Chinese woodcuts

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Mother by Xiang Silou

Chinese Printmaking Today – Woodblock Printing in China 1980 – 2000

Woodblock printing has a long and distinguished history in China, where printing was invented about 1500 years ago. This exhibition shows how contemporary artists have engaged with a traditional art form to produce exciting and beautiful subject matter.

On at the British Library, London, England
If, like me, you can’t go to London, take this short tour of the exhibition.
(thanks to Plep)

Aztec Empire exhibit

Charles Downey has visited The Aztec Empire exhibit at the Guggenheim Museum in New York (lucky guy!). I highly recommend you read his excellent review if you are interested in the Aztec culture as I am. As he says “For someone who has not yet visited any of the great Mesoamerican sites…”, I’m pleased to see some of these works online, and I envy New Yorkers and visitors who get to see the real thing!

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“Catalogue # 17, fragment of an anthropomorphic brazier, Aztec, fired clay and pigment, 18 by 22 by 9 centimeters, circa 1300 A. D., Museo Universitario de Ciencas y Arte, UNAM, Mexico City.”

Note how immense in scale it seems, yet it is actually quite small, less than life size.

Amongst the additional links that Charles Downey always provides is Michele Leight’s essay for The City Review, from which I captured the above image which is my favourite, (like Downey’s’). Here’s an interesting quote to perk your interest:

The show at the Guggenheim is biased towards the most pleasing aspects of Aztec civilization and it is noticeable that there are far fewer sacrificial daggers and references to human sacrifice in the Guggenheim exhibit than there were at Burlington House; gory as it seemed back then in the tender teenage years, the daggers got and maintained my attention for life, so my only criticism of this show would be the down-playing of the ritual violence that was ever-present in the lives of this particular ruling elite.

The young, who are wise and fooled by nothing, are fascinated by the less tolerant human tendencies in any given culture, and it would not have hurt this show to include more of that aspect of the Aztec ruling class.

As the young know from playground politics and the history books they are required to read throughout their schooling, all cultures have a violent artery, or less than perfect underbelly – not the least of which being the British who used hanging, drawing and quartering well into the 18th century to punish wrong doers and to entertain the crowds who flocked to these barbaric rituals as we might now go to the theatre or rock concerts – this was a good three hundred years after the Aztec empire. I studied the Tudors in depth – and therefore mentally endured many beheadings and gruesome executions – so I have no illusions. To my knowledge the Aztecs never beheaded a queen in public.

It was only recently that the electric chair was put aside as being an unnecessarily barbaric means of ending a convict’s life – but art, in the form of Andy Warhol’s lurid silkscreen images, reminded us of the barbarism inherent in our own civilization, as did those gruesome, jade handled daggers at The Museum of Mankind. They instantly connected my childhood sensibilities with the relentless obsession of all civilizations with death, ritual and punishment. So before anyone gets on their high horse about human sacrifice – which the Aztecs practiced to appease the gods, not as a punishment – check the history books.

Ethno-Techno photos & review

James K-M, curator of the Ethno-Techno exhibition of last October in which I participated, sent a note today that the installation photos of that show are now up on the Digitalis site. Please have a look. If you are new to my blog, you may wish to read my earlier post about this exhibition.

The site also includes a thoughtful article (pdf) written by Dave Watson in the Georgia Straight newspaper Nov.18.2004 about the use of technology by artists, such as in this exhibition. He writes:

the breadth of artistic expression using technology was really underscored for me by the New Forms Festival, held here in October with the theme of ‘Technography: Experiments With Technology to Explore Our World’. Artists are taking to the digital realm and using it to do grandly ambitious things that consistently surprise and amaze me.

Watson interviews James K-M:

As a curator, K-M established the annual Digitalis exhibition of digital print, which was presented this year in collaboration with New Forms. He focuses on work whose digital component isn’t blatantly obvious once the computers are removed. The printout (or other output method) stands on its own, framed and mounted. Perhaps because K-M’s background, precomputer, was as a painter, his interests lie more with the message of a given work than with the electronic gear that created it. He wants art that says something about human consciousness and that isn’t just a means to decorate a wall. When we’re looking at sculpture, painting, or digital art, he says, the important question is, What are the ideas? You can look at the technique afterwards. With Digitalis, he aims to present works that couldn’t have been created without computers yet that don’t necessarily look like they were. With this work the technology disappears, because the artists are pretty good at using the software. It’s a medium just like any other. When you’re pushing paint on canvas it’s no different than on a computer, where you’re pushing the medium within its structural limitations.
(Hyperlinks added by me.)

Prints from Newfoundland

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Guide and Protector of All the Children (detail), Jerry Evans, lithograph, 2000
(scanned from Burnaby Art Gallery invitation)

The Burnaby Art Gallery has been featuring quite a few print exhibitions this past year and this one sounds the most exciting yet: The Power of Place – 30 Years of Printmaking in Newfoundland is on from January 14-February 27, 2005.

