Art
Advocate and art lover Judy Kondrat always saw those who’d been overlooked by others – The Globe and Mail
Judy Marie Kondrat.
Courtesy of family
Judy Marie Kondrat: Advocate. Artist. Animal lover. Alto. Born Aug. 22, 1959, in Toronto; died April 7, 2020, in Toronto, of heart failure, aged 60.
Judy Kondrat swore like a sailor, owned way too many shoes, loved turquoise jewellery and worshipped singer-songwriter Patti Smith. She also dedicated her life to making the world a better place for the most vulnerable.
She grew up in the Cliffside area of Toronto, a working class neighbourhood that felt more like a village. Kids ran home from school at lunchtime and the butcher and bakery were just up the street. But Judy was a born rebel and soon chafed at this idyllic lifestyle.
She was an excellent student who believed in social equality from a young age. As a teenager, she appalled her conservative parents by wearing white go-go boots and dating a guy who looked like a hippie and had a pet python. She had zero patience for parental rules and left home at 15. She dropped out of high school but returned to earn an honours diploma and a scholarship.
Two years after she left home, Judy’s father died in an accident. The loss drew the family back together. Judy’s only sibling, her younger brother Todd, remembers: “That’s when she and Mom became best friends.”
Judy never married or had children – she was too busy doting on a long line of beloved cats – but was a cherished member of her friends’ extended families. On holidays she’d make the rounds bearing thoughtful gifts and her famous bear hugs. While most people were partying in the kitchen, Judy would be in a corner talking to someone’s granny. She saw people overlooked by others.
She had a long career in adult literacy, community legal education and human rights. She was a fearless advocate and respected mediator. Her most public success was a travelling exhibit featuring her photos of injured workers, created in collaboration with the workers under the tutelage of documentary photographer Louie Palu.
In her off-hours, she loved impromptu trips to art exhibits, out of the way cafés, small Ontario towns and the Donkey Sanctuary. She’d zoom up in her little white car, wearing sunglasses, a bright scarf and streaks of purple in her hair yelling: “Road trip!”
Despite her quick laugh and open demeanour, she was a perfectionist and self-admitted “bossy boots.” Friends and colleagues knew to watch out for the steely glare that signalled her patience was at an end. You underestimated her at your peril.
She always had an art project on the go – quilting, book binding, stained-glass making, encaustic painting. She was musical, too. As a child, she played in the school band and in high school, she played the flute, then tried the cello, although her mother thought the pose was unladylike. As an adult, she sang in two community choirs and never gave up trying to play guitar.
Her mother died from pulmonary disease when Judy was 46. She was devastated but faced the loss. She was an atheist and briskly unsentimental, an attitude reflected in her cell phone ring: the old Doris Day song Que Sera, Sera.
A few years after her mother’s death, Judy discovered she had cancer. Independent to a fault, she brushed away offers to help; her emotional boundaries were firm, even with her closest friends. She’d rather help than be helped. When her 16-year-old nephew also got cancer, she dropped everything and left home for weeks at a time to support Todd and his family during the long months of treatment.
Shortly before she died, Judy travelled to New Mexico to celebrate two milestones – her 60th birthday and being cancer-free for five years. She was planning to retire and had just bought a new home in a small town.
On the border of one of her paintings, Judy wrote: “I long to soar but find myself bound to the earth.” She is surely soaring now.
Diane Hill is Judy’s friend.
To submit a Lives Lived: lives@globeandmail.com
Lives Lived celebrates the everyday, extraordinary, unheralded lives of Canadians who have recently passed. To learn how to share the story of a family member or friend, go to tgam.ca/livesguide.
A Scottish artist who uses cars, worship bells and Irn-Bru in her work is among the nominees for this year’s Turner Prize.
Glasgow-born Jasleen Kaur’s work reflects her life growing up in the city’s Sikh community.
She is up for the prestigious art award, now in its 40th year, alongside Pio Abad, Claudette Johnson and Delaine Le Bas.
Turner Prize jury chairman Alex Farquharson described it as a “fantastic shortlist of artists”
Works by the nominated artists will go on show at London’s Tate Britain gallery from 25 September.
