tag:blogger.com,1999:blog-8235920644654200152024-03-14T03:05:14.529-04:00Neurarticart, design, culture: incurableA.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.comBlogger79125tag:blogger.com,1999:blog-823592064465420015.post-14124491266926479242012-06-13T11:57:00.000-04:002012-06-13T11:57:51.741-04:00Brad Copping: Prairie Portage Primer<iframe allowfullscreen="" frameborder="0" height="480" src="http://www.youtube.com/embed/Dhr3H-X6i_0" width="640"></iframe><br />
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A very nice interview and video tour of <b>Brad Copping's</b> exhibition, <i><b>"Prairie Portage Primer"</b>, </i>on view at <a href="http://www.mjmag.ca/"><span class="Apple-style-span" style="color: #990000;">Moose Jaw Museum and Art Gallery</span></a> through September 2, 2012. I was honoured to have been asked by curator Heather Smith to write the catalogue essay.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-87535410935757794722012-06-04T16:37:00.000-04:002012-06-04T18:59:43.351-04:00VSVSVS: Graffiti Removal Removal<a href="http://www.vsvsvs.org/about" style="color: #990000;">VSVSVS</a> is a collective of young artists based in an industrial space in the Port Lands on Toronto's eastern waterfront. Current members include Stephen McLeod, Wallis Cheung, Miles Stemp, Laura Kreviazuk, Ryan Clayton, Anthony Cooper, Jemma Egan, Laura Simon, and James Gardner.<br />
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<b><i>"Graffiti Removal Removal"</i> </b>is a public art project which VSVSVS has recently done as part of <a href="http://www.artofthedanforth.com/2012-festival-details/" style="color: #990000;">Art of the Danforth 2012</a> . This festival is a welcome newcomer in the Toronto free-art, community-engagement scene. Bracketed roughly by the Greenwood and Woodbine subway stops, <i><b>"Art of the Danforth"</b></i> celebrates a stretch of the Danforth that has yet to see much in the way of gentrification. The festival runs from May 20 through June 10 this year, but "Graffiti Removal Removal" should be around for some time to come, or at least until someone removes the removal removals.<br />
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Graffiti Removal is what you get when city workers, or private property owners, attempt to erase graffiti by painting over it. You see these erasures everywhere, as floating and layered blocks of colour which almost, but not quite, match the tones of the underlying surfaces on the original buildings or fences. The resulting forms can be pretty interesting, if unintentionally so.<br />
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I have not asked the members of VSVSVS, but their project<b><i> </i></b>seems to be the logical extension of ideas introduced in the wry mocumentary short film <b><i>"The Subconscious Art of Graffiti Removal"</i></b> (2001, director: <a href="http://www.rodeofilmco.com/about/" style="color: #990000;">Matt McCormick</a>, narrator: <a href="http://mirandajuly.com/" style="color: #990000;">Miranda July</a>, based on an original idea of artist <a href="http://www.avalonkalin.com/" style="color: #990000;">Avalon Kalin</a>). <br />
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<i>"Graffiti Removal has become one of the more intriguing and important art movements of the early 21st century. With roots in abstract expressionism, minimalism and Russian constructivism, Graffiti Removal is both a progressive continuation of these movements and an important step in the future of modern art. What makes graffiti removal particularly intriguing, though, is that the artists creating it are unconscious of their artistic achievements."</i><br />
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Here is a clip: <i><br /></i><br />
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And so, we have <i><b>"Graffiti Removal Removal"</b></i>. Works of "removal art" are unintentionally made by city workers and property owners who have the conscious intention of erasing that which they do not sanction as art. With the addition of carefully chosen colour and occasional sculptural
elements, VSVSVS consciously and deliberately
"removes" the graffiti removals in such a way as to elevate the erasures. The graffiti removals now become validated and sanctioned works of ART as we more commonly define it: that is, work created purposefully and thoughtfully by professional artists. As is always a trademark of VSVSVS at their most successful, this project manages to be tongue-in-cheek and utterly serious at the same time. Unsanctioned artists make graffiti, which the city and the property owners do not consider to be art. The city and property owners make erasures, which they do not intend to be art, but which are now defined as such as a result of the intervention of professional artists. Next up?<br />
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Three of my favourite works in this series can be seen in the laneway which runs from Greenwood to Linnsmore Crescent, behind the stores on the north side of the Danforth. (Shot with my iPhone, and not the best. Go see for yourself, if you are in Toronto.)<br />
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<tr><td class="tr-caption" style="text-align: center;">The door, the post and the stairs have been painted in the same colour as the removal removals.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Sculptural elements are sometimes included in the removal removals: note the addition of spray-foam insulation on the right of the door. Note, too, the dash of aqua at shoulder height to the left of the door, nicely enhancing the divot which a truck has taken out of the corner of the building...</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">...and a pink-painted padlock installed on the pole.</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The colour of the removal removal on this fence was inspired by the weathered siding on the adjacent garage.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The property owner attempted a white-wash removal of an entire wall of graffiti, but could not paint around the permanently parked van. VSVSVS helpfully added the text, reading "WHITE PAINT" (vinyl lettering, thus itself easily removable).</td></tr>
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<br /></div>A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com3tag:blogger.com,1999:blog-823592064465420015.post-45961538741680861712012-05-14T14:30:00.000-04:002012-05-14T17:46:40.060-04:00MuMo: a mobile museum for childrenWhat a wonderful project this is! Conceived by Ingrid Brochard, entrepreneur, art collector and philanthropist, MuMo is a traveling contemporary art museum especially for children aged 6 through 12. The project is the first major undertaking of her non-profit foundation, <span style="color: #990000;">L'Art à l'Enfance</span>.<br />
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Designed by New Jersey-based architect <a href="http://www.architectureandhygiene.com/" style="color: #990000;">Adam Kalkin</a>, the museum consists of a shipping container engineered to magically unfold and pop up like a Transformer toy, topped off with a giant inflatable pink bunny sculpture, courtesy of Paul McCarthy.<br />
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Kalkin's preliminary sketch for MuMo.</div>
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MuMo at a schoolyard in Cameroon</div>
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The museum was assembled in Liverpool in the spring of 2011, and from there was shipped across the channel to France. It began its journey to schoolyards throughout France last fall, and is now traveling to elementary schools in Cameroon and Côte d'Ivoire. It will return to France in the fall of this year, with a fully-booked tour schedule through the spring of 2013.<br />
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There are <a href="http://www.musee-mobile.fr/artistes.html" style="color: #990000;">15 internationally recognized artists</a> featured in the museum, including Lawrence Weiner, Nari Ward, Paul McCarthy, Ghada Amer and Maurizio Cattelan. <br />
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Children enter the museum in small groups of 14...no parents or teachers allowed! They are, however, accompanied by a child psychologist, who travels with the exhibition, and trains additional local adult mediators to assist. In a recent interview with <a href="http://www.artinfo.com/news/story/803513/how-a-roving-shipping-container-became-a-world-class-mobile-art-museum-for-children-in-france-and-africa" style="color: #990000;">ArtInfo</a>, Brochard stated that at first she had wanted the children to explore the museum with no
adults whatsoever. "But I was afraid that they would miss certain
things or that they wouldn't take their time. The idea of guidance is
important, as long as the child can speak freely and be listened to. It
came down to shedding the academic habits and structure that teachers
enforce. I didn't choose (psychologist) Donatella Caprioglio because she's a therapist
but because she knows how to listen to children, because she respects
their freedom," Brochard said. "I want to avoid at all costs having any
authoritarian aspect to the visit."<br />
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After the visit, children make their own artwork, and Caprioglio and the mediators conduct a "<b>café</b>" to discuss the experience with the undoubtedly disappointed and frustrated parents and teachers, who are able only to experience the museum vicariously through their children's eyes and ears. I love how this project turns the traditional pedagogical hierarchy
upside down, and
allows children space for creative exploration and critical thinking,
on their own terms. In the artists selected for the exhibition, the
curators avoid any dumbing-down or pandering to adult
notions of what children are capable of appreciating, understanding or
enjoying. Also on MuMo's website is some charming documentary <a href="http://www.musee-mobile.fr/film.html" style="color: #990000;">footage of children's reactions</a> the art they've just seen: one small boy in
Cameroon is positively giddy about the experience, declaring Ghada
Amer's work, his favourite in the exhibition, to be "Magnifique!...I've
never seen anything like that before!". What he has never seen before
is a depiction of two people kissing, highlighting the cross-cultural
exploration of similarity and difference that is at the core of this
project. I hope a full-length documentary about MuMo is in the works. <br />
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From <a href="http://www.musee-mobile.fr/" style="color: #990000;">MuMo's website</a>, here is a short video clip about how the project started, with some interesting commentary from a few of the artists involved. Even if you don't speak French, you'll get the idea...and of course, the American architect and artists speak English. Lawrence Weiner's comments about the importance of art the psychological development of children are spot-on.<br />
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The following excerpts from an interview with Ingrid Brochard (conducted by Françoise Claire Prodhon, via <a href="http://www.art-enfance.org/" style="color: #990000;">l'Art à l'Enfance</a>) give a fuller sense of Brochard's philosophy and guiding principles:<br />
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<i>Why do you wish to set up this project?</i><br />
Ingrid Brochard : This project is part of a very personal thought process. In my eyes, art, or rather "the arts" in their widest sense: they have the power to open eyes on the world and the realm of emotions, they help us to get through life and its hardships. This is probably the observation that led me to think of a project that would help underprivileged children, or at least those who do not have access to art. <br />
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<i>It's a charity with a humanitarian vocation. How do you plan to carry it out ?</i><br />
This project is designed for the children of Europe, Africa, Asia, South America… It can be implemented with orphanages, hospitals and schools. It will take on the form of a travelling museum that will get to the children in places that are sometimes very remote. The idea is to provide them with a special moment during which they'll have to confront the creative process. But it will also create opportunities to share with the artists during workshops and performances.<br />
<i><br />What are the guiding principles of the project and how does it work?</i><br />
The interventions can take on various forms. One of its aspects is the Mobile<br />
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Museum, but there are artists who design a project with a specific target that doesn't require them to go on location. For example, Florence Doléac, the designer, designed the blanket-transitional object project for us, which targets small children at an orphanage who don't really have any toys of their own. Another example: Lawrence Weiner is currently setting up the project of a book designed by artists for the children, which will be handed out to the children with the help of Libraries Without Borders.<br />
