pulse Spiral by Rafael Lozano-Hemmer

Other works — for example Zoom Pavilion – suggest sinister forms of control: non-stop surveillance, facial recognition technology, drones, heat-seeking threats and menaces, remote body scans and all the other oppressive technologies the techie geeks have come up with.  In fact, this phone I carry around with me everywhere is a tracking device!  But if I don’t have it…. how am I going to know where the nearest Starbucks is?  I guess its a trade off.

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20180718_151054Installation shots from Zoom by Rafael Lozano-Hemmer

Walking into the Zoom Pavilion installation is highly unsettling.  Multiple camera immediately focus on the viewer’s face, enlarge the image, then analyze, compare and store it.  There is a strangely disturbing soundtrack of zip lines, clicks, whirs and hums.  The walls are covered with real-time images of the audience, as they tentatively observe. The museum goer becomes a passive participant in a ghostly, black and white world.  A sense of being tracked or hunted is pervasive and the worst kind of corporate/government malfeasance is evoked.

In fact many of the works by Rafael Lozano-Hemmer create a sense of stepping into a reality much bigger than ours.  We can participate but only minimally.   A sinister power that lies elsewhere is amplified and our actions and interactions become trivial.

 

Video of works by Rafael Lozano-Hemmer in “Unstable Presence”

And there was more.  The Museum showed art works by some of my favourite artists … so it was a great day in sultry Montreal.

a128p1_in001-1200x1629                              “Earthling (Red Sweater)” by Janet Werner

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                                         “Zombie Dance” by Sarah Anne Johnson

 

July 8, 2018

The Toronto Outdoor Art Fair

2018 constitutes the 57th edition of the Toronto Outdoor Art Fair.   Rain or shine, since 1961, Toronto artists have been hauling their work down to City Hall.  The idea is to connect with a member of the public and make a sale!

TOAF is juried.   750 applicants were whittled down to 360 participants.  Fees are low: $50 per application.  Artists get to keep 100% of sales receipts.

TOAF is intent on getting people in the buying mood.  For example: The organizers set up an apartment tableau so that prospective buyers could test a painting over a generic couch/lamp/coffee table setup and get a sense of how it might look at home.

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“Quite good.  I’ll take it.”

Established artists rarely talk about the connection between money and art.  In art school, the topic of how to make a living as an artist is frequently dismissed with a shrug.  That’s not the case at the TOAF.  This is a place to openly market artwork, figure out a price point that works and be prepared to make change.

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Art work by Ezio Molinari

The global art market grew 12% in 2017, to total $63.7 billion, according to Art Basel.  Market share is largely located in the US (over 40%) with China a distant second, followed by the UK.  Because Donald Trump is in power the US figures are expected to rise again this year.  Why?  Art sales apparently escalate as income inequality increases.   (…)   Changes to US tax law are also favourable to buyers of pricey art.  Note, however, that the recent rise in the art market is confined to the high end galleries and auction houses.  Galleries with more modest prices did less well.  (TOAF does not allow prints or multiples, which interestingly are the one bright spot on the lower end market, according to Bloomberg.)

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But the buying habits of the 1% are not really relevant here on this stretch of hot cement.   The TOAF is bootstrap capitalism: refreshing, raw and often surprising.

I was happy to see this big, pink foam thing, made by Michelle Cieloszczyk.  She said it doesn’t really need  to be suspended.  It can be shown leaning against a wall or just laying down on the floor or somewhere.  I like the way this piece flips between a kind of fuzzy feeling, like flannelette, and then suddenly evokes hanging meat or something equally ghastly.

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Michelle Cieloszczyk with her sculpture Flat Can

I saw ceramics at the TOAF that were inspired, fresh and beautiful.  Water jugs by Jordan Scott appear so effortless and loose.  Joon Hee Kim creates complex narratives, bizarrely detailed and imaginative, using fired clay.

 

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Ceramics by Jordan Scott

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Ceramics by Joon Hee Kim

There were hand printed scarves, home decor and lots of jewelry but the bulk of the TOAF is painting and photography.  It was a lot of fun wander through the blazing heat and peak into a unique sensibility created within each 10 x 10 foot white tent.

 

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Beverley Hawksley created a glamorous, business girl mood.

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Parveen Dhatt dressed appropriately.

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Clare Allin came up with a sixties counter-culture vibe.

I came home with a pocket full of festive business cards, reminding me to shell out and buy some original art.

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