They will receive £10,000 each, while the winner, to be announced on 3 December, will get £25,000.
In a statement, Farquharson said: “All four make work that is full of life.
“They show how contemporary art can fascinate, surprise and move us, and how it can speak powerfully of complex identities and memories, often through the subtlest of details.
“In the Turner Prize’s 40th year, this shortlist proves that British artistic talent is as rich and vibrant as ever.”
The shortlisted artists are:
Pio Abad
Manila-born Abad’s solo exhibition To Those Sitting in Darkness at the Ashmolean Museum in Oxford included drawings, etchings and sculptures that combined to “ask questions of museums”, according to the jury.
The 40-year-old, who works in London, reflects on colonial history and growing up in the Philippines, where his parents struggled against authoritarianism.
The title of his exhibit is a nod to Mark Twain’s 1901 essay To the Person Sitting In Darkness, which hit out at imperialism.
Jasleen Kaur
Kaur is on the list for Alter Altar at Tramway, Glasgow, which included family photos, an Axminster carpet, a classic Ford Escort covered in a giant doily, Irn-Bru and kinetic handbells.
The 37-year-old, who lives in London, had previously showcased her work at the Victoria and Albert Museum by looking at popular Indian cinema.
Delaine Le Bas
Worthing-born Le Bas is nominated for an exhibition titled Incipit Vita Nova. Here Begins The New Life/A New Life Is Beginning. Staged at the Secession art institute in Vienna, Austria, it saw painted fabrics hung, with theatrical costumes and sculptures also part of the exhibit.
The 58-year-old artist was inspired by the death of her grandmother and the history of the Roma people.
The jury said they “were impressed by the energy and immediacy present in this exhibition, and its powerful expression of making art in a time of chaos”.
Claudette Johnson
Manchester-born Johnson has been given the nod for her solo exhibition Presence at the Courtauld Gallery in London, and Drawn Out at Ortuzar Projects, New York.
She uses portraits of black women and men in a combination of pastels, gouache and watercolour, and was praised by the judges for her “sensitive and dramatic use of line, colour, space and scale to express empathy and intimacy with her subjects”.
Johnson, 65, was appointed an MBE in 2022 after being named on the New Year Honours list for her services to the arts.
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Turner Prize shortlist includes art showcasing Scottish Sikh community
A Scottish artist who uses cars, worship bells and Irn-Bru in her work is among the nominees for this year’s Turner Prize.
Glasgow-born Jasleen Kaur’s work reflects her life growing up in the city’s Sikh community.
She is up for the prestigious art award, now in its 40th year, alongside Pio Abad, Claudette Johnson and Delaine Le Bas.
Turner Prize jury chairman Alex Farquharson described it as a “fantastic shortlist of artists”
Works by the nominated artists will go on show at London’s Tate Britain gallery from 25 September.
They will receive £10,000 each, while the winner, to be announced on 3 December, will get £25,000.
In a statement, Farquharson said: “All four make work that is full of life.
“They show how contemporary art can fascinate, surprise and move us, and how it can speak powerfully of complex identities and memories, often through the subtlest of details.
“In the Turner Prize’s 40th year, this shortlist proves that British artistic talent is as rich and vibrant as ever.”
The shortlisted artists are:
Pio Abad
Manila-born Abad’s solo exhibition To Those Sitting in Darkness at the Ashmolean Museum in Oxford included drawings, etchings and sculptures that combined to “ask questions of museums”, according to the jury.
The 40-year-old, who works in London, reflects on colonial history and growing up in the Philippines, where his parents struggled against authoritarianism.
The title of his exhibit is a nod to Mark Twain’s 1901 essay To the Person Sitting In Darkness, which hit out at imperialism.
Jasleen Kaur
Kaur is on the list for Alter Altar at Tramway, Glasgow, which included family photos, an Axminster carpet, a classic Ford Escort covered in a giant doily, Irn-Bru and kinetic handbells.
The 37-year-old, who lives in London, had previously showcased her work at the Victoria and Albert Museum by looking at popular Indian cinema.
