art that excites

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Brad J. Goldberg: Coral Eden
 
When I see art that excites me, that draws a reaction out of me, that makes me really take notice, that stirs my emotions, it becomes a memorable and almost a spiritual experience. And when I see or read about viewers who react this way to art, I’m extremely gratified.
 
Bill Knight, one of my commenters (who should have a blog), often writes with this kind of excitement when he shares his discoveries of art works on the web. Recently he wrote in the comments in one of my posts about the work of Brad J. Goldberg. Here’s what Bill wrote:

I’d like to share with you a site just put up by a very thoughtful and accomplished artist working in stone. It is interesting to note that he does not try to document his work exhaustively, but rather he gives fragmentary glimpse combined with a paragraph of his thoughts and motivations. I think he is saying, “See the work in person!”
 
You might especially enjoy his photographs of stonework around the world. As he says in his “Thoughts” section, he is very world, cultural and social-minded. Interesting man. He does some very large works, often with the help of large machines and factories, but however large the work, he always finishes the pieces with his own two hands.
 
The guy is incredible. What a career. I think his son has done the web-site though I am not sure. It is the perhaps the best sculpture site I have been to with such great visual documentation from pencil drawing to boulder outcrop to finished artwork. He is only fifty or so. What a career. I don’t know of anyone like him when it comes to creating public space with stone.
 
[…] it’s humbling, awsome, and expansive. He makes the possibility of what stonework can do and can be. He seems to always be looking outward. Rake lines of a Japanese sand garden turn up in a large urn. Circuit chips make an appearance as well as handprints as seen in ancient rock art paintings and chippings. His evocation of coral is brillant. Stonework does not usually bear such explicit textural connotation and signiture of organic intelligence. Overiding all is a sharp situational and social awareness of stagecraft and elocution. Clarity is achieved. Simplicity is molded from sensibility.

From Brad J. Goldberg’s site:

Brad Goldberg is an artist whose work is centered on developing a fusion between sculpture, landscape, urban design, place, culture, and community. It is an art that aspires to escape categorical definitions, restrictions or limitations Each new project generates a unique response encompassing the total aspect of a specific place or circumstance. This response may include sculpture, architecture, landscape, water, furniture etc.”
 
“As artists, our life orientation is focused on the creation of beauty and a search for meaning. We strive to create work that abounds in hope, creates a sense of continuity, belongs in time and to a place, and responds to people’s innate need for beauty, soul, and community. Our lifestyle, as well, is a reflection of these ideas, focusing on our love of family, friendship, the integrity of our work, a strong sense of belonging to a place, a sense of our heritage as people, and the discovery of new ideas and places that fuel the next steps in our creative ventures.

Do look through the Portfolio of projects. My favourites are Coral Eden, Place of Origin, and Liturgy. Click on the little arrow next to the the project title to see more views of the works in progress.
 
Thanks, Bill, for finding this artist’s website and sharing your excitement.

Norman McLaren

This interesting news item about the late great Canadian animator Norman McLaren (1914-1987) brings back a lot of wonderful memories for me:

The films of National Film Board animation pioneer Norman McLaren will be the subject May 22 of the 2006 Cannes Classics programme, an annual tribute that profiles a great filmmaker whose work is currently undergoing digital restoration.

This guy is as innovative today as he was when he came out, except that he did it with his hands and with his fingers and by drawing on film,” explains Bensimon who says the Cannes Classic event is a double tribute to the NFB, since McLaren is the first Canadian, and the first animator, ever to be so honoured.

Norman McLaren’s films were the highlights of school days for me and many children. Later on, as an art teacher, it was a pleasure for me to share my love of his work with my students. It’s been a very long time since I’ve seen any of his films so I don’t remember many titles except for Neighbours, and Blinkity Blanka fine example of music creating image, the sounds you hear are mimiked it seems with the forms and flow of motion that is on the screen. From fireworks to Egyptian forms and birdcages, over a blue surface , the images being etched directly onto the cell print we are taken on a five minute voyage with basoon, trumpet, clarinet and drum.

So, the upcoming DVD that is being made of some of McLaren’s collection will definitely be on my wish list!

Links:
National Film Board of Canada and Norman McLaren
– Norman McLaren in Wikipedia
– The source of this news is The Globe & Mail but darn, the link is now only available to registered readers – I should have copied the whole thing while I had a chance!
Cannes Film Festival
– UPDATE: Toronto Star has the full story!

UPDATE 2 – May 14th, 2006: Check on NFB’s activities at Norman McLaren Year. Thanks to Pat Dillon of the NFB for emailing me this information!

online galleries

I think it was about three weeks ago when I was browsing through the Saatchi Gallery site, checking to see what’s new and (naturally!) if the link to my site is still there under cultural institutions.