I talked about L'Art à L'Enfance with many artists, and they all tend to appreciate that type of experience that's outside of the usual framework of contemporary creation, and in which there are no commercial stakes.<br />
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<i>What do you mean by that?</i><br />
I have first-hand experience with the world of contemporary art and its market, the strategic and economic stakes that pervade it. I'm not criticizing, but that's not what I'm looking for… Art is a tool of the mind, and by balancing our emotions, it transforms our outlook on the world, and that's what I wish for these children.<br />
<br />A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-30888126077189628122012-05-09T14:31:00.000-04:002012-05-09T15:24:02.257-04:00Welcome BackIt's been a very long time since my last post...my stint as Director/Curator at <b>KWT contemporary</b> was all-consuming! It has been a rewarding couple of years: building <a href="http://kwtcontemporary.com/artists" style="color: #990000;">a terrific roster of artists</a>, overseeing the development of a new corporate identity and website, managing, curating and installing up to three interlinked solo exhibitions a month, participating in three international art fairs, hosting a number of galas, lectures and events for not-for-profit-arts organizations... With 2500 square feet, the space was large by downtown Toronto standards, and had great street presence with abundant natural light in the front, segueing back to a darker, more intimate space at the rear (perfect for video and time-based installations). Given our location in an area undergoing rapid development, it is not surprising that the landlord saw the potential for "better opportunities". Our lease was up, and the gallery's owner and financial backer decided she would not meet the demand for a large rent increase. So, sadly, the doors at 624 Richmand St West are closed, and a new chapter begins. I'll be resuming my consultancy and art advisory service, <b>A.K. Collings Fine Art</b>, making time for more writing (and blogging!) and working on some curatorial projects.<br />
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Please explore the <a href="http://www.kwtcontemporary.com/" style="color: #990000;">gallery website</a> for images and more detailed information about the gallery artists. Go to the <a href="http://kwtcontemporary.blogspot.ca/" style="color: #990000;">gallery blog</a> to see installation shots, and for news about our roster artists' activities, publications and accolades. <br />
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Here is a brief look at KWT contemporary over the past two years:<br />
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Our Booth at Papier 12, Montreal, April 2012, featuring work by Liz Parkinson, Sean Martindale, Lauren Nurse, and Daryl Vocat.<br />
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Our booth at Art Toronto (Toronto International Art Fair) in October, 2011: looking through Jay Wilson's 12ft tall toothpick "stalagmite", with paintings by Paul Dignan and Kieran Brent in the background.<br />
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And here is a sampling of some of the exhibitions, installations and events at KWT contemporary, roughly in reverse chronological order. It will give you a sense of the wonderful space I had to work with.<br />
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Jay Wilson's exhibition in January 2012<br />
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Dinner party at the gallery for the artists.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUaDn4Z4rYPELY9mjr4f6Anxsb5y9-1Hoie1PjfLoQIULNoSQg-jU-9hqSaqJZgoJPs3Vi-BhulFc2abOim2w8PBF1sOdBPmwxXoiz5147j2z7ADYaIt5ZAHmVGT4tfPPKbIKrKgybrNw/s1600/D%2527Arcy+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a> Heather Nicol's "Salon" installation, Dec 2011<br />
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Kieran Brent with "Will" and the real Will.<br />
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Alex D'Arcy<br />
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Rachael Wongs's installation (latex paint, blown glass elements)<br />
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Paola Savasta, winner of the 2011 William Huffman Award<br />
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Yvonne Singer. neon and plexi sculpture</div>
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Svava Thordis Juliusson's installation, February 2011<br />
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Paul Dignan<br />
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Caroline De Mooy (oil on canvas) and John Paul Robinson (blown glass) November, 2010)<br />
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Many, many thanks to all the <a href="http://kwtcontemporary.com/artists" style="color: #990000;">artists</a> with whom I have had the privilege to work, and to gallery administrator Jessica Vallentin, interns Ebony Jansen, Emily Mahon, Victoria Lum, and our gallery owner and financial backer, Kristyn Wong-Tam, for an intensely rewarding, although far too brief, experience.<br />
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<br />A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-29421120988293953842012-05-09T14:00:00.001-04:002012-05-09T14:00:29.992-04:00A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-56852530360260770792010-09-24T09:48:00.002-04:002010-09-24T09:52:31.838-04:00Mira Godard: 1932 to 2010<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRdv0vhlN6y9UgLzQIJQrYFl8APQhI2N1o1178jGt7-ZWjS0XBJBswsOhRB38pIyopF6TLhYOtElDuoTu4g9twgT3BDLqcjrBePo-scROdEj-IPMMR2jgJZaQweppseetTbpCdXVTdmpE/s1600/-1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 262px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRdv0vhlN6y9UgLzQIJQrYFl8APQhI2N1o1178jGt7-ZWjS0XBJBswsOhRB38pIyopF6TLhYOtElDuoTu4g9twgT3BDLqcjrBePo-scROdEj-IPMMR2jgJZaQweppseetTbpCdXVTdmpE/s400/-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5520476616635971666" border="0" /></a>Sad news from the Art Dealers Association of Canada:<br /><br />It is with great sadness that we announce the passing of Mira Godard.<br /><br />Born in Bucharest, Romania, Mira Godard studied Art History at the Ecole du Louvre and Physics and Math at the Sorbonne University. She continued her studies in Canada, acquiring a B.Sc. from Concordia University in 1954 and an M.B.A. from McGill University in 1960. In 1959 she purchased the Agnes Lefort Gallery, which at the time, was the gallery of standing for avant-garde artists, such as Paul-Emile Borduas. In 1962 she opened the Mira Godard Gallery and paved the way for Yorkville to be the hub for Canada’s most respected commercial art galleries. She yet again opened a gallery in Calgary in the late 1980s, which played an important role in bringing contemporary art to the West.<br /><br />Her contribution to creating an art scene and art market in Canada cannot be understated. The Mira Godard Gallery has shown some of Canada’s most important artists - Alex Colville, Christopher and Mary Pratt, David Milne, the Estate of Lawren Harris, Jean-Paul Riopelle and Joe Fafard, to name a few. She brought groundbreaking International exhibitions, including an important show of late Picasso paintings, and her brief relationship with the famed Marlborough Galleries made great Modern art available to Canadian collectors. She leaves behind a legacy that will be continued under the direction of Gisella Giacalone.<br /><br />Among her many pioneering contributions was the creation of the Art Dealers Association of Canada. A founding member of PADAC, she was the Association’s first President in 1967. This year she finally agreed to accept the Association’s Lifetime Achievement Award, having refused to accept it before, feeling her life’s work was not done. The Art Dealers Association of Canada will proceed with the award at the Annual General Meeting in November with great regret and sadness. We honour her memory and contribution, which is incalculable in the development of Canada’s contemporary art market.<br /><br />Born on January 31, 1932, she died on Monday, September 20, 2010 in Toronto.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-61784830058488405742010-07-30T09:34:00.009-04:002010-07-30T10:08:00.411-04:00Lead Type<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaDDEKxSCdfkMZhbih-OxH_Mbdx2C4-ArXBfhYH0DJjZNVER5qHiS5d8Vq6itvNVmBJteQnPG5jPTtvBs-LA7y_BGSK2jFJXIG0jatmWatXc_69esIjR7P7EGqau4_0rPV2nHH0iwbYC4/s1600/pencil-carvings-pic-solant-669100510-1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 324px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaDDEKxSCdfkMZhbih-OxH_Mbdx2C4-ArXBfhYH0DJjZNVER5qHiS5d8Vq6itvNVmBJteQnPG5jPTtvBs-LA7y_BGSK2jFJXIG0jatmWatXc_69esIjR7P7EGqau4_0rPV2nHH0iwbYC4/s400/pencil-carvings-pic-solant-669100510-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5499696485363048162" border="0" /></a><br />Connecticut carpenter Dalton Ghetti sculpts pencil leads in his spare time.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-r5DjjS04jxHEsuiibe2f5FkP6Eo2g8YiXKF7NRobWvgogHvoITcjdFS9lIFtal2y_Bj4Il0YXr6fC-c3sv-bAwwvn8CffYWaZYsmayGfdN8V_n8UqdTrCBMm13ABvLd151DAm0o550/s1600/alphabet_1687553i.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 358px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-r5DjjS04jxHEsuiibe2f5FkP6Eo2g8YiXKF7NRobWvgogHvoITcjdFS9lIFtal2y_Bj4Il0YXr6fC-c3sv-bAwwvn8CffYWaZYsmayGfdN8V_n8UqdTrCBMm13ABvLd151DAm0o550/s400/alphabet_1687553i.jpg" alt="" id="BLOGGER_PHOTO_ID_5499696347716234386" border="0" /></a>(Thanks, <a style="color: rgb(153, 0, 0);" href="http://nigelbeale.com/">Nigel</a>!)A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com1tag:blogger.com,1999:blog-823592064465420015.post-61598429996505076152010-04-26T12:03:00.014-04:002010-04-26T13:46:19.664-04:00David Garcia: Meaning, Metaphor and the Personal LibraryCopenhagen-based architect David Garcia runs an eponymous <a style="color: rgb(153, 51, 0);" href="http://davidgarciastudio.blogspot.com/search/label/INSTALLATIONS">studio</a> which he calls "an experimental architectural platform" with an open door philosophy, encouraging collaborations with designers, artists and engineers.<br /><br />"Archive" is three-part installation which explores meaning, metaphor and the notion of the personal library. was first exhibited at the Royal Danish Art Academy Fall Show in 2005. Garcia calls these installations "investigations on space and books. Its departure point is density and micro spaces, and a series of traditional relationships that humans have to books."<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq5mM3UuDKoywjd8UPNLWXML1Ju1yPGwF87Q0eiOeRHEom_oO3xuwbSnIAToJ6zB6Dq2EfAhTlcQCRvKEh1bRo9fq3yBqcerwqMW5XP76-U_Cguh0IojL6FkWWD0_RrTiJKHIwp7bnbfU/s1600/dgarcia1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 207px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq5mM3UuDKoywjd8UPNLWXML1Ju1yPGwF87Q0eiOeRHEom_oO3xuwbSnIAToJ6zB6Dq2EfAhTlcQCRvKEh1bRo9fq3yBqcerwqMW5XP76-U_Cguh0IojL6FkWWD0_RrTiJKHIwp7bnbfU/s400/dgarcia1.jpg" alt="" id="BLOGGER_PHOTO_ID_5464478736008033218" border="0" /></a><br />Archive I (midground installation above) is "a weight balance library. The reader's chair is elevated in proportion to the amount of books in the shelves." This is a witty take on the bourgeois tradition of book ownership and display as a signifier of status. The piece is also a commentary on the right to learn, and freely share information. The more books are removed from the shelves, and consumed, the lighter the library becomes. The reader becomes "well rounded" with the weight and importance of imparted knowledge , but paradoxically closer to being "well grounded", if the information is shared and not re-shelved.<br /><br />Archive III (glimpsed in the background) is a "censored book stand. The books close suddenly if anyone approaches the reading stand." (Take that, DRM!)<br /><br />Archive II is a "circular library for the nomad book collector, allowing the user to step inside, and walk away with half a ton of books."<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGn1Aif6fribv5gVVF1anmhnNcl5iBOTRAw13M_ucsoR0I4ctC_uMny8jtopSp2ogUm8Xo0K1wnMvVoDB65FN3sGHK8V1SnPVsPQniORXB3Y230IFZTUCgo4HJYZpN02aa9L44qORD5Ek/s1600/dgarcia2.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 378px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGn1Aif6fribv5gVVF1anmhnNcl5iBOTRAw13M_ucsoR0I4ctC_uMny8jtopSp2ogUm8Xo0K1wnMvVoDB65FN3sGHK8V1SnPVsPQniORXB3Y230IFZTUCgo4HJYZpN02aa9L44qORD5Ek/s400/dgarcia2.jpg" alt="" id="BLOGGER_PHOTO_ID_5464495048620615634" border="0" /></a>"Private collections have existed for centuries, but when this is added to nomadic behaviour, curious contradictions arise; this is the area studied by Archive II. How can an individual travel with it’s own library, given that books are so heavy? This is something we can all relate to when moving house. Archive II is a nomadic library, a transport system and an intimate space. Inspired by ancient travelling libraries from the Far East, which visited courts and cities, Archive II transforms this into a personal space, where walking and reading coexist as refuge and transport." ( Cozy...there's an app for that!)<br /><br />Garcia notes that in the 9 hours it might take to read an average novel, you'd be able to travel about 43 kilometers, dryly adding "If you read and walk, watch out for traffic." This gives new meaning to the dangers of texting while driving.