Delaine Le Bas
Worthing-born Le Bas is nominated for an exhibition titled Incipit Vita Nova. Here Begins The New Life/A New Life Is Beginning. Staged at the Secession art institute in Vienna, Austria, it saw painted fabrics hung, with theatrical costumes and sculptures also part of the exhibit.
The 58-year-old artist was inspired by the death of her grandmother and the history of the Roma people.
The jury said they “were impressed by the energy and immediacy present in this exhibition, and its powerful expression of making art in a time of chaos”.
Claudette Johnson
Manchester-born Johnson has been given the nod for her solo exhibition Presence at the Courtauld Gallery in London, and Drawn Out at Ortuzar Projects, New York.
She uses portraits of black women and men in a combination of pastels, gouache and watercolour, and was praised by the judges for her “sensitive and dramatic use of line, colour, space and scale to express empathy and intimacy with her subjects”.
Johnson, 65, was appointed an MBE in 2022 after being named on the New Year Honours list for her services to the arts.
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Claudette Johnson has been nominated for this year’s Turner prize for her work, which includes a portrait of the African-American slavery abolitionist Sarah Parker Remond commissioned as part of the Guardian’s award-winning Cotton Capital series.
Pio Abad, Johnson, Jasleen Kaur and Delaine Le Bas will compete for the £25,000 prize, while the nominated artists will each collect £10,000 as the prize returns to Tate Britain for the first time in six years.
Colonialism, migration, nationalism and identity politics are the key themes running through the 40th edition of the Turner prize, which the jury described as showing contemporary British art “is appealing and dynamic as ever”.
Alex Farquharson, the director of Tate Britain and chair of the Turner prize jury, said this year’s nominees were exploring ideas of identity and would be exhibited from 25 September, before the jury’s final choice.
He said: “This year’s shortlisted artists can be broadly characterised as exploring questions of identity, autobiography, community and the self in relation to memory, or history or myth.”
The Turner prize, regarded as one of the art world’s most prestigious awards, is presented to an artist born or working in Britain for an outstanding exhibition or presentation of their work over the previous year.
Abad was nominated for his solo exhibition To Those Sitting in Darkness at the Ashmolean Museum in Oxford, with the jury commenting on the “precision and elegance” of his work, which takes its title from a Mark Twain poem of a similar name that critiques American imperialism the Philippines, his homeland.
The show also contains references to the Benin Bronzes, after Abad discovered that the punitive expedition of 1897 – during which British troops sacked Benin City and looted thousands of objects, of which about 900 are in the British Museum’ – set off from his home, Woolwich, in south London.
Johnson was nominated for her solo Presence exhibition at the Courtauld Gallery, which the Guardian said “brilliantly questions depictions of non-white figures by such revered painters as Gauguin and Picasso”. She was also recognised for her New York show, Drawn Out, at Ortuzar Projects, which included her Redmond portrait.
She is the latest black female artist who emerged in the Black Art Movement of the 1980s to be recognised by the Turner prize, following in the footsteps of Lubaina Himid (2017 winner) and Veronica Ryan (2022), while Ingrid Pollard and Barbara Walker have both been nominated.
The jury said Johnson had been nominated because of the “renewal of her practice”, after she stopped making work in the 1990s, and the fact she was still “taking risks and trying new forms of practice”.
Kaur’s work in the exhibition Alter Altar, which was shown at Tramway in Glasgow, features sculptures and soundscapes, including a red Ford Escort covered in a huge doily, which references her father’s first car and ideas of migration and belonging in Britain.
Kaur grew up in Glasgow’s Sikh community in Pollokshields, and the jury said the exhibition was a breakout show that was “generous, celebratory, moving and alive to timely issues, speaking imaginatively to how we might live together in a world increasingly marked by nationalism, division and social control”.
Le Bas’s work, shown at the Vienna Secession exhibition, was described as a “response to social and political turmoil” and includes immersive performance art with theatrical costumes and sculptures.
Farquharson said there was a chance the show may travel to Bradford during its City of Culture year, following the precedent set by Coventry, which hosted the awards in 2021, although that was still “to be confirmed”.
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