I noticed a new feature called “Your Gallery” which allows artists to show their work on their website without charge. What a generous idea! Anyway, I left that to sit in my list of things to do. Other things happened until suddenly I saw an article on CBC a few days ago:

British art mogul Charles Saatchi has launched a special section on his art website allowing undiscovered artists to show their work.
More than 500 artists have posted their work in the “Your Gallery” section of his Saatchi Gallery site.  The site gives collectors and galleries around the world an opportunity to view new talent and buy works directly from the artists.
The advertising magnate said he wanted to offer a way for collectors and artists to save money by cutting out the dealer.

Time to act – I have now put a few images up amongst the many hundreds of other artists! Have a look, and if you are an artist reading this, do join this opportunity for more international exposure!

Speaking of online galleries, I’ve forgotten to mention IconData – WorldPrints by the Krakow International Print Society. If you search under Canada you will find many Canadian printmakers’ works including mine. Isn’t the web great?!

Canadian books

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Canadian publisher McClelland & Stewart is celebrating 100 years and has put out their Essential 100 list of books: “Selected from the 700 plus M&S backlist titles currently available, our Essential 100 consists of those titles that  should be on every Canadian’s bookshelves.”

I found it very interesting to check out how many I’ve read and how very many more I still want to read. How many of these have YOU read and which one is your favourite? Let me see, my favourite…there are so many.. Jane Urquhart’s Away, Rohintron Mistry’s A Fine Balance, Michael Ondaatje’s The English Patient… it’s impossible to choose and Canada has so many fine authors. And, if you are a Canadian resident, you may enter a contest to win these Essential 100 titles. I would need more bookshelves!

I don’t buy many novels, preferring to use the library, but I do have a LOT of art books, including a few M&S publications on Canadian artists:
1. Tom Thomson:The Silence and the Storm, Harold Town and David Silcox, 1977.
2. Pellan, Germain Lefebvre 1973
3. Contemporary Canadian Painting, William Withrow 1972
4. The Group of Seven, Peter Mellan, 1970
5. Sculpture of the Eskimo, George Swinton, 1972 (George Swinton was one of my instructors at the University of Manitoba School of Art, and he was well-known for his large collection and his scholarship at a time when interest in Inuit art was barely beginning.)

Kathan Brown

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This is very interesting for printmakers and other artists! Artist-blogger Gregg Chadwick at Speed of Life has written:

Kathan Brown, the founder of San Francisco’s Crown Point Press, has a new book out – “Magical Secrets about Thinking Creatively: The Art of Etching and the Truth of Life”. The book is put together as a series of thirteen creative secrets gathered from working with contemporary artists as they created etchings at Crown Point.[…] Kathan writes clearly about the process of creation, the decisions involved, and the benefits of collaboration. The mix of artistic styles among the artists discussed is refreshing and inspiring.

There’s even a Magical Secrets website where you can download the first chapter AND a blog.

As a printmaker, I’ve long been aware of Kathan Brown and her famed Crown Point Press for its printmaking studio and as a publisher of books. Nearly two years ago I wrote this about a Virtual Exhibition of 35 Years at Crown Point Press (still active!) by the National Gallery of Art, Washington: Crown Point Press, a community studio in San Francisco founded by Kathan Brown, was a gathering place for artists to share ideas and equipment. Many of the best-known American painters, sculptors, and other artists, collaborated with the master printers here to create printworks. You can see a number of these prints in this virtual exhibition along with some discussion of printmaking techniques and a history of contemporary printmaking.

I love my copy of Ink, Paper, Metal, Wood: Painters and Sculptors at Crown Point Press by Kathan Brown, 1996 Chronicle Books, and recommend it highly for other printmakers. (It’s not to be confused with Ink, Paper, Metal, Wood: How to Recognize Contemporary Artists’ Prints, also by Kathan Brown, which is a handbook containing descriptions of all the printmaking processes with an emphasis on intaglio – good for students.) I’m really very tempted to get Magical Secrets!

Brian Jungen

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Prototype for New Understanding #16, 2004
Nike athletic footwear, human hair
Collection of Joel Wachs, New York
Photo: Trevor Mills, Vancouver Art Gallery
(taken from Brian Jungen Gallery)

I’m very late getting this written – it was 11 days ago that we went to the Vancouver Art Gallery to see the exhibitions and I promised to write about them later. I’ve written about the Takao Tanabe retrospective, now it’s time for Brian Jungen’s, whose show is still up until the end of this month. It’s an absolute must-see if you are in the Vancouver area!