<br /><br />Archive II is owned and on exhibition at the University of Roskilde Main Library, designed by the firm Henning Larsen (Garcia is an associate of the firm). Photographs of this gorgeous building can be seen <a style="color: rgb(153, 0, 0);" href="http://www.henninglarsen.com/projects/0400-0599/0467-roskilde-university-library.aspx">here</a>.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-26430158876056438652010-04-19T14:45:00.026-04:002010-04-20T09:27:24.023-04:00Liz Parkinson's Art Brings Joy to Unhappy HipstersIf you appreciate modern residential design you are likely a regular reader of "Dwell" magazine, and enjoyed "From Brown to Green", an inspiring story about the Adams-Fleming residence (an abbreviated on-line version can be found <a style="color: rgb(102, 0, 0);" href="http://www.dwell.com/slideshows/from-brown-to-green.html?slide=3&c=y&paused=true">here</a>). Much as I like the magazine, they do have a peculiar slant to their editorial policy: children and pets are photographed as if they are mere fashion accessories, and the home owners appear to be in a state of perpetually disaffected ennui. This makes for easy pickings for the hilarious tumblr/blog <a style="color: rgb(102, 0, 0);" href="http://www.dwell.com/slideshows/from-brown-to-green.html?slide=3&c=y&paused=true">"Unhappy Hipsters"</a> which gave the following caption to this image from the Dwell article by photographer Lorne Bridgman:<br />(click on the photo to enlarge)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM1Dy_-g8KKWmuyx_55wS9_ShOEFkl0F59naMBM5sq7lXXanxQiTT1oS2lxIA9LiWgoNn1pNrC-ZVI9buCZFtO9OokDzvqtw1Du0JFivzKBXcGJFrTHDcOGShknuAMchQyUJBs0Xhbmvo/s1600/unhappyhipsters.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM1Dy_-g8KKWmuyx_55wS9_ShOEFkl0F59naMBM5sq7lXXanxQiTT1oS2lxIA9LiWgoNn1pNrC-ZVI9buCZFtO9OokDzvqtw1Du0JFivzKBXcGJFrTHDcOGShknuAMchQyUJBs0Xhbmvo/s400/unhappyhipsters.jpg" alt="" id="BLOGGER_PHOTO_ID_5461925254475161890" border="0" /></a><br /><span style="font-style: italic;">His first day in the house and little Alfie was alarmed—even their hobbies were joyless. (He’d be hitting the catnip hard.)</span><br /><br />Good One!<br /><br />Full disclosure: Adams and Fleming are personal friends and clients of <a style="color: rgb(102, 0, 0);" href="http://www.akcollings.com/">A.K. Collings Fine Art</a>. They are both wonderful cooks and generous to their wide and varied circle of friends and students. Their home is made for entertaining and it is at it's best when it is full of people, as it often is. Art makes a major contribution to the sense of warmth and humanity felt by their visitors, a fact which is not captured in the photos accompanying the article. Adams and Fleming have a very good collection of Canadian contemporary craft and fine art, and so it was a pity that none of the artists were properly referenced in the article. (Note to Dwell and other architecture and home dec mags: don't you think it's just as important to credit the artists as it is the makers of faucets and fridges? This same room was previously featured in a Canadian design publication, which saw fit to mention a chunk of wood gnawed by an anonymous beaver, but said nothing about the (human) artists.)<br /><br />The two large works on the rear wall are gorgeous drypoint prints by Liz Parkinson, from her <span style="font-style: italic;">Copperplate Appellation</span> series. The series presents late-season weeds as oversized specimens. Scale denotes importance: the familiar nuisance is identified and its individual visual attributes championed. In size (48"x31.5"), concept, beauty and technical execution, these prints are a real tour de force.<br /><span style="display: block;" id="formatbar_Buttons"><span class=" down" style="display: block;" id="formatbar_CreateLink" title="Link" onmouseover="ButtonHoverOn(this);" onmouseout="ButtonHoverOff(this);" onmouseup="" onmousedown="CheckFormatting(event);FormatbarButton('richeditorframe', this, 8);ButtonMouseDown(this);"><img src="http://www.blogger.com/img/blank.gif" alt="Link" class="gl_link" border="0" /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKGh_SSydOobTd9rJSU1Iw_WuUJ5iLN52uZgbo0fV44wRbmSs07EsuDDvM1BskgBE1DA5pczBWf2u5f2NT_l_N_QuByLsBh1dr5LMcYQeClf9jqaFMVqAeXp1ouOD-Co2ydIbHt6EINMw/s1600/Picture+2.png"><br /></a>Parkinson recently had a mid-career retrospective at the <a style="color: rgb(102, 0, 0);" href="http://www.vac.ca/">Visual Arts Centre of Clarington</a>. I've shown <span style="font-style: italic;">A Morphology Naturalized (veil) </span>at my own gallery in the past, but to see it hung in the the third floor loft<span style="font-style: italic;"> </span>of this former barley mill was<span style="font-style: italic;"> </span>breathtaking. <span style="font-style: italic;">Veil</span> is printed on translucent gampi (a handmade Japanese tissue paper). In the iteration for this installation, it measured an extraordinary 16'x16'. With the slightest breath, breeze or motion past, the veil moves as if it were alive. To quote Parkinson: "The veil shifts and sways from tradition to lyric to perhaps thoughtless richness and ruin. It contains elements of a formal morphology transformed into decorative language. It is an enormous print and an ephemeral sculpture. It is a botanical marvel; a familiar setting; a dandelion; a weed."<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVpx5LOYgUpGdyVjWmnotrHFKeYuwGQVVOjC_yIWsGrHi7vaeeTrW5HVxKiZko65JeopESIN9lNJc-b-as2sppMOnJ6NYCVRE6J4Ji2KUSycXBaqLd9-lquvow7cygJ2Cu95c8kZaHXc4/s1600/liz+image+of+veil+2+jpg+72+dp1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVpx5LOYgUpGdyVjWmnotrHFKeYuwGQVVOjC_yIWsGrHi7vaeeTrW5HVxKiZko65JeopESIN9lNJc-b-as2sppMOnJ6NYCVRE6J4Ji2KUSycXBaqLd9-lquvow7cygJ2Cu95c8kZaHXc4/s400/liz+image+of+veil+2+jpg+72+dp1.jpg" alt="" id="BLOGGER_PHOTO_ID_5461947372996702338" border="0" /></a><br />The exhibition was sensitively curated by Maralynn Cherry, who wrote the following:<br /><br /><span style="font-style: italic;">"Fair LONCIERA prints the dewy lawn</span> <span style="font-style: italic;">And decks with brighter blush the vermil dawn;</span> <span style="font-style: italic;">Winds round the shadowy rocks, and pancied vales,</span> <span style="font-style: italic;">And scents with sweeter breath the summer-gales.</span><br /><span style="font-style: italic;">(Erasmus Darwin The Love of Plants 1789)</span><br /><br /><span style="font-style: italic;">Printmaking techniques are steeped in the history of text and illustration as ancient Chinese rubbings transform into intaglio woodblocks, etchings and lithography: skills that reshape the social history of representation. Liz Parkinson uses the art of printmaking to extend the boundaries of natural form and pattern. The detailed layering of her print work runs parallel with her sensitive perceptions of memory as an inherent archive. Botanical illustration and the insights of the naturalist are ever present in the work. Parkinson methodically guides the viewer through an assemblage of floral prints presented in arrays that evoke, at times, the wallpapers and tapestries of the Arts and Crafts movement, early fresco’s or the beauty of Redouté’s lily classifications. Taxonomy weaves an underlying thread throughout the exhibition. Here the act of naming the specimen combines the aura of the field journey with the aesthetic bonding of art, science and nature. Our imaginations are tempered by the poetic and structural composition of these floral patterns. Yet, Parkinson’s sight does not rest here. Rather, she reinvents the gaze of the floral to encompass both the social and historical documentation of a living morphology."</span><br /><br />I have had the pleasure of placing Parkinson's work in a number of homes, as varied as the owners themselves. The fact that her art works in such a wide variety of settings is a testament to her skill. The work is simultaneously gentle and strong, and capably holds its own without overpowering, wherever it is placed. The following monoprint will soon be hung in the dining room of a rambling and wonky farmhouse which has had multiple additions (mostly incongruous) over its 150 year history: it is as un-modern and un-designed as can be imagined, and aside from also being inhabited by two people who are also generous hosts, this farmhouse is as different as can be from the Adams-Fleming residence. <span style="font-style: italic;">Derrida's Field</span> is a large 4'x4' monoprint, employing multiple printing techniques, as well as the application of gold leaf, imparting a layered and painterly feel.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbmJig7vm1P2_27cYRUEnAfMmq4ufN8_h8gSiffAucHcrU8OShK45t-CoSB7gu5OAt36lzRC6FWATJnH92omHG0yYEFPIcUlKE-_AEcvoJVAWcTEoETLZxVH8BM3CJYlsWqnbTiJ5AvnY/s1600/BocageDerridasField.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbmJig7vm1P2_27cYRUEnAfMmq4ufN8_h8gSiffAucHcrU8OShK45t-CoSB7gu5OAt36lzRC6FWATJnH92omHG0yYEFPIcUlKE-_AEcvoJVAWcTEoETLZxVH8BM3CJYlsWqnbTiJ5AvnY/s400/BocageDerridasField.jpg" alt="" id="BLOGGER_PHOTO_ID_5461953255658617346" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnC5J0gZ_4l-4tyaookgb8uGfyTc1dUwCux4V-vBCfkONdF0EzHgIaoaUqrJd91jBxUhLhJyn8X-AU5lr03bIXfd8XpzHECm1HqowdgVKhoCf2rqZdsEZnexwUPO-ayCnK_ZPRS2Lgsxg/s1600/Picture+1.png"><br /></a><span style="font-style: italic;">Derrida's Field</span> Litho, drypoint, relief, acrylic and gold leaf on wet mounted Japanese paper<br />48" x 48"<br /><br />The following two monoprints are from Parkinson's <span style="font-style: italic;">Morphology</span> series, and use drypoint and flocking techniques:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVf5zkHKnquDLFSW6b_4pIFVldXmct3oXLhLG2ILwfsBCV9_Ina427mYLjKvsVIBfX53UKoXHbaF4eiaFGbOfBHM7ilm1UpaqzyQdkXG6zSn_SiiP8ek3ePXX4bYrRf_MzSR6zIFw7yow/s1600/tarax-naturalized-blue-in-a.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 290px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVf5zkHKnquDLFSW6b_4pIFVldXmct3oXLhLG2ILwfsBCV9_Ina427mYLjKvsVIBfX53UKoXHbaF4eiaFGbOfBHM7ilm1UpaqzyQdkXG6zSn_SiiP8ek3ePXX4bYrRf_MzSR6zIFw7yow/s400/tarax-naturalized-blue-in-a.jpg" alt="" id="BLOGGER_PHOTO_ID_5461954877959267010" border="0" /></a><span style="font-style: italic;">Morphology In and Out</span>, monoprint, drypoint and flocking, 36x48, 2003<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRP1Wg_1s30ELsUjDiaQxwZrRJLnz3e-FTcn9XBhlY-jrw8Qbcw2ipCf27D8iu7rjHMuShsGoxa4JB6WG91zdKO2PEtpf-k_G_GWoxiG-H6xQg1yBzP1gwDzlXYHB4Ts6Grj2URPu70k/s1600/thatwasthecolour.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 367px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRP1Wg_1s30ELsUjDiaQxwZrRJLnz3e-FTcn9XBhlY-jrw8Qbcw2ipCf27D8iu7rjHMuShsGoxa4JB6WG91zdKO2PEtpf-k_G_GWoxiG-H6xQg1yBzP1gwDzlXYHB4Ts6Grj2URPu70k/s400/thatwasthecolour.jpg" alt="" id="BLOGGER_PHOTO_ID_5461954965457394114" border="0" /></a><span style="font-style: italic;">That was the Colour</span>, monoprint, drypoint and flocking, 31.5x34, 2003<br /><br />Parkinson's works are at their best when seen <span style="font-style: italic;">in situ</span>. Here they are in installation at the former <a style="color: rgb(102, 0, 0);" href="http://www.akcollings.com/">A.K. Collings Gallery</a>. The blown glass sculptures in the foreground are by Eva Milinkovic.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJAeaY2z0yE-QzNGN_xUYE3BKhElpbswdwOKbdaLCZlkfjY61vOcvJNH8FS0lqbLiNhDZknDHA5Zf-YyNC7dGVxCu2mhkMyNeNU1YiUH26Yqv9Q4YMuNq3T99zt_44X2LIefOMiW3xsE0/s1600/parkinson+with+milincovic.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 291px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJAeaY2z0yE-QzNGN_xUYE3BKhElpbswdwOKbdaLCZlkfjY61vOcvJNH8FS0lqbLiNhDZknDHA5Zf-YyNC7dGVxCu2mhkMyNeNU1YiUH26Yqv9Q4YMuNq3T99zt_44X2LIefOMiW3xsE0/s400/parkinson+with+milincovic.jpg" alt="" id="BLOGGER_PHOTO_ID_5461962909916870674" border="0" /></a><br />Parkinson is a master print maker, and her works are prominent in the well-known Ernst and Young Print Collection. In addition to her many private patrons, Parkinson's works are held in The Canada Council Art Bank, The Federal Ministry of Foreign Affairs, The Federal Business Development Bank, The Canadian Securities Commission, The Toronto Stock Exchange, The Tom Thompson Gallery and many other public and corporate collections.<br /><br />She lives and works in a re-purposed circa 1850 fire hall in a small town outside of Toronto.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-tMxJ37x8f4LFJ_yEOgKILS0tuunTu3buLo2MVlDFVmnnN0GNwq9Laa5-SsLf-xNuok_o1W9BAK874meKwM5Sin0yodrvOhLQCZFJ1mabdhu5dC62wVGU1TAXUO8OY2nz7QZaDBulSQY/s1600/lizinstudio.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 265px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-tMxJ37x8f4LFJ_yEOgKILS0tuunTu3buLo2MVlDFVmnnN0GNwq9Laa5-SsLf-xNuok_o1W9BAK874meKwM5Sin0yodrvOhLQCZFJ1mabdhu5dC62wVGU1TAXUO8OY2nz7QZaDBulSQY/s400/lizinstudio.jpg" alt="" id="BLOGGER_PHOTO_ID_5461964182414264818" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7bzZISZbSbC3lPspCZAtYw6sL9pc-MkxGPFrFUq752SG3fJSNou4eHtTpJ71q2uDdUGAcV34A5mvrLoztQ9ymazMeV9hZX77tMr9JVuR4Kalq59IDdLEuwhLn9Ep3b3EkhBlzrw0Dk4/s1600/ext.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 269px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7bzZISZbSbC3lPspCZAtYw6sL9pc-MkxGPFrFUq752SG3fJSNou4eHtTpJ71q2uDdUGAcV34A5mvrLoztQ9ymazMeV9hZX77tMr9JVuR4Kalq59IDdLEuwhLn9Ep3b3EkhBlzrw0Dk4/s400/ext.jpg" alt="" id="BLOGGER_PHOTO_ID_5461964048089367522" border="0" /></a><br />For inquiries about availability of these and other works, contact akcollings(at)sympatico(dot)ca.