This exhibition includes 50 prints and one artist’s book by 13 artists selected from the archives of the St. Michael’s Printshop in St. John’s, Newfoundland. It is curated by Patricia Grattan, director of the Art Gallery of Newfoundland and Labrador and organized and circulated by that gallery.

The Printshop’s spring 2003 newsletter on their website states:

The Power of Place opened at the Art Gallery of Newfoundland and Labrador on March 14 to explore the role that St. Michael’s Printshop has played in the development of Canadian printmaking practice and to mark its 30th Anniversary. In attempt to select the work for the exhibition from the over 2000 works in the printshop archives, curator Patricia Grattan “chose to focus on individual artists from Newfoundland and elsewhere.” She wanted to show “artists whose work and art practice have been shaped by St. Michael’s, or artists who have helped to shape its operations and objectives (and the influence often has gone both ways). They include its primary founders, visiting master printers, Newfoundland artists who have gone on to earn their master printer chops, artists who also served as shop co-ordinators, board members, and some who are acknowledged as leading Canadian printmakers and print innovators.
… (from Patricia Grattan’s curatorial text.)

St. Michael’s Printshop has played an important role in the development of printmaking in Canada. It was founded in 1972 by artists Heidi Oberheide and Don Wright. At the time, there were no accredited art teaching programs in St. John’s and the studio quickly became, and continues to be, and important element in the development of professional and experimental artists.

The Visiting Artist program is internationally well-known and sought out, and some of my printmaker friends on the Westcoast have taken that opportunity, such as Taiga Chiba and Manuel Lau in 2003.

I am really looking forward to viewing the works of these important printmakers who live or have worked for a while in Newfoundland, on the very far away opposite coast of Canada. For my away-from-Vancouver readers, I’ve found links for all the artists so that you can see some examples of their work, since the exhibit itself, sadly, has no web page and the Burnaby Art Gallery’s listing is very minimal. if you are interested in learning more about printmaking and the history of St. Michael’s Printshop, do visit their website.

The artists: Anne Meredith Barry, Sylvia Bendzsa, Jerry Evans, Helen Gregory, Don Holman, Harold Klunder, Christine Koch, Heidi Oberheide, Sharon Puddester, William B. Ritchie, Otis Tamasauskas, David Umholtz and Don Wright

ADDED: Please see my post with photos about our visit to this show

Tomoyo Ihaya

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Art Beatus is presenting Fountain, a special collection of prints and mixed media works by Tomoyo Ihaya from January 14 to March 11, 2005. The opening reception is on Friday, January 14th from 3 to 6 pm. in the Nelson Square Tower at 108 – 808 Nelson Street, Vancouver.

Tomoyo and I met and became friends some years ago at the Art Institute, Printmaking at Capilano College. Later she went on to do her Masters in printmaking at one of the best printmaking schools in Canada, at the University of Alberta in Edmonton. Tomoyo has won many awards for her work, including the Ernst & Young Great Canadian Printmaking Competition. To see more of her work, have a look at this award-winning piece (pdf). If you are in Vancouver, I hope to see you at the opening!

UPDATE Jan.15.05: I did make it to the opening yesterday afternoon and was glad I went. Tomoyo’s work is always appealing and poetic. Her venture into a new medium with the “little people” installations succesfully melded thematically with her works on paper. Lots of people there. Congratulations, Tomoyo!

Sunday at Deer Lake

What a beautiful crisp, clear sunny day out here on the Westcoast, a rare treat in this rainforest. With no cloud cover the temperature is at or below the freezing point at night, and shady spots are frosty even during the day. We can’t complain about a little frost when the prairies have been having sub-zero blizzards. That elusive winter sun told us it was a good afternoon for a little outing to finish the holiday season and we chose to go to Burnaby’s Deer Lake Park.

First, we just squeaked in on its last day to see the two exhibitions I’d written about earlier at the Burnaby Art Gallery overlooking Deer Lake. A Survey of BC Printmaking and The BC Landscape by Toni Onley are both very interesting visual records of British Columbia’s art history. Of course I’m biased in loving prints, so I was pleased to see some of Onley’s silkscreens amidst his watercolours, and the many familiar works by several of BC’s best printmakers in the print survey exhibition.

We unexpectedly met another Finnish-Canadian artist, Irene McCutcheon, there and had a lively catch-up chat, then ran into Wayne Eastcott coming in as we left. Wayne has a print in the show that is also featured on the invitation and posters (and on my earlier entry).

Then, a walk around the gardens of historic Ceperley House, now the home of the Burnaby Art Gallery, past the lovely Jack Shadbolt Centre for the Arts and down to Deer Lake to see the ducks on the shimmering water, and then back home for some hearty home-made ham and pea soup! I think I’m ready to get back to work now.

“Massive Change” exhibition

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Image Gallery – Actual photograph of installation in the Vancouver Art Gallery
Photo: Robert Keziere/Vancouver Art Gallery

I finally made it last week to the Vancouver Art Gallery’s blockbuster exhibition Massive Change. (I’m embarrassed to admit that I left it this late – it ends on January 3rd.)