As it will be gone soon, I’ve captured this statement from the Vancouver Art Gallery site:

THE FIRST COMPREHENSIVE SURVEY of work by Brian Jungen opens at the Vancouver Art Gallery January 28 and will remain on display until April 30, 2006.

Organized by the Vancouver Art Gallery and comprised of more than 40 works ranging from early drawings and sculptures to large-scale installations, Brian Jungen brings together the artist’s major series and key singular works for the first time. Following critical acclaim at the New Museum of Contemporary Art in New York, the exhibition is significantly expanded for its return home with the addition of artworks including several pieces currently in production, being created specially for the Vancouver presentation.

Born in Fort St. John, BC, Jungen moved to Vancouver as a young adult, graduating from the Emily Carr Institute of Art + Design in 1992. In 2002, he was awarded the inaugural $50,000 Sobey Art Award, the most lucrative Canadian award for emerging artists, in recognition of outstanding achievement. Today, Jungen is a key figure in Vancouver’s art community and has gained an international reputation as one of Canada’s most promising contemporary artists with an upcoming exhibition at the Tate Modern.

Through the transformation of consumer goods and common materials into symbolic sculptures and installations, Jungen examines cultural norms and social issues. The artist is perhaps best known for his Prototype for New Understanding series (1998-2005), 23 startling simulations of Northwest Coast Aboriginal masks fabricated from disassembled athletic shoes. Through this ingenious manipulation, the artist collides two seemingly different commodities-globally branded footwear and revered First Nation’s artwork.

Also widely celebrated are Jungen’s three enormous and incredibly lifelike whale skeleton sculptures-Shapeshifter (2000), Cetology (2002) and Vienna (2003). Made from common plastic lawn chairs, his “whales” oscillate between objects of natural history and critiques of commodity culture, simultaneously understood as both natural forms and recognizable household objects. Cetology, the largest of the three measuring 49 feet in length, is in the Gallery’s permanent collection.

One of the first public institutions to collect works by Jungen, the Vancouver Art Gallery has drawn from its own collection for the exhibition, as well as from the collections of the Art Gallery of Ontario, the National Gallery of Art (Ottawa) and other Canadian museums, as well as numerous private collections.

I first became aware of Brian Jungen when I saw his work almost two years ago in the group show Baja to Vancouver, also at the VAG. I clearly remembered those pieces, a couple of his masks made from black and white Nikes. I am always impressed when First Nations artists can take their traditional motifs and rework these in a contemporary fashion, in both medium and message, and Jungen did this very dramatically.

Last week, walking into the room displaying the whole Prototype for New Understanding series of masks, I was immediately struck by the fact that they were displayed in glass cases, just as if they were in an anthropology museum! And it was fascinating to watch the excited reactions of the other visitors, many of them families with preteens. I think most people recognized ‘the multiple references to animal and supernatural figures of North West Coast ceremonial masks and pop cultural icons”. Originally used in dances and ceremonies, they later became “collectibles and artifacts”. Jungen has made a deliberate gesture against the “rigid terms of ownership, purity and authenticity”, making it about “transformation of the mythical into the mundane”. (..from my loosely and not too accurately scribbled notes taken off the gallery wall).

View several images of Jungen’s works at Brian Jungen Gallery.

Brian Jungen and his success inspired several articles in our local papers, such as in The Tyee, by Danielle Egan, in the Straight by Alexander Varty, and in the Vancouver Sun by Amy O’Brian. And, the New Museum of Contemporary Art in New York City still has their page on Jungen’s recent exhibition there.

Annabel Carey’s batiks

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Annabel Carey: Nine Stones – photo by John Talbot-Cooper

Some time ago I wrote here about an exhibition of batiks by UK artist Annabel Carey: Spirit of the Stones. I expressed my keen interest in these because of my own love for the subject (the standing stones) and for batiks which I had worked with myself many years ago. I expressed a wish to see more images of her work and was very pleased when I found another blogger who went to see Carey’s exhibition and took some photos.

I’ve just had an interesting email correspondence with Christine Talbot-Cooper in the UK, who has kindly sent me some far better quality images of Carey’s lovely batiks, photographed by her husband John Talbot-Cooper. Christine wrote:

I have known Annabel for many years and saw the wonderful batik collection growing and knew that it just had to be seen!! The spirit of the batiks is quite overpowering and captures so accurately the various moods of the sites – some welcoming, some threatening, but all fascinating!  So I became Annabel’s agent and began to arrange a touring exhibition, which started in the north of Scotland and has now reached the south of England.  Another tour is being planned at the moment as well as a book. It is difficult to know which pictures to send to you as they are all so stunniing but perhaps the two attached give a good idea of the range of the exhibition. You can find some details about Annabel on my website.