<br />More images can also be seen at Parkinson's <a style="color: rgb(102, 0, 0);" href="http://www.lizparkinson.com/">website</a>.<br /><span style="display: block;" id="formatbar_Buttons"><span class=" down" style="display: block;" id="formatbar_CreateLink" title="Link" onmouseover="ButtonHoverOn(this);" onmouseout="ButtonHoverOff(this);" onmouseup="" onmousedown="CheckFormatting(event);FormatbarButton('richeditorframe', this, 8);ButtonMouseDown(this);"><img src="http://www.blogger.com/img/blank.gif" alt="Link" class="gl_link" border="0" /></span></span>A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-1133406816885931922010-04-11T12:07:00.012-04:002010-04-25T11:40:45.867-04:00David Bolduc<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Ja2GZUX_slsyQe11I0sQuiypysW-wSl4LvJcpxauHBbB3GAvClPyJ1RnCZNexynXrNgIsox7WHCAVgHM2OiqVnM5oOW_qc6olbcTMxKxliS5Pe274bb-jH4MUHhhgCXsTLfGSLB7koQ/s1600/img_8532---dundale---36-x-30---2009_193_big.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 331px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Ja2GZUX_slsyQe11I0sQuiypysW-wSl4LvJcpxauHBbB3GAvClPyJ1RnCZNexynXrNgIsox7WHCAVgHM2OiqVnM5oOW_qc6olbcTMxKxliS5Pe274bb-jH4MUHhhgCXsTLfGSLB7koQ/s400/img_8532---dundale---36-x-30---2009_193_big.jpg" alt="" id="BLOGGER_PHOTO_ID_5458917373459784162" border="0" /></a><br />I am saddened to announce that David Bolduc has died. He was 64 years of age, and died following a short and extremely courageous battle with cancer. He continued painting through it all, producing an entirely new body of work for an extraordinary show at Christopher Cutts Gallery just 3 months ago. His paintings contained an enormous energy and life force, as if channeling the very essence and fire of his soul. Working with David last year for the <a style="color: rgb(102, 0, 0);" href="http://neurartic.blogspot.com/2009/04/new-paintings-david-bolduc.html">exhibition</a> of new works he so generously created for my small gallery was a true privilege.<br /><br />In 2006, Linda Corbett recorded a series of videotaped interviews with David. They are available to be viewed on line, courtesy of the <a style="color: rgb(102, 0, 0);" href="http://www.ccca.ca/videoportrait/english/bolduc.html?languagePref=en&">Centre for Contemporary Canadian Art Database Project.</a> How fortunate we are to have this important documentary record of a significant painter, poet and raconteur. He will be missed.<br /><br />UPDATE: Link to <a style="color: rgb(153, 51, 0);" href="http://www.theglobeandmail.com/deaths/artist-always-went-the-way-he-wanted-to-go/article1544031/"> obituary </a> in the Globe and MailA.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com3tag:blogger.com,1999:blog-823592064465420015.post-34879352966989305972010-03-30T13:19:00.004-04:002010-03-30T13:23:32.861-04:00The Future of Publishing<object height="340" width="560"><br /><br /><param name="movie" value="http://www.youtube.com/v/Weq_sHxghcg&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Weq_sHxghcg&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="340" width="560"></embed></object><br /><br />This video was prepared by the UK branch of Dorling Kindersley Books and produced by <a style="color: rgb(102, 0, 0);" href="http://www.thekhakigroup.com/">Khaki Films</a>. Originally meant solely for a DK sales conference, the video was such a hit internally that it is now being shared externally. Make sure you watch it up to at least the halfway point, there's a surprise!.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-10825971029305226912010-03-08T18:47:00.009-05:002010-03-08T23:29:29.724-05:00Helen AdamToday is International Women's Day. I recently spent the afternoon at MoMA wandering through the Tim Burton exhibition. What does one have to do with the other?<br /><br />Helen Adam (1909-1993) was a poet, free spirit and iconoclast. She wrote in the style of the Victorian ballad. Although much older, and working within a very different creative framework, she counted Allen Ginsberg and the very young Patti Smith among her colleagues, along with many other members of the literary avant garde in New York and San Francisco. I think she would have liked Tim Burton.<br /><br />In "Apartment at Twin Peaks" she takes the crone stereotype and makes it her own, with characteristic black humour:<br /><br />"New Year’s Eve, and the moon like a flame.<br />From as far as Fresno my girl friends came.<br />I knew my party simply could not miss<br />Though I served my husband as the principle dish."<br /><br />Here's an excerpt from Ron Mann's "Poetry in Motion" (1981).<br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/t9b7RhTYUKE&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/t9b7RhTYUKE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object>A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com1tag:blogger.com,1999:blog-823592064465420015.post-86920841668396257632010-03-02T19:14:00.011-05:002010-03-03T08:50:57.624-05:00Why You Should Buy Art<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3sGinpQT2tvH6eYnsjyEC7pdvbXkzGTMhJvNTEMe3w-j1Gh2EWAGSi6QiAP6UUecjKEYSWUK5ixMXwKvO-vT5NUrVVPF9Znm1qBpdwJ5R2lOcMsfvEEElOYlWRrhuEqzCyDzANWY1io/s1600-h/2219_largeview-655.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 317px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3sGinpQT2tvH6eYnsjyEC7pdvbXkzGTMhJvNTEMe3w-j1Gh2EWAGSi6QiAP6UUecjKEYSWUK5ixMXwKvO-vT5NUrVVPF9Znm1qBpdwJ5R2lOcMsfvEEElOYlWRrhuEqzCyDzANWY1io/s400/2219_largeview-655.jpg" alt="" id="BLOGGER_PHOTO_ID_5444194667321042210" border="0" /></a>I am back from New York, and this William Powhida print is one souvenir of a wonderful and art-filled trip. You can click on the image to enlarge.<br />(Actually, I bought the print online at Jen Beckman's <a href="http://www.20x200.com/"><span style="color: rgb(153, 51, 0);">"20x200"</span></a> which is well worth a virtual visit, whether you can get to New York or not.)<br /><br />I am an erratic blogger, and for that, I apologize. You'd think I'd have plenty to write about, having just spent the last week in New York, in the company of Our Montreal Correspondent. The problem is, I am slow thinker, and I need time to mull before I write...not a trait particularly well suited to the pace of the blogosphere.<br /><br />While in NY, OMC and I visited the William Powhida and Jennifer Dalton event, <span style="font-style: italic;">"#class" </span> at <a style="color: rgb(153, 0, 0);" href="http://www.winkleman.com/">Winkleman Gallery</a>, and participated in Saturday's Powhida-led "Art Walk" through a range of Chelsea galleries.<br /><br />And since I am still mulling over that experience, for now I'll leave you with<a style="color: rgb(153, 51, 0);" href="http://www.artforum.com/picks/section=nyc#picks25015"> Eva Diaz's</a> description and contextualization of the goings-on at <span style="font-style: italic;">#class,</span> from Artforum:<br /><br />"Mass education in the post–World War II period positioned pedagogy as a pivot between personal growth and wider sociopolitical transformation. Recent large-scale student protests against fee hikes and the profit-driven campus at the New School and throughout the University of California system can be seen as part of a larger reaction to how the prospect of education was subsequently instrumentalized as a consumer transaction. Similarly, a spate of artist collectives are reassessing how progressive pedagogical models can be employed as consciousness-raising tools. Joining related endeavors such as 16 Beaver, the Public School, e-flux’s Night School, and the Bruce High Quality Foundation University, artists William Powhida and Jennifer Dalton have created <span style="font-style: italic;">#class</span>, a series of public workshops in a classroom setting that, in its eclectic sprawl, seeks to investigate the effects of the economic downturn on the field of art: on its production, reception, distribution, and consumption; on its educational institutions and its institutions of display.<br />The setup is simple: A room contains several worktables and chairs lined with four chalkboards. Dozens of programs and open-ended brainstorming sessions have been scheduled for the one-month duration of the exhibition, and the artists will be present on a daily basis to use the gallery as a studio space. The “curriculum” ranges from the intentionally hokey (motivational speakers promising to unleash “wild creativity”) to the near heretical (dealers guaranteeing to answer questions about the art market with complete transparency)."<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_O26xOSO3UYLHCnm3cxaGlOj8D7zR8tman-rbmQE-46AWHReGVFBpjqtq-858cbIjMxneeB9miF76qnWu6Xairniit4AGQDlDlpTLwSBSv4UzMrCtEYT6SAisFtfRERxQTBn5BMosQBU/s1600-h/picksimg_popup.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_O26xOSO3UYLHCnm3cxaGlOj8D7zR8tman-rbmQE-46AWHReGVFBpjqtq-858cbIjMxneeB9miF76qnWu6Xairniit4AGQDlDlpTLwSBSv4UzMrCtEYT6SAisFtfRERxQTBn5BMosQBU/s400/picksimg_popup.jpg" alt="" id="BLOGGER_PHOTO_ID_5444205774414895682" border="0" /></a>You can follow the events for yourself, by visiting the <a style="color: rgb(102, 0, 0);" href="http://hashtagclass.blogspot.com/">#class blog</a>, and <a style="color: rgb(102, 0, 0);" href="http://edwardwinkleman.blogspot.com/">Ed Winkleman's blog</a>, where you'll find a link to a gallery cam running a continuous live feed during gallery hours.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com2tag:blogger.com,1999:blog-823592064465420015.post-26522725265022519962010-02-15T19:56:00.019-05:002010-02-16T10:00:49.543-05:00Pearl Van Geest: A Love Affair with Paint<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLxUHdg0I_B4zAqtbse1ly76rAeWriXEahwl59tYPwvnUs5M29zgTYC7KXxVcQVg_YfHHwaByRcMb_fhLr6hl3eVGTl5eTfKMd8m7Ic3ZS0lT2OiZJxGwig-HEaS9gjLOQS416hjm9thM/s1600-h/installation-transit.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 331px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLxUHdg0I_B4zAqtbse1ly76rAeWriXEahwl59tYPwvnUs5M29zgTYC7KXxVcQVg_YfHHwaByRcMb_fhLr6hl3eVGTl5eTfKMd8m7Ic3ZS0lT2OiZJxGwig-HEaS9gjLOQS416hjm9thM/s400/installation-transit.jpg" alt="" id="BLOGGER_PHOTO_ID_5438648487031170850" border="0" /></a><br />Pearl Van Geest loves paint, and in a very literal way, the paint loves her back: the boundary between herself and the canvas could be described as a semi-permeable membrane. She paints with the sort of id-soaked, primary process-driven intensity often associated with "intuitive" or "outsider" art. However, she and her paintings are far from naive: she is a broadly educated, well traveled person, and a highly skilled, technically adept painter.<br /><br />In the tradition of the Automatistes, she appears to be able to allow her subconscious to free itself from rational restrictions. Her colours are saturated and sensual. The subject matter, and her very technique, is carnal and oral.<br /><br />Jean Paul Riopelle said: "Painting is an illness. It's a germ you catch one day". I think he was referring to the experience of simultaneously consuming, and being consumed by, the creative process. Van Geest speaks of her art in similar terms:<br /><span style="font-style: italic;">"Can the boundary or skin between the human and natural world be dissolved or made transparent by the energy of desire, by Eros, by love, by ecstasy and a desire to connect: to be at once subsumed and to possess what we see, feel, touch, taste and hear?" </span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5ypk2rNkGB9-rKvHNTDlYWshjipZZVSRp6FR6ONFhfnE2YFIr3qIYYkuoWXj6mkOJr1lAwMqyw8IVlyo1FwCHwQ3tHEVitc1YrGELB1wwE3SwIxrf9NFre1j4smKxgkqQxR5W601N30/s1600-h/spoiled-in-rubies.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 395px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5ypk2rNkGB9-rKvHNTDlYWshjipZZVSRp6FR6ONFhfnE2YFIr3qIYYkuoWXj6mkOJr1lAwMqyw8IVlyo1FwCHwQ3tHEVitc1YrGELB1wwE3SwIxrf9NFre1j4smKxgkqQxR5W601N30/s400/spoiled-in-rubies.jpg" alt="" id="BLOGGER_PHOTO_ID_5438639513152388658" border="0" /></a><br /><br />“Spoiled in Rubies”, 2002. Oil and lipstick on canvas. 72″ × 72″. (Collection of the Macdonald Stewart Art Centre)<br /><br />Above is one in a series of paintings begun in 2001 in which <span style="font-style: italic;">"the canvas is first covered in lip prints/kiss marks; used for their mutable symbolic significance and also for their remarkable morphological similarity to other natural forms, suggesting by implication, in addition to love and sensuality, our essential corporality and connection with the rest of the natural world."</span><br /><br />Actual lip prints, actual lipstick.<br /><br />In 2006 she began her "flower-eating" paintings. These paintings are self portraits, painted from a series of photographs of herself in the act of consuming lilies. Lilies are sexy, with male and female sex organs exposed and unashamed. As the series progresses, these paintings become increasingly disinhibited. In the most recent, the pollen is smeared on her face, a sensual merging of self with the natural world.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpotH9Jn6UN_NlkRa2gSFBO3LQtFtzfsnE0Dlu_rSPgXbmmNzfq0PXyTMr-2iVePGZzlHO30IdbO-HP0yU544FcXcnmkT8Mv7wRw_5rHlJq8Zk8dtsvgWQFurNWr0W0ySLYb84Mfj4NI/s1600-h/on+possession+1+2008.