Massive Change: The Future of Global Design is an exhibition by Bruce Mau Design and the The Institute without Boundaries. It was commissioned and organized by, and premiered at, the VAG. Accompanying this traveling exhibition is an extensive website and a monograph.

This is a huge and impressive exhibition. It is not an art show, and not strictly a design show, yet it is about design. Mau states,”We are not interested in the visual. We are focused on design capacity – what design makes possible.”

“The exhibition unfolds in a series of eleven general themes that address the fundamental role of design in all aspects of human life, from manufacturing and transportation to health and the military. In each area, visitors will encounter the objects, images, ideas and people that are reshaping the role of the world of design.”

The installations reveal a tremendous amount of work, and much of it looks like it may not be moveable to the next exhibition site. One room, on the theme of Image Economies, has the walls, floor, and box seats, covered in photographic images that are sealed to their surfaces (see the above photo).

The statement here: “The human nervous system evolved in an environment where seeing change – the slightest difference in the surrounding environment – could mean the difference between life and death, so it is not surprising that our most developed cultural forms are practices of the visual… Now we can see beyond with radio waves, infrared, x-rays, gamma radiation and cosmic rays.”

There is an immense amount of reading with large walls of text (and I’d read a lot beforehand) so that at times it felt too overwhelming, even if very fascinating – information overload, if you will, like in a science and technology museum. One elderly lady near me expressed the same overwhelming feeling and said “It seems like the wheel was just invented yesterday.” It seemed also that the younger visitors were less impressed because they grew up in this era of “massive change” and do not know how different the world was just a few short decades ago! It was very noteworthy and gratifying to see the crowds here, people of all ages. We came early and when we left after three hours, the lineup was out the door!

My main criticism of the whole concept is of the little recognition given to a basic human need to feel some connnection to the earth, to the natural world. I wrote many pages of notes as I viewed everything, but I believe the website for Massive Change, and some of the related links below, will do a better job of information sharing than I can. It’s a very thought-provoking topic and well worth the time!

Reviews and announcements:
the Straight
CBC Arts
things
Art Daily

Massive Change will be showing next at the Art Gallery of Ontario March 11 – May 29, 2005.
Massive Change, the book, is available at Abe Books

Elisa Rathje

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still image from untitled (left side/right side) © Elisa Rathje

I am proud to introduce my daughter Elisa, a 1998 graduate of the Emily Carr Institute (of Art, Design and Media) who works with computer-generated images and digital video. One of her video works is showing at The Western Front artist-run centre in an exhibition called:

Untitled (Conversation Loops)
Miguel da Conceicao, Jacob Gleeson, Donato Mancini, Elisa Rathje

Excerpts from the exhibition statement:

Untitled (Conversation Loops) features the work of four Vancouver-based artists working with tautologies, multiples and closed loops of language and dialogue in four very different works.

In her 2-channel video work left side/right side, Rathje continues her interest in mirrors, multiples, and the body in relation to the gaze. Using two Point-of-View shots, the video depicts an intimate moment of waking up next to a partner or lover. However, in Rathje’s work, both images are of the artist herself, creating a confusing twinning of the intimate other.

Please read the whole statement about the other artists’ work as well.

That’s at the The Western Front, 303 East 8th Avenue, Vancouver until December 18, 2004

Some of Elisa’s past projects include street banners for the cities of Vancouver and North Vancouver

Taiga Chiba at Baker Lake

Mark your calendars. Master printmaker Taiga Chiba will discuss his experiences teaching printing techniques to Inuit artists in the Canadian North. A slide presentation will be followed by a guided tour of the exhibition Experimental Prints from Baker Lake.

This is at the Marion Scott Gallery, in its new location in Gastown at 308 Water Street, Vancouver, BC on Saturday, December 11th from 2:00 to 3:00 pm. Refreshments will be served.

Do look at the online gallery to see the delightful results of these Inuit artists’ experiments with new techniques. The exhibition is on until January 5, 2005.

Steven Dixon

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Steven Dixon: Mine Site No. 17
photogravure 58 x 70 cm

Master printer, teacher and friend Steven Dixon just let me know that some of his photogravure prints are on exhibition at Lando Gallery in Edmonton, Alberta until December 11th. If you are in the area, you must see them; if not, the gallery website gives us a good look.

Photogravure is an old technique that has had something of a revival, and Steven has mastered it superbly. If you are interested in learning more about photogravure Steven has two sites to recommend:

Kamakura Print Collection is a bit long but has good reproductions and good information.

Lothar Osterburg’s site is good, not quite as detailed but easy to understand.

You might recall Steven’s name because I’ve posted about some of his exhibitions this year as well as the “Traces” exhibition that Steven, Bonnie Jordan and I presented in Pohjanmaan Museum in Vaasa, Finland in 2002.