I’m very pleased to be able to share a bit of Annabel’s work with readers here, though I’m sure they are even more magnificent in real life. And thank you, Christine – I think Annabel is fortunate in having such a supportive friend as her agent.

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Annabel Carey: Stones of Stenness – photo by John Talbot-Cooper

PS. If you are in the UK, see the exhibition in Truro before it finishes on May 13th!

Artists in Our Midst 2006

Artists on the west side of Vancouver are once again opening their studios to the public:

West Point Grey April 21-23
Kitsilano April 28-30
Dunbar/Kerrisdale May 5-7

Each Friday there is a preview night with entertainment in a local centre. Then on Saturdays and Sundays the artists will be at their studios welcoming visitors. Check out the schedules, the participating artists and their addresses at the very informative site for Artists in Our Midst.

One of the founders, Pnina Granirer has been the subject of several pieces here, as has Olga Campbell. There sure are a lot of artists to visit in this lovely area of Vancouver at the most beautiful time of year!

Takao Tanabe

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Takao Tanabe – Malacca Strait: Dawn – Etching & Woodcut (not in this exhibition)

Takao Tanabe was born in 1926 in Prince Rupert, British Columbia of Japanese parents. He studied at the Winnipeg School of Art (which later became part of the University of Manitoba, my alma mater) and in New York. He travelled and painted in Europe then lived in many places. As director of The Banff Centre art program he revitalized the institution, establishing it as one of the most important art centres in North America. At 80, he’s still very active and producing his immense paintings of the West Coast of BC out of his studio at Parksville on Vancouver Island.

Takao Tanabe’s first exhibition at the Vancouver Art Gallery is a retrospective of his 55 year career. A recipient of the Order of Canada, the Order of British Columbia, two honorary doctorates and the Governor General’s Award in the Visual Media Arts, Tanabe is widely recognized as an artist of significant achievement. Early works spanned from abstract expressionism, hard-edge abstraction, to stylized aerial views of farmlands in the US, then washes of simplified Canadian prairie landscapes. Eventually he made realistic depictions of the drylands of interior BC, the Arctic and the West Coast, as well as other parts of the world.

The travelling exhibition ends on April 17th here in Vancouver, having first been at the Art Gallery of Greater Victoria. It moves on to the Art Gallery of Nova Scotia in Halifax and the McMichael Canadian Art Collection, in Kleinburg, Ontario. A major publication is available.

We enjoyed the exhibition very much. Most of Tanabe’s paintings are very large. One was huge – sorry, I forgot the name – it must have been about 12 feet wide, a predominately dark blue West Coast scene that was hung by itself on a very dark blue wall. Very dramatic, and done only a few years ago! Interestingly, his works do not show the presence of humans or their habitat. Though I’m personally not a great fan of landscape paintings, these did impress me with their power and spirit.

Being fond of prints, I had hoped to see Malacca Strait: Dawn (shown above), which I’m familiar with because one hangs on the wall of the printmaking studio at Capilano College! It was printed there for Tanabe by Peter Braune of New Leaf Editions, with the assistance of Jude Griebel, because the New Leaf press was too small! It was fascinating to watch the work in progress, a huge project with two copper plates, both with hand drawn and photo-based etching, and 2 woodblocks. From time to time, Takao Tanabe came in to observe and approve. As is the practise in all printmaking studios, the shop gets one copy, and that is how I was able to take a photograph to share with you here. Check out the project photos taken by Peter Braune!

More about Takao Tanabe:
a short biography
Art in Motion by Robin Laurence in the Straight
article by Amy O’Brian in the Vancouver Sun
AbsoluteArts exhibition report

IMAGES of Takao Tanabe’s work at:
Mira Godard Gallery
Equinox Gallery
Kelowna Art Gallery
National Gallery of Canada

gallery date night

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Vancouver Art Gallery at Robson Square

It’s a lovely day and I’ve got a date! I’m picking up husband from work and we are going to visit several exhibitions late this afternoon and into the evening. We really love walking about in the vibrant downtown on a nice evening.

First we will see the Finnish Design exhibition at the Pendulum Gallery that I’ve already written about. I noticed that the gallery now has the media release with lots of photos on their site, so go have a look at that.

Then we are going to the Vancouver Art Gallery to take advantage of their Tuesday night’s pay-by-donation entry. As usual we are squeaking in near the end of two major shows by two very different BC artists – the Takao Tanabe retrospective, and the survey exhibition of hot artist Brian Jungen.

I will write more about Tanabe and Jungen after seeing the exhibitions.