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpotH9Jn6UN_NlkRa2gSFBO3LQtFtzfsnE0Dlu_rSPgXbmmNzfq0PXyTMr-2iVePGZzlHO30IdbO-HP0yU544FcXcnmkT8Mv7wRw_5rHlJq8Zk8dtsvgWQFurNWr0W0ySLYb84Mfj4NI/s400/on+possession+1+2008.jpg" alt="" id="BLOGGER_PHOTO_ID_5438640320052674418" border="0" /></a><br /><br />“On Possession 1”. Oil on canvas. 48″ × 48″.<br /><br />I've never met Van Geest, but we have recently had a brief e-mail correspondence. She wrote:<br /><span style="font-style: italic;">"In the flower-eating paintings I was interested in playing with the lily contrasted with the datura. The datura and its family relative Belladonna, has a darker association in mythology and also pharmacologically, having being been used "recreationally" as a hallucinogen and also apparently having been given to women during labour. Among its active ingredients is atrophine and women used to put drops their eyes to dilate their pupils to appear more alluring. Witches made a "flying salve" which included datura of belladonna as one of the ingredients. The lily in medieval paintings of the Virgin Mary, represented the virgin birth and in some versions of Roman mythology, Juno impregnated herself with a lily."</span><br /><br />This seems as a good place as any to mention that Van Geest was originally educated as a scientist, and entered art school after several years of travel and teaching high school Biology and Chemistry. I asked her about her transition from the world of science to the world of art. She wrote: <span style="font-style: italic;">"I love science - the observing, looking closely, inquiry, problem solving, knowing something about the inside of things and how things work and exploration. I like how learning about science makes the world seem even more miraculous. I love grand views and the worlds inside small intimate things like lichen and club moss. I like observing the same things over and over again, seeing the changes. I always drew, painted and took art courses while doing my BSc and also in high school. In grade 13 I received the art award and the biology award so the split (which as you know more than me isn't really as some people make it out to be, science and art both being creative and open endeavors) was always there..I was longing to go to art school. Making art became more and more of an imperative. I wanted to do it all the time. ."</span><br /><br />Twenty years after first entering Guelph University to study biology, Van Geest graduated from Ontario College of Art and Design. She enjoyed critical recognition straight out of the gate, with awards and grants, and shows at some impressive Toronto and area galleries. In 2003, she was a finalist in the prestigious RBC painting competition, and in 2008, she was recognized by inclusion in the "emerging artist" category for Magenta Foundation's "Carte Blanche 2".<br /><br />From Van Geest's website: <span style="font-style: italic;">"I am interested in the intersection of art and science, with questions that arise about the nature of reality and the natural world, our place in it and perception of it. In my paintings I explore the boundary or “skin” between the human and the natural world and ways in which our consciousness, and sensual and cultural perceptions can both facilitate and impede an experience of the natural world."</span><br /><br />Van Geest has spent productive stretches of time in residence at Pouch Cove, Newfoundland. The result has been landscape paintings, which begin <span style="font-style: italic;">"as simple pencil line sketches, some done while sitting on the cliffs recording the pattern of the waves on the sea over a period of time ".</span> Here again, her method recalls one technique of the Automatistes, in which paintings emerged from gestural, "automatic" drawings, the purpose of which was to over-ride the conscious influence of the ego and subvert the influence of culturally specific aesthetic judgement.<br /><br />In Newfoundland, she became<span style="font-style: italic;"> "compelled by openings and splits in the world...</span><br /><span style="font-style: italic;">The perspective is reversed, the mouth has become a cave"</span>.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbRloDghV_4TXu0zsbCc4zBowj6mhyBrKyClBmu7YogkhXW4PcKN6MtA93Jc4PfcgOhRtNwIVfnHqUte_5aeJSObvHvYuZThRPyv78MwaubWAJ4Q3IQE3Xspfxl9bNkBX2z05BkJSbko8/s1600-h/love-on-the-rocks.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 318px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbRloDghV_4TXu0zsbCc4zBowj6mhyBrKyClBmu7YogkhXW4PcKN6MtA93Jc4PfcgOhRtNwIVfnHqUte_5aeJSObvHvYuZThRPyv78MwaubWAJ4Q3IQE3Xspfxl9bNkBX2z05BkJSbko8/s400/love-on-the-rocks.jpg" alt="" id="BLOGGER_PHOTO_ID_5438646354705749554" border="0" /></a><br />“Love on the Rocks”, 2008. Oil on canvas. 60″ × 48″.<br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG840Va2eiQB9EbFVxoDeV6_GXl5xZzneASTTJHrKP4klF0ydy18wo-ybr1dIt6sgdcz8_-TelaVhZiTF1i6WtCCcax4jVBtELHxSscpMrz6KVG60VfQEwSFfKbCAxxPKZI1iAOC0YiNg/s1600-h/Cove(lowres).jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 394px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG840Va2eiQB9EbFVxoDeV6_GXl5xZzneASTTJHrKP4klF0ydy18wo-ybr1dIt6sgdcz8_-TelaVhZiTF1i6WtCCcax4jVBtELHxSscpMrz6KVG60VfQEwSFfKbCAxxPKZI1iAOC0YiNg/s400/Cove(lowres).jpg" alt="" id="BLOGGER_PHOTO_ID_5438644105156698898" border="0" /></a>"Cove" 2010. Oil on canvas, 48" x 48".<br /><br />The exploration of boundaries, permeability and portals are constant themes in Van Geest's work. This is the common thread through the three bodies of work. In Freudian theory, the individual whose development has been arrested at the oral stage forever struggles with boundary issues. Unable to differentiate between the self and the other, the person remains un-individuated, and forever unfulfilled in the wish for impossible merger and "perfect love". However, the straightforward application of this kind of analysis to Van Geest's work would be reductive, and do a disservice to the subtle complexity of her dance with paint and canvas. Psychoanalyst Ernst Kris used the phrase "regression in service of the ego" to describe the creative life of the successful artist. This is what she accomplishes. She has the ability to go "there", to use her considerable skill and artistic gift to translate the experience, and then to "bring it back". Her paintings are gorgeous celebrations of the most fundamental aspect of being human.<br /><br />Visit Pearl Van Geest's <a style="color: rgb(153, 51, 0);" href="http://www.pearlvangeest.com">website</a> for more images, and details of upcoming exhibitions.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-82206574971144085782010-02-09T20:35:00.009-05:002010-02-12T10:11:11.433-05:00Brian Cox, actor, on language development!<object height="340" width="560"><param name="movie" value="http://www.youtube.com/v/loDMRzPiCic&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/loDMRzPiCic&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="340" width="560"></embed></object><br />Brian Cox teaches 30-month-old Theo a bit of Shakespeare. (first seen at <a style="color: rgb(153, 51, 0);" href="http://boingboing.net">boingboing</a>)<br /><br /><br />Added on Feb 11:<br /><br />I did not have time add comments to this clip when I originally posted it as one of my occasional offerings on creativity, language and memory development.<br /><br />Theo is a remarkable, natural talker, but I can guarantee you, without ever having met his parents, that he is also benefiting from an environment in which adults speak to him all the time. I'll bet they don't use baby talk, and that they listen to him carefully, and patiently encourage him him to try again when he is not being understood. They don't finish his sentences for him. I'll also bet that there is lots of rhyming word play, nursery rhymes, and songs with gestures. And books.<br /><br />Babies need to be spoken to from birth. If you watch carefully, you may occasionally have the feeling that even a very young infant is making fleeting attempts to imitate your gestures. You are not imagining this: it is the precursor of speech. By 6 months, it becomes obvious to the adults in a baby's life that babies are very social little critters. They love to imitate hand gestures, facial expressions, and the melodic contours of the language they hear. Older toddlers get joy (and social props) from imitating, as can clearly be seen in Theo's case.<br /><br />Children do develop at different rates, of course, but they are often smarter and more creative than we realize...we just don't always know what they are trying to express, and sometimes we don't have the patience to truly observe.<br /><br />If you have a little one in your life, please don't think that Theo's performance is a typical benchmark! I posted the clip because it is inspiring to see a little one and an adult so thoroughly engaged with each other, and mutually enjoying a brief dose of an activity a bit more creatively challenging than "Barney" or "Doodlebops".<br /><br />If you do have worries that your child is lagging in language development, <a style="color: rgb(153, 51, 0);" href="http://asha.org/public/speech/development/chart.htm">here</a> is a useful developmental chart.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com1tag:blogger.com,1999:blog-823592064465420015.post-47079084900849470362010-02-08T14:58:00.009-05:002010-02-08T15:23:19.925-05:00The Sweetest Little ThingHere is an early Valentine from New Brunswick.<br /><br />The Sweetest Little Thing is an annual fundraising event for The Owens Art Gallery and Struts Gallery & Faucet Media Arts Centre. You can participate in the <a style="color: rgb(153, 51, 0);" href="http://www.sweetestlittlething.ca/">auction online</a>. That is a lucky thing for those of us who can't be there, because there are some terrific works on offer. Here is a sampling.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgFi-kl5HXyODSR7qtzCdaeCJgHbURwWr0YZ5zSOgu5-ibhi7mPI1ZOotQThZpJ2W1Bo2YHtKD3qx2SE8Qlb_ZQZWYXLX1XvKrOy9ts-QIBlj2lIr842eUHl1EAsfM7o6RPw_vo3-tU9A/s1600-h/mortson.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 293px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgFi-kl5HXyODSR7qtzCdaeCJgHbURwWr0YZ5zSOgu5-ibhi7mPI1ZOotQThZpJ2W1Bo2YHtKD3qx2SE8Qlb_ZQZWYXLX1XvKrOy9ts-QIBlj2lIr842eUHl1EAsfM7o6RPw_vo3-tU9A/s400/mortson.jpg" alt="" id="BLOGGER_PHOTO_ID_5435966817108452722" border="0" /></a>Andrea Mortson, <span style="font-style: italic;">Sackville Souvenir, 2009</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh69EEUATVO9t4rXK645EEcb5x8RsclW3CAYWiIA1-JJta6h3Rmu2EWifmGC6h-POL5vpzcAcSED-gfdodeK5pcx9sWO7SgSf4mMtHOnIie6pHSJDH750-a1pP7WqXO81DVJkzDycDSBW4/s1600-h/full_024_Squire2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 307px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh69EEUATVO9t4rXK645EEcb5x8RsclW3CAYWiIA1-JJta6h3Rmu2EWifmGC6h-POL5vpzcAcSED-gfdodeK5pcx9sWO7SgSf4mMtHOnIie6pHSJDH750-a1pP7WqXO81DVJkzDycDSBW4/s400/full_024_Squire2.jpg" alt="" id="BLOGGER_PHOTO_ID_5435967448330077666" border="0" /></a>Frederick Squire, <span style="font-style: italic;">7:43:47, 2010</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidWtO4Oa_1WVqOpuzMsz9smU9VRtL75_V40xVWuaXzghx2yuOHcY4cWUC_0Ehn4_GVbCbox5Jfa3zai9D2nnKB_Phk_-38fLjxWSD-35IdAnUupf8d9cWxE_sJcJpmBSkKxUp73ZNJZK0/s1600-h/full_031_Lexier.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 311px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidWtO4Oa_1WVqOpuzMsz9smU9VRtL75_V40xVWuaXzghx2yuOHcY4cWUC_0Ehn4_GVbCbox5Jfa3zai9D2nnKB_Phk_-38fLjxWSD-35IdAnUupf8d9cWxE_sJcJpmBSkKxUp73ZNJZK0/s400/full_031_Lexier.jpg" alt="" id="BLOGGER_PHOTO_ID_5435967778664102530" border="0" /></a>Micah Lexier, <span style="font-style: italic;">I Kept the Board, 2010</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTbkKcFmeV9bRqVgcWpFxN0-BqLAmVCjYiAcpmXag9A-4V2UthB2lQ9ukK90lSyc-OUbKJ2XBGXFO1fjsq7TPE_8irsp8GLzRmc3n2Xr9Dv1Al3Obp_LvyXbZDkSJ5bIZIiPRfafl2Yo/s1600-h/full_014_Doucette2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTbkKcFmeV9bRqVgcWpFxN0-BqLAmVCjYiAcpmXag9A-4V2UthB2lQ9ukK90lSyc-OUbKJ2XBGXFO1fjsq7TPE_8irsp8GLzRmc3n2Xr9Dv1Al3Obp_LvyXbZDkSJ5bIZIiPRfafl2Yo/s400/full_014_Doucette2.jpg" alt="" id="BLOGGER_PHOTO_ID_5435968224647199730" border="0" /></a>Mario Doucette, <span style="font-style: italic;">Soldats Anglais, 2010</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMBRe5lkZjg0Lg2oamF1ZxapR5dcT6OARQuUjJmFx62WOb9poR8XwrsrcHPypB19ipF9d75JqEjMWPkoPMPnaMy6zDMEdBDX6_vyDFehty13fMqmsUIgmt8vUPaKKDpbbgkb-xoLOoURs/s1600-h/full_011_Flood2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 266px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMBRe5lkZjg0Lg2oamF1ZxapR5dcT6OARQuUjJmFx62WOb9poR8XwrsrcHPypB19ipF9d75JqEjMWPkoPMPnaMy6zDMEdBDX6_vyDFehty13fMqmsUIgmt8vUPaKKDpbbgkb-xoLOoURs/s400/full_011_Flood2.jpg" alt="" id="BLOGGER_PHOTO_ID_5435968881324319186" border="0" /></a>Alexandra Flood, <span style="font-style: italic;">Delilah in the Woods, 2009</span>A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-31432238355782975282010-01-24T15:02:00.007-05:002010-01-24T16:21:39.329-05:00Happy Birthday, Claire.<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/bvIJs5_2PD4&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/bvIJs5_2PD4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /><br />One Claire I know was a toddler when the Rheostatics recorded this.<br />Always loved the song, and Claire <span style="font-weight: bold;">is</span> the best girl's name, ever.<br /><br />Life is all about beginnings and endings, and this song is all the more poignant to me now, owing to it's connection to Paul Quarrington, who wrote the song for the soundtrack for the movie based on his novel, "Whale Music".<br /><br />Claire turned 20 on Jan. 20. Happy Birthday!!<br /><br />Paul Quarrington died on Jan 21, 2010, at age 56.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-22514912865494697202010-01-22T12:48:00.014-05:002010-01-22T17:52:14.725-05:00Norman Rockwell Moment for Jason Wieler<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPvwOmjk7YbmIxvR3FXta4QJrvUxivqtRWEkCFtoXAz476-n3YBJU3T6981uvwlGqxyYZSTn4RrluYnHmKAEAd5cSgu9amnh31qr64hs0qduvyQ1zBnS_F0MoLY2PGQGkiy2cwJjAdSvI/s1600-h/58910677.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPvwOmjk7YbmIxvR3FXta4QJrvUxivqtRWEkCFtoXAz476-n3YBJU3T6981uvwlGqxyYZSTn4RrluYnHmKAEAd5cSgu9amnh31qr64hs0qduvyQ1zBnS_F0MoLY2PGQGkiy2cwJjAdSvI/s400/58910677.jpg" alt="" id="BLOGGER_PHOTO_ID_5429622588160336002" border="0" /></a><br />Toronto media outlets have been abuzz this week with the news of skyrocketing rider complaints at the TTC (Toronto Transit Commission). But let's try and take a positive look at the mess: the situation has provided Toronto interactive designer and illustrator Jason Wieler with a Norman Rockwell moment.<br /><br />He snapped this photo of the fare collector at McCowan station just before 10 p.m. on Jan. 19, and later posted it on <a style="color: rgb(153, 51, 0);" href="http://twitpic.com/z2nrp">Twitpic</a>. He intended it for the amusement of his friends, but an image this good won't stay private for long.<br /><br />Of course, the photo has exacerbated the storm of righteous indignation that was already circulating in letters to the editor and e-news comment pages (overpaid, ungrateful unionized workers, etc., etc.). The TTC is my exclusive mode of transportation when I am in Toronto, and I truly have very few complaints about it. Sure, I've experienced my share of cranky streetcar drivers, novel-reading collectors, and so forth, but I'm not sure that I would not succumb to the same temptations, given the nature of the job. Admittedly, it is a sad reflection on the state of affairs regarding customer service at the TTC that everyone passing by assumed the fellow was asleep and not unconscious.<br /><br />My second thought on seeing the photo: "Drop my token in the box or get a free ride?"<br /><br />My first thought: "What a fabulous photograph!"<br /><br /><span style="font-style: italic;">The moment, the light, the composition</span>. Those are the three ingredients of a great candid photo, and they're all here.<br /><br />As reported in the the <a style="color: rgb(153, 51, 0);" href="http://torontoist.com/">Torontoist</a>, Weiler says he hopes the photograph doesn't cost the TTC employee his job. "I didn't want to get the dude in trouble … that wasn't my intent of course. I know that this guy's probably got a mortgage and kids. No one wants to take away someone else's work."<br /><br />You can visit Wieler's website, <a style="color: rgb(153, 51, 0);" href="http://ogleto.com/">ogleto.com</a> and take a peek at what interests him. Here's his self-portrait of the artist as a young criminal:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhZDyGiXpMzbWVb36XPN2zfH5j4Fwcgxh0wavPXl0YGBRRaCa5gk4RLfE7BnTW7lbEfonWACpgMgnpYTd8qguPN6YVvtRybyMGtJMZjuU6r-M-Gu-WTplrRYJJg0YA3ev4QX3Y2ZVk-4w/s1600-h/jpw_ogle.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhZDyGiXpMzbWVb36XPN2zfH5j4Fwcgxh0wavPXl0YGBRRaCa5gk4RLfE7BnTW7lbEfonWACpgMgnpYTd8qguPN6YVvtRybyMGtJMZjuU6r-M-Gu-WTplrRYJJg0YA3ev4QX3Y2ZVk-4w/s400/jpw_ogle.jpg" alt="" id="BLOGGER_PHOTO_ID_5429630574270076610" border="0" /></a><br />Glad to see you are not the sort to take yourself too seriously, Jason. We wish you all the best in your career in illustration and photography.A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com5tag:blogger.com,1999:blog-823592064465420015.post-35149493126144212382010-01-13T16:16:00.007-05:002010-01-13T16:40:34.508-05:00Frank Viva, Illustrator<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSBCAI8p3HfDe_UhEPKHDmN156uPMI5h1GbJMeYilcXSARNR3yTcpNNW1yiEb1zbCbsmfg3ySe4Xw-wipSHxxGmmnrXkLzq-UWJxZQsrlGo16rWo7fbk7bwkFeogalOs_D4ee6JbkqvA/s1600-h/nyvivacrop.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 292px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSBCAI8p3HfDe_UhEPKHDmN156uPMI5h1GbJMeYilcXSARNR3yTcpNNW1yiEb1zbCbsmfg3ySe4Xw-wipSHxxGmmnrXkLzq-UWJxZQsrlGo16rWo7fbk7bwkFeogalOs_D4ee6JbkqvA/s400/nyvivacrop.jpg" alt="" id="BLOGGER_PHOTO_ID_5426336999976124578" border="0" /></a><br />Canadian illustrator Frank Viva is a lot like his name: straightforward and full of life. I've been a fan of his work for a long time.<br /><br />Above is his illustration for the Jan. 18th, 2010 edition of the <span style="font-weight: bold; font-style: italic;">"New Yorker"</span>.<br /><br />Frank always has lots of irons in the fire (or pens in the inkwell). One of his many projects is <a style="color: rgb(153, 51, 0);" href="http://www.whigby.com/">Whigby</a>, a company producing and selling cards, wrapping paper, posters etc. Here is my favourite Whigby wrapping paper design:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9kqlhi4EN1LbMX23-ZFXqnpf7lhOLV7yXRHOCuB7HQoQJM9fcJexjs-54Z_LjD0VIJqa5XZU_n16lqkHJncujM51VQ5qZl-Be9DTgW20GsxQ3clGXqGSscjoBYTKyBR-hIVlT_1X5x3o/s1600-h/ILL.WHI.004.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9kqlhi4EN1LbMX23-ZFXqnpf7lhOLV7yXRHOCuB7HQoQJM9fcJexjs-54Z_LjD0VIJqa5XZU_n16lqkHJncujM51VQ5qZl-Be9DTgW20GsxQ3clGXqGSscjoBYTKyBR-hIVlT_1X5x3o/s400/ILL.WHI.004.jpg" alt="" id="BLOGGER_PHOTO_ID_5426338711802176050" border="0" /></a>Alarm clocks and aliens. Shaky shaky, wakey wakey!A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com3tag:blogger.com,1999:blog-823592064465420015.post-19951703091595348062009-12-26T16:07:00.009-05:002009-12-26T18:44:48.039-05:00Boxing Day with Nicola Enrico Staubli<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQWJRK9ky18IqxBFwtotG_EhFyk_fXKwaolnlD_gRVMswXXr-qPKzixNpY-_D52ySPXAfewDUPJtd9RK0e2ExVGBlKh73IIqPWZ5ovY-kpO1ZR9H1dwG6MnGr50-tfmyvhG9GngHWDrWY/s1600-h/b013.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 280px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQWJRK9ky18IqxBFwtotG_EhFyk_fXKwaolnlD_gRVMswXXr-qPKzixNpY-_D52ySPXAfewDUPJtd9RK0e2ExVGBlKh73IIqPWZ5ovY-kpO1ZR9H1dwG6MnGr50-tfmyvhG9GngHWDrWY/s400/b013.jpg" alt="" id="BLOGGER_PHOTO_ID_5419694855429686114" border="0" /></a>Nicola Enrico Staubli is a young Swiss independent architect and bike messenger. Giving new meaning to "Boxing Day", his free-for-the-taking designs are a fresh antidote to the frenzy of consumption that marks December 26. Stay away from the malls today, and follow his instructions for making stable, elegant and fun pieces of cardboard furniture for kids. Perhaps you'll be able to recycle the box from that mega-huge flat screen TV you "gave your wife" yesterday. A rare opportunity for redemption, on so very many levels.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrUTsN2Oef7R-HK2mQXCoXyMZ8AsH5yxud8xFpEc-XYXOyB4VdQksp8A2tV54eYzK8xiLJyVhunxwGgKqwVFiga2mW-_1wObXGTketknFWo-bAQIgr_Ov1Bz1-4z6EZirrhhoUwfV9iwY/s1600-h/foldschool.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 278px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrUTsN2Oef7R-HK2mQXCoXyMZ8AsH5yxud8xFpEc-XYXOyB4VdQksp8A2tV54eYzK8xiLJyVhunxwGgKqwVFiga2mW-_1wObXGTketknFWo-bAQIgr_Ov1Bz1-4z6EZirrhhoUwfV9iwY/s400/foldschool.jpg" alt="" id="BLOGGER_PHOTO_ID_5419658233163410050" border="0" /></a><br />Downloadable patterns can be found at <a style="color: rgb(153, 51, 0);" href="http://www.foldschool.com/">foldschool.com </a>A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-27271666340664479772009-12-19T10:01:00.008-05:002009-12-19T14:57:35.117-05:00Melanie MacDonald: DO NOT PASS GO<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAG2wenjST9HAMO2dCD1BESWn81S02IMTgPmEuvNIrYRMDnqlEL9vMrBZ-wESn1o5P8be3VT8m-Z-twvK-toaNFLDmKwSu6F7YWeg7GaaQSgKv94648qrApZk1zaxobWleB0gm47gDlpE/s1600-h/donotpass_akcollings.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAG2wenjST9HAMO2dCD1BESWn81S02IMTgPmEuvNIrYRMDnqlEL9vMrBZ-wESn1o5P8be3VT8m-Z-twvK-toaNFLDmKwSu6F7YWeg7GaaQSgKv94648qrApZk1zaxobWleB0gm47gDlpE/s400/donotpass_akcollings.jpg" alt="" id="BLOGGER_PHOTO_ID_5416962865550518002" border="0" /></a><br />We had a wildly successful opening night party on December 17th for Melanie MacDonald in our temporary space at 1142 Queen St. West in Toronto. We were also very pleased to receive some nice coverage from <a style="color: rgb(153, 51, 0);" href="http://thestar.blogs.com/untitled/2009/12/do-not-pass-go-melanie-macdonald-opening-tonight.html">Murray Whyte </a>of the Toronto Star, and <a style="color: rgb(153, 51, 0);" href="http://thingsofdesire.ca/2009/12/10/do-not-pass-go-toronto/#more-2469">Mike Landry</a> of "Things of Desire". Altogether, a successful Queen St. West debut for the artist, and for <a style="color: rgb(153, 0, 0);" href="http://www.akcollings.com/">A.K. Collings Fine Art</a>.<br /><br />DO NOT PASS GO is a one week-only event, and will be dismantled on the afternoon of Tuesday December 22. For those of you who won't be able to attend, here is a sampling. MacDonald works in acrylic, and the paintings range from 24x 24 to 36 x 48.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4pdugb50J05JlL7Gpgjn-U_RUU6EOWsgdonsmx3MPC2GApdsU0IS8HmYM1g5-Pz5xrjyg4lbr3oMLPYLQJi0E8Ml14gSbUJeWphE8Bgo_h9V__VcBSC-RfOjYKNdL6vaUVW3eOCAzwoo/s1600-h/fallenhorseandrider.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4pdugb50J05JlL7Gpgjn-U_RUU6EOWsgdonsmx3MPC2GApdsU0IS8HmYM1g5-Pz5xrjyg4lbr3oMLPYLQJi0E8Ml14gSbUJeWphE8Bgo_h9V__VcBSC-RfOjYKNdL6vaUVW3eOCAzwoo/s400/fallenhorseandrider.jpg" alt="" id="BLOGGER_PHOTO_ID_5416967018646585250" border="0" /></a><br />From MacDonald's artist statement:<br />"My latest work is a continuation of my series of board game vignettes. Monopoly was the starting point for this series--a suggestion from a friend--and I expanded it to include Trouble, slot hockey, Chinese Checkers, and some more obscure games. With these recent paintings I've returned to Monoploy but I've created chaotic scenes of the board in disarray--the game suspended in a state of disorder before it begins or having come to an abrupt, messy ending."<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGd6Lit7OrTHgC_tEurWrh0MCZ9DKN3akurcQppAWfhEEGJEgEftCUkGNyab1rRLKtqGw1V32u_76ssP2O3uSIvuJmIamPhp70UegvbOQZ25spHoxiuuRvsENaJ9Q_U282KYvhBwEo8DA/s1600-h/bankpaysyoudividend.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 330px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGd6Lit7OrTHgC_tEurWrh0MCZ9DKN3akurcQppAWfhEEGJEgEftCUkGNyab1rRLKtqGw1V32u_76ssP2O3uSIvuJmIamPhp70UegvbOQZ25spHoxiuuRvsENaJ9Q_U282KYvhBwEo8DA/s400/bankpaysyoudividend.jpg" alt="" id="BLOGGER_PHOTO_ID_5416968507865194466" border="0" /></a><br />"These paintings are partly inspired by "Soprano Home Movies" episode 78 of the television drama's final season. In it, Tony and his wife Carmela spend a weekend at his sister Janice and brother-in-law Bobby Bacala's cottage. During a game of Monopoly, and argument ensues over the rules and a fight erupts between Bobby and Tony. The game board is upset in the brawl and Tony loses the fight, ending up on the floor with Monopoly game pieces stuck to his face."<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXJUexniJJtoRKynYHAbAoeiA_0O-bwTyr6NRCzADHEhOljVvrJiZaduKm8x6WVEhDP9Uxi-mmZE3WwnC6p7y2HnVbCz9aPYTtR7x5hvRJzIk1EG9EzOr-CmdomdPGtEaMP6vUAUbs81I/s1600-h/dogonkentucky.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 399px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXJUexniJJtoRKynYHAbAoeiA_0O-bwTyr6NRCzADHEhOljVvrJiZaduKm8x6WVEhDP9Uxi-mmZE3WwnC6p7y2HnVbCz9aPYTtR7x5hvRJzIk1EG9EzOr-CmdomdPGtEaMP6vUAUbs81I/s400/dogonkentucky.jpg" alt="" id="BLOGGER_PHOTO_ID_5416969708016128690" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimB2NvkRyTAbKjMNhnr8PtDNlOPNieF24RjqSeXXXwPg1agqSkEWktV9sG6coORhqLABm1dHMlDmZA78XiW8UHcGccJkav3vhnTt9OPA5EXh86JGx6u00bBtmaaRpUGARpP8AMTy1FxPs/s1600-h/freedog.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 390px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimB2NvkRyTAbKjMNhnr8PtDNlOPNieF24RjqSeXXXwPg1agqSkEWktV9sG6coORhqLABm1dHMlDmZA78XiW8UHcGccJkav3vhnTt9OPA5EXh86JGx6u00bBtmaaRpUGARpP8AMTy1FxPs/s400/freedog.jpg" alt="" id="BLOGGER_PHOTO_ID_5416969953060718322" border="0" /></a><br />"Even though the structure of Monopoly depicted in these paintings has collapsed. the board, the pewter tokens, the plastic houses, chance cards, and Monopoly dollars all continue signifying as vestiges of order, economics and fair play"<br /><br /><span style="font-style: italic;">Any questions about MacDonald's work, or requests for appointments for private viewings can be directed to:</span><br />akcollings(at)sympatico(dot)caA.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-43227748158942515842009-10-15T17:32:00.005-04:002009-10-15T17:59:31.640-04:00Nick Cross: Yellow Cake<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0COkxRDfuA995sOMTo1n8fdEIjtfuvYQq3biGE-9vsf3xU3_kZuxQW90ESAmrwmoOIZQKK6RMy9uELVsD2eYTQ3gxdopsPT01KS_MtY-3BmwCsRCT3AQEv5m5DKV0vsOYcuBSfnUqZ8/s1600-h/yellowcake.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 351px; height: 211px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0COkxRDfuA995sOMTo1n8fdEIjtfuvYQq3biGE-9vsf3xU3_kZuxQW90ESAmrwmoOIZQKK6RMy9uELVsD2eYTQ3gxdopsPT01KS_MtY-3BmwCsRCT3AQEv5m5DKV0vsOYcuBSfnUqZ8/s400/yellowcake.jpg" alt="" id="BLOGGER_PHOTO_ID_5392943266570038882" border="0" /></a><br /><br />We live part-time in a small town where yellowcake is king. No, not a town with a big bakery...a town with a big uranium processing facility. Which gives us an extra-special appreciation of the latest work from animation genius <a href="http://www.pyatyletka.blogspot.com/">Nick Cross</a> of Ottawa.<br /><br /><br /><object height="220" width="400"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=6898451&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1"><embed src="http://vimeo.com/moogaloop.swf?clip_id=6898451&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="220" width="400"></embed></object><p><a href="http://vimeo.com/6898451"><br /></a></p>A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com0tag:blogger.com,1999:blog-823592064465420015.post-43404225056412070932009-07-10T18:50:00.024-04:002009-07-13T11:18:57.061-04:00Widening Gyre"Turning and turning in the widening gyre<br />The falcon cannot hear the falconer;<br />Things fall apart; the centre cannot hold"<br /><br />William Butler Yeats<br /><br />Here is a stream-of-consciousness spiral-inspired art hop on a theme of the land and the landscape, intervention and impermanence.<br /><br />Starting here, with <a style="color: rgb(153, 102, 51);" href="http://harbourfrontcentre.com/respect/">"Respect: A Photo Odyssey Celebrating Canada's Boreal Forest"</a> :<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyfje5F4QhCbttJx-4jTULlxH1w-Ya0k4Plpb8_GxsWyRMrM-jOSDpCQe2-qBP0AH02TuupQZGt8TP5RHYftlhlt8NfEDMVq-3ILhnitd6cDSfpfEXfE2CyvMQCeerEhv_ynNtmubTw0/s1600-h/jun18harbourfront.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyfje5F4QhCbttJx-4jTULlxH1w-Ya0k4Plpb8_GxsWyRMrM-jOSDpCQe2-qBP0AH02TuupQZGt8TP5RHYftlhlt8NfEDMVq-3ILhnitd6cDSfpfEXfE2CyvMQCeerEhv_ynNtmubTw0/s400/jun18harbourfront.jpg" alt="" id="BLOGGER_PHOTO_ID_5356968541344416658" border="0" /></a>Photo Credit: Dan Riedlhuber<br /><br />According to the press release, "RESPECT takes an innovative and thought-provoking look at Canada's Boreal Forest. Nine Canadian photographers braved weather and time constraints to collectively create a vibrant picture of Canada's North. The sweeping vistas captured digitally convey the fragility as well as the brutality of the Boreal Forest.The Boreal Forest accounts for 58% of Canada's land mass. 70% of it remains untouched. It is also home to two-thirds of the 140,000 species of plants, animals and micro-organisms identified in Canada."<br /><br />The exhibition runs until October at Toronto's Harbourfront Centre.<br /><br /><br />Next stop: Utah...<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9iANSAa9tQRZ_9qv-GD3xv0S_X-bEHk_Od6stYxDpwwNTHI2dQqvHXWCF_ZMFTSA0vnnlyjEbWeMmlanfJB7GmlkEUvMTTTyIT65ZM3ofwPBRvtL47L3sr8RPbkRSe4s1QHeOUmZoO_A/s1600-h/SJFranciscokjolseth.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 275px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9iANSAa9tQRZ_9qv-GD3xv0S_X-bEHk_Od6stYxDpwwNTHI2dQqvHXWCF_ZMFTSA0vnnlyjEbWeMmlanfJB7GmlkEUvMTTTyIT65ZM3ofwPBRvtL47L3sr8RPbkRSe4s1QHeOUmZoO_A/s400/SJFranciscokjolseth.jpg" alt="" id="BLOGGER_PHOTO_ID_5356968739096890498" border="0" /></a><br />Photo Credit: Francisco Kjolseth<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL7bFzA5g8YECmw7RX1yfxKRUnhEK4Sv8PxOXxLW4zCxdR62PQf429pMxV4I5f6rfzRS_vg7obBh6TNDVo5cSjustkmlXmYlEdoIsVyQiwgff-WziuUOZ8onBco-4zPHlV4UrhoDOiWjY/s1600-h/SJGeorge+Steinmetz.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL7bFzA5g8YECmw7RX1yfxKRUnhEK4Sv8PxOXxLW4zCxdR62PQf429pMxV4I5f6rfzRS_vg7obBh6TNDVo5cSjustkmlXmYlEdoIsVyQiwgff-WziuUOZ8onBco-4zPHlV4UrhoDOiWjY/s400/SJGeorge+Steinmetz.jpg" alt="" id="BLOGGER_PHOTO_ID_5356968843031291154" border="0" /></a>Photo Credit: George Steinmetz<br /><br />...and <a style="color: rgb(153, 102, 51);" href="http://www.robertsmithson.com/earthworks/spiral_jetty.htm">Robert Smithson</a>'s extraordinary earthwork, <span style="font-style: italic;">"Spiral Jetty, 1970"</span>, on the northeastern shore of the Great Salt Lake near Rozel Point in Utah. The work is owned by New York's <a style="color: rgb(153, 102, 51);" href="http://www.diaart.org/">Dia Art Foundation</a>. "Owned" does not seem to be quite the proper word: I think the idea of stewardship is closer to the spirit of the thing. Spiral Jetty is in a constant state of flux as the natural conditions of the Great Salt Lake change. During periods of drought, it is exposed. It can be submerged for years at a time when the water level is high. Originally black basalt rock, it is now largely white against pink due to salt encrustation and lower water levels.<br /><br />Entropy and temporality were central concepts in Smithson's work: he wrote at length about mutability and impermanence as it applied to his art. He was killed in a plane crash on July 20, 1976 while surveying sites for his work "Amarillo Ramp" in Texas.<br /><br />Early in 2008, change threatened Spiral Jetty, and not the kind of change that<br />would in any way be sympathetic to Smithson's ideals. It was announced that there were plans for exploratory oil drilling approximately five miles from the jetty. There is a sad Canadian connection to the story, in that the company in question is Alberta-owned oil sands player Pearl Montana Exploration. Their application was quashed after effective protests from both the arts and ecological conservation communities. In January 2009, Dia learned that Pearl would resubmit its application.There has now been a reprieve and the company's plans have been put on hold due to a reorganization of the company and falling oil prices.<br /><br />Just two days ago, Dia reported a new threat to Spiral Jetty: an application has been filed by Great Salt Lake Minerals to increase the number of solar evaporation ponds which they use to extract potassium sulfate for fertilizer. Some 80,000 acres are proposed in the North Arm of the Great Salt Lake where Spiral Jetty is located.<br /><br />(Addendum (July 13): Thank you to Michael Buitron for alerting me to his amazing aerial photographs of Spiral Jetty, taken on a trip last fall. Go <a style="color: rgb(153, 102, 51);" href="http://imoralist.blogspot.com/2008/09/robert-smithson-rozel-point-oil.html">here</a> to see them, and to read a very interesting commentary on Smithson's choice of Rozel Point as the location for Spiral Jetty. Buitron points out that Smithson chose the location not only for the extremes of the natural environment, but also because of the lengthy history of man's industrial exploitation of the area (oil from the tar pools: minerals from the water). If Smithson were here to speak for himself, would he applaud Dia's preservation/conservation efforts, or would he prefer allowing natural (an unnatural) forces to simply take their course?)<br /><br />And on to <a style="color: rgb(153, 102, 51);" href="http://www.edwardshalala.com/">Edward Shalala</a>.<br /><br />(Look closely: These works are very subtle and do not translate well to the small screen.)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjELU6yv4a7TL7Z3ChjfGtLWFpFPxGJKdS0zOpNQ3eHe6F2WVdZnK_D1EBfYkXn6x31Oj06lNmr-SQQ4HSNAI_UyqNHFx2yBpQ8p_Ce_gSuVzExQ5k-ZJ_nC-denJG_FFoTXmfgccznjrs/s1600-h/shalalaantucket_700.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 289px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjELU6yv4a7TL7Z3ChjfGtLWFpFPxGJKdS0zOpNQ3eHe6F2WVdZnK_D1EBfYkXn6x31Oj06lNmr-SQQ4HSNAI_UyqNHFx2yBpQ8p_Ce_gSuVzExQ5k-ZJ_nC-denJG_FFoTXmfgccznjrs/s400/shalalaantucket_700.jpg" alt="" id="BLOGGER_PHOTO_ID_5356969108175473602" border="0" /></a><br />string painting, 2006<br />documentary photograph<br />Martha's Vineyard, MA<br />digital print 11"x14" <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxag4FHNh63XDTQpsoCBKRZRWVg_oQAUNsEkL6-EQaz-yNUhpEKN3otjcFdy50sM-e-LWsJGbzRDZtwltxG_x2Dxbu30IfHq37HDJPsheMzKdHJXZyaDpVoDpn-IyuE27mpXJy_Qgu1Z8/s1600-h/shalala.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 261px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxag4FHNh63XDTQpsoCBKRZRWVg_oQAUNsEkL6-EQaz-yNUhpEKN3otjcFdy50sM-e-LWsJGbzRDZtwltxG_x2Dxbu30IfHq37HDJPsheMzKdHJXZyaDpVoDpn-IyuE27mpXJy_Qgu1Z8/s400/shalala.jpg" alt="" id="BLOGGER_PHOTO_ID_5356969007263419090" border="0" /></a> raw linen canvas thread painting, 2009<br />documentary photograph<br />basketball court, Sara Roosevelt Park, NYC<br />c-print 11"x14" <br /><br /><br />Thanks to Joanne Mattera's <a style="color: rgb(153, 102, 51);" href="http://joannemattera.blogspot.com/2009/07/uncommon-threads-part-1.html">blog</a> for introducing me to Edward Shalala's work.<br />Here is his artist statement:<br /><br />"In 1973-76, while in graduate school at The University of Wisconsin, I began making abstract paintings using pieces of torn canvas in which I would poke holes, rip, cut, glue and assemble. I used aluminum and black paint mostly then, and later because I was aware of the work of Fontana from Italy, I made paintings using no paint at all. Often I used wire, jute, or narrow strips of torn canvas. As my graduate work developed I continued to make work using these materials, and these were included in my MFA show in 1976.<br /><br />After graduating I moved to Boston Massachusetts, where, in 1977, I made and outdoor painting using only string, I documented that piece with a photograph. That year I moved to NYC where I have continued to work. Today I use raw canvas thread, and raw canvas dust, to make outdoor paintings. I work in NYC parks and grasslands and document the canvas thread paintings with photography. The paintings and pictures are simple and complex. They involve the ground, the sky, the weather, grasses, plants and trees, fences, sidewalks, architecture and people. This is a landscape and arena like no other space for abstract painting. My work suggests a different type of surface for the painting. The painting is 360 degrees around the thread and dust and is involved in an intricate crossing back and forth across the ground creating interior shapes of open space on the ground. The work is different from the familiar warp and weft of the canvas, and is expressed in canvas thread and dust. I am making an effort to add to the dialog after Fontana and the minimalist. My paintings focus also on the idea of flattening the painting. They go to the outdoors and nature. They flatten beyond the gallery and architectural walls.<br /><br />Being on the ground and vulnerable to the elements, these canvas thread and dust paintings are temporary in nature."<br /><br /><br /><br />Shalala's work made me think of a beautiful <a style="color: rgb(153, 102, 51);" href="http://www.callane.com/">Cal Lane</a> installation I saw a number of years ago:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw-o8FtaXvpJFDDQ9zU83Bvu7vvQ88UvsWd-wuiyq1sYzZbJqVdU3ho7YjzElH9T05dIwxG4JOd-elCwQdVExQ1XJ2Oogiw2JQHRKOoedW01l9D6xy_1acTwWx32nehUvn_Yys5nGm4AU/s1600-h/CalLane2004_500.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw-o8FtaXvpJFDDQ9zU83Bvu7vvQ88UvsWd-wuiyq1sYzZbJqVdU3ho7YjzElH9T05dIwxG4JOd-elCwQdVExQ1XJ2Oogiw2JQHRKOoedW01l9D6xy_1acTwWx32nehUvn_Yys5nGm4AU/s400/CalLane2004_500.jpg" alt="" id="BLOGGER_PHOTO_ID_5356969307852297762" border="0" /></a> Cal Lane, Dirt Lace installation at <a style="color: rgb(153, 102, 51);" href="http://www.wynicktuckgallery.ca/past_2004/past_lane_2004.htm">Wynick Tuck Gallery</a> (Toronto, 2004)<br /><br />Lane was born in Halifax and raised on Vancouver Island. After a brief career as a hairdresser, she became a certified welder. She then went on to an M.F.A. from Nova Scotia College of Art and Design. It was there that she developed her highly unusual artistic practice: producing impossibly delicate lacelike sculptures from decidedly macho steel objects, using a plasma cutter. From an earlier series involving earth-related objects such as shovels and wheelbarrows, she has moved to progressively larger and larger works, and outdoor installations.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQviC2dCf17tFGOgcs9TtVwgIE3i8F8cnupxSvO4eM4uDfSo777OadSBJ4nybgarlVgULmHnmXcajZfOyIGmoJGAVJK_V3z8lRIyPw-8fczoVR5SiikvIHSoi5a-wU7e-ce82Djx7jrMA/s1600-h/wheelbarrow.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 258px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQviC2dCf17tFGOgcs9TtVwgIE3i8F8cnupxSvO4eM4uDfSo777OadSBJ4nybgarlVgULmHnmXcajZfOyIGmoJGAVJK_V3z8lRIyPw-8fczoVR5SiikvIHSoi5a-wU7e-ce82Djx7jrMA/s400/wheelbarrow.jpg" alt="" id="BLOGGER_PHOTO_ID_5357253750331323618" border="0" /></a><br />Over time, her work has become more overtly political:<br /><br />"I have always been interested in embracing the very thing that repels me in order to understand it: I prefer to make sense of things or in order to suspend (or pass) judgment."<br /><br />Her most recent work involves drums and tanks used to store or transport oil. The titles of her two most recent series, Sweet Crude and Crude, not only refer to the original uses of the drums and tanks but also comment on the consequences of our dependence on oil.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB2OazB-58PiOWagbIO1YfmQKhKG6yJxQewoEyeysOQ_ghWP9NgEMDrgICQKjEiqRhYDP7JIQKZuC7a_xa1jkSbR_9jhxanwtx5UkQ8jBDbxdxne00q14xrrwjOoSCt7JbdqMG83Ini7E/s1600-h/homeImage.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB2OazB-58PiOWagbIO1YfmQKhKG6yJxQewoEyeysOQ_ghWP9NgEMDrgICQKjEiqRhYDP7JIQKZuC7a_xa1jkSbR_9jhxanwtx5UkQ8jBDbxdxne00q14xrrwjOoSCt7JbdqMG83Ini7E/s400/homeImage.jpg" alt="" id="BLOGGER_PHOTO_ID_5357255718008143986" border="0" /></a>Lane's next project is scheduled to begin in October, 2009, in Tivat, Montenegro. The object of her affections this time will be a 62 foot long submarine.<br /><br /><br />Finishing the spiral with work that takes us back to the subject of trees and the land:<br /><br /><a style="color: rgb(153, 102, 51);" href="http://www.melissadoherty.com/">Melissa Doherty</a> paints aerial views of trees in settings which are neither wild nor natural.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuc5QJ4IiePHmmpbU3L3iwZ40KgmDpzbtgR-h-5dDDja3JXYOjiCAlgrD07ViE5E4ooZZlAjXNHrATLtzAllI1IrZmnv0pdeUYI6K8_LPnEl6i4IezzYYq6Wx1fMhVmnHIK6UTPLY2OyI/s1600-h/view%2314,+2005.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 304px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuc5QJ4IiePHmmpbU3L3iwZ40KgmDpzbtgR-h-5dDDja3JXYOjiCAlgrD07ViE5E4ooZZlAjXNHrATLtzAllI1IrZmnv0pdeUYI6K8_LPnEl6i4IezzYYq6Wx1fMhVmnHIK6UTPLY2OyI/s400/view%2314,+2005.jpg" alt="" id="BLOGGER_PHOTO_ID_5356969793204978914" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7D2oqd6LcgvXtEv6FYbriYykn2rKLYcEjltNOdmapeu6dfDwM8wSC8CQzyJdqf25ajCMBz5AcctO1pnalZnLRZCF_6wN0zo_UCYhWE8EqD9JUdl8uvf71wJach8MSS0CTJf-NkLnWlpo/s1600-h/vignette%232+oil+on+board2007.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 276px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7D2oqd6LcgvXtEv6FYbriYykn2rKLYcEjltNOdmapeu6dfDwM8wSC8CQzyJdqf25ajCMBz5AcctO1pnalZnLRZCF_6wN0zo_UCYhWE8EqD9JUdl8uvf71wJach8MSS0CTJf-NkLnWlpo/s400/vignette%232+oil+on+board2007.jpg" alt="" id="BLOGGER_PHOTO_ID_5356969623137119474" border="0" /></a><br />Doherty presents an imagined suburbia, where man encroaches on nature, retaining and enclosing groupings of trees as captive specimens of beauty. Doherty is a recent graduate of the FIne Arts program at the University of Waterloo. She currently has work in a group show at <span style="color: rgb(153, 102, 51);">Edward Day Gallery</span>.<br /><img src="file:///Users/aureliecollings/Desktop/respect%20spiral%20jetty/danriedlhuber1.jpg" alt="" />A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com2tag:blogger.com,1999:blog-823592064465420015.post-67605296211989246162009-07-04T07:36:00.014-04:002009-07-04T12:41:24.101-04:00Melanie MacDonald: Home Court Advantage<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnQIPhPzmswGKVZoHIz8NSDjiWinx1AhqCltANiGH48SJ-wz5Ct6ruo3IaTK95RsP51MCfuSRAKmFaQKRuTyeXO-Ch_1u6FQFcFhyMHPucUFDuqR4ZBIphSEkTwkT554PBlbS0hFl7VI0/s1600-h/trouble.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 340px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnQIPhPzmswGKVZoHIz8NSDjiWinx1AhqCltANiGH48SJ-wz5Ct6ruo3IaTK95RsP51MCfuSRAKmFaQKRuTyeXO-Ch_1u6FQFcFhyMHPucUFDuqR4ZBIphSEkTwkT554PBlbS0hFl7VI0/s400/trouble.jpg" alt="" id="BLOGGER_PHOTO_ID_5354645935962047762" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP98r0obRRh13AkyVm0pkE08XoXVsLnOmdzan_L8nw1SRDj1Ui_JlwItFmYPqFUObeV1vdgMX18yWVuCjGdYK_CgU5R2imrkv3202yU-OpAb-wS_5hHqYZmJtORxcz4NpINK0U8u4kAQk/s1600-h/foragoodgirl.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 312px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP98r0obRRh13AkyVm0pkE08XoXVsLnOmdzan_L8nw1SRDj1Ui_JlwItFmYPqFUObeV1vdgMX18yWVuCjGdYK_CgU5R2imrkv3202yU-OpAb-wS_5hHqYZmJtORxcz4NpINK0U8u4kAQk/s400/foragoodgirl.jpg" alt="" id="BLOGGER_PHOTO_ID_5354569569732022498" border="0" /></a><br />Melanie MacDonald is an emerging artist with a remarkable facility for capturing light and reflection. Working in acrylic on canvas, she paints highly realistic, somewhat off-kilter, close-up depictions of everyday objects. Paintings in the current series consist of vintage board games, ceramic figurines, and dishes: images from a pre-digital world of domestic kitsch. Two generations removed from Mary Pratt, MacDonald similarly explores the quotidian and seemingly mundane aspects of domesticity as a means of providing a symbolic allusion to the human condition.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjXxgU66-S-unCtyn3gngOxJZ0vFD_-vCXjAVZtaUQsmcert1ktqMlo9O4qemW-tQ3FmH4mz3Whd3_0DQeOCB_6ieOlK8Lt0nSJct7JpEWjycfNCK-j7Qd_HySciEr0I4GmjxaRMF_9Bk/s1600-h/goodmorning.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 290px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjXxgU66-S-unCtyn3gngOxJZ0vFD_-vCXjAVZtaUQsmcert1ktqMlo9O4qemW-tQ3FmH4mz3Whd3_0DQeOCB_6ieOlK8Lt0nSJct7JpEWjycfNCK-j7Qd_HySciEr0I4GmjxaRMF_9Bk/s400/goodmorning.jpg" alt="" id="BLOGGER_PHOTO_ID_5354568459868761890" border="0" /></a><br />MacDonald was included in <a style="color: rgb(153, 102, 51);" href="http://www.magentafoundation.org/books/carte-blanche-2-painting/">Carte Blanche 2</a> (2008), flagging her as one of Canada's best and most promising emerging artists.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTAZsZmjgLr4NI9NgUloC0oN-1XnrNkIw-DjqEeoHAmPCc4Sgn-0QXaxg8ZD42NrA0aUOuFUhLVSiJCRIWLy_KjQlNQMTwDg1LSjmTQ-eJqRQEW-ZmUd1kD7gdlVxEl_53pimQ8YhUa5I/s1600-h/furrypoodle+30x30.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 389px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTAZsZmjgLr4NI9NgUloC0oN-1XnrNkIw-DjqEeoHAmPCc4Sgn-0QXaxg8ZD42NrA0aUOuFUhLVSiJCRIWLy_KjQlNQMTwDg1LSjmTQ-eJqRQEW-ZmUd1kD7gdlVxEl_53pimQ8YhUa5I/s400/furrypoodle+30x30.jpg" alt="" id="BLOGGER_PHOTO_ID_5354576915114389522" border="0" /></a><br /><span style="font-style: italic;">Kitsch, by its nature, undercuts the precious and turns the precious inside out as cheap,</span> <span style="font-style: italic;">all too accessible objects. We can supposedly have it all through kitsch, but the desire to</span> <span style="font-style: italic;">have it all is evidence of an inner void that longs for a kinder, simpler world.</span> <span style="font-style: italic;"> </span>(<span>Philipp Blom, <span style="font-style: italic;">To Have and to Hold: An Intimate History of Collectors and Collecting</span>, 2002)</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9gL5Rt2bVxCqopYAXlx-YM-eraBzsKva9g2WYxDGwyOY7fteDMlgxEncnsQ1mV-tlBp8geekM2-Qmdv5k1wFTq3zYnmNx4zllsYgFvmEXxH8CaPiFqSnkAqqC-BppbUahwlobkOQdhIc/s1600-h/30x30chinesecheckersgreen.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 399px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9gL5Rt2bVxCqopYAXlx-YM-eraBzsKva9g2WYxDGwyOY7fteDMlgxEncnsQ1mV-tlBp8geekM2-Qmdv5k1wFTq3zYnmNx4zllsYgFvmEXxH8CaPiFqSnkAqqC-BppbUahwlobkOQdhIc/s400/30x30chinesecheckersgreen.jpg" alt="" id="BLOGGER_PHOTO_ID_5354580914980074018" border="0" /></a><br />Artist Statement:<br /><br />"I regard my contemporary domestic paintings as visual poems marking the brief, curious, moments that punctuate the everyday. I attempt to realize small particulars within a close-up domestic foreground. In this kind of kitchen-sink realism, objects are isolated, set apart, and gathered together' without any deliberate, overriding purpose. My wish is to see and hold small moments caught on the fly, the fleeting shapes of ordinary living as they shed light on what is constant in our human condition. In the tradition of the still life, my paintings arrest time for the sake of contemplating the transient nature of our lives.<br /><br />As Dennis Lee has observed in his exploration of Al Purdy's poetry, <span style="font-style: italic;">the everyday physical world can at times seem other-wordly, an alternate galaxy that is both utterly present and wholly transparent, a window into some ineffable dimension where [the individual] is at once lost and at home </span>(Dennis Lee, <span style="font-style: italic;">Body Music</span>, 1996). It is this kind of window that I attempt to realize with paint on canvas."<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyLL-F0ozAbqz59Xjg-hQXWlU13Ca-2OlM4jzN-uIiRHf8jyk9r6met88QJ-KH9BSCa3osFfHleGQk9y88hvzQYr6oBQ3zFCXdHMDdFLR_UjGsqRvDzJAY8HcDpSl0VvAmJyRdr8uoHIc/s1600-h/rodmanmel.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyLL-F0ozAbqz59Xjg-hQXWlU13Ca-2OlM4jzN-uIiRHf8jyk9r6met88QJ-KH9BSCa3osFfHleGQk9y88hvzQYr6oBQ3zFCXdHMDdFLR_UjGsqRvDzJAY8HcDpSl0VvAmJyRdr8uoHIc/s400/rodmanmel.jpg" alt="" id="BLOGGER_PHOTO_ID_5354568689168910578" border="0" /></a>Melanie MacDonald<br />"Home Court Advantage"<br />July 3 to August 8, 2009<br /><a style="color: rgb(153, 102, 51);" href="http://www.akcollings.com/">A.K. Collings Gallery</a>A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com2tag:blogger.com,1999:blog-823592064465420015.post-14619338957075415012009-06-23T13:37:00.006-04:002009-06-23T14:55:55.661-04:00Not a Nice Place to Visit, and I Wouldn't Want to Live There, Either<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9nfjPtnTNBR5vOenvILkyhg9-Isu04BK_eFarJpne_L3Jc1pDc1tZ4mz3qMl8jTMyKfJrAr_vYZVRS1-w3fmAPHCxUu0Gu8Bz7A864D_A8j_ScD-NwPJf8bm4-B6SF9cNSwFwj7awb5w/s1600-h/libeskind-villa-entrance-si-2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 141px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9nfjPtnTNBR5vOenvILkyhg9-Isu04BK_eFarJpne_L3Jc1pDc1tZ4mz3qMl8jTMyKfJrAr_vYZVRS1-w3fmAPHCxUu0Gu8Bz7A864D_A8j_ScD-NwPJf8bm4-B6SF9cNSwFwj7awb5w/s400/libeskind-villa-entrance-si-2.jpg" alt="" id="BLOGGER_PHOTO_ID_5350581655563126482" border="0" /></a><br />ROM-ruining architect Daniel Libeskind has just unveiled <span style="font-style: italic; font-weight: bold;">"Villa"</span>, a "luxury" mass-produced pre-fab house that can be shipped and assembled anywhere in the world. For a mere $3 million to $6 million (depending on finishes and location), you can own a cookie cutter home, which may or may not be suitable to the climate, geography, or building site of your choice, and which may or may not leak, but which IS guaranteed to induce a state unease, if not out-right high anxiety, in all who enter (let alone try to eat or sleep in the place).<br /><br />I tried, I really, really tried, to find something to like about the Libeskind addition to Toronto's Royal Ontario Museum. But: it's not a "crystal", it's trailer-park siding. It's depressing and disorienting from the moment you walk in. It's got little functional exhibition space. The execution and detailing is abysmal throughout ("Staircase of Blunders"?). It sends such nasty <span style="font-style: italic;">feng shui</span> poison arrows at its neighbours on Bloor Street that I don't even want to go to my favourite roof-top bar anymore.<br /><br />As an architect, Libeskind seems enjoy making people feel uncomfortable in his buildings. There is nothing pleasant, uplifting or humane about the experience. Oddly, he manages to get handsomely paid for designing the same thing over and over. With "Villa", at least the marketing is straightforward: it is a pre-fab. Anyone foolish enough, or status-seeking enough to buy one will have only themselves to blame. Unfortunately, Torontonians who love the ROM can only wonder how on earth this project, literally based on a sketch on a paper serviette, ever came to fruition.<br /><br />However, the European design and architectural community is not proving to be as gullible. An article published yesterday in the respected online architectural and design journal <span style="font-style: italic; font-weight: bold;">"De Zeen"</span> has generated 36 comments so far, almost entirely negative. Here is a sampling:<br /><br />(Some of the respondents obviously are not native english speakers, but their meaning is "crystal" clear)<br /><br />"This makes me so sad, when architects don’t care if its a museum or a private house, it all looks the same. This is where our bad reputation is founded. Care more about the content DL!"<br /><br />"And where exactly is architecture here??? Money making machine! You can just order the same house, put it on the beach or in your backyard… North, East, nomether where, it belongs everywhere??? Pack up the house, load the truck, put it anywhere you want just show us the money! That should be the line for seling it! This man cannot be serious!!!"<br /><br />"I live on Greenland. It will perfectly fit on the climate there :-P<br />The real good thing in this project that I have finally found out what kind of architect he is. Daniel, please find another job. Please."<br /><br />"Design Summary:<br />Stupid shape - [Check]<br />Pretentious logic - [Check]<br />Corny symbolism - [Check]<br />Rehash of unbuilt project - [Check]<br />Stupid diagonals - [Check]<br />Immature design rational - [Check]<br />Sloped wall gimmick - [Check]"<br /><br />"For $3mil - $4 mil. a wealthy client should expect a unique house that responds to a specific site, a highly personal lifestyle and individual aesthetic goals. Libeskind’s mass-produced, “one-size-fits-all” house, however glorified in the jargonistic buzzwords of the day (i.e. “sustainability”), satisfies none of those ideals. Hence it can never truly be considered high-end design. It will never be more than something for the intellectually insecure to use to try and achieve social credibility. Only a fool would buy into the hype."<br /><br />"Architectural Masterpieces, I think not!<br />Emperors New Clothes, anybody?"<br /><br /><br />Ouch.<br />You can see pictures, read Libeskind's promotional materials, and read the commentary in full <a style="color: rgb(153, 102, 51);" href="http://www.dezeen.com/2009/06/21/villa-by-daniel-libeskind/">here</a><span style="color: rgb(153, 102, 51);">.</span>A.K.http://www.blogger.com/profile/05653105421351935665noreply@blogger.com1