The Art Gallery of Sudbury is holding a major new exhibition on Group of Seven artist Franklin Carmichael (1890-1945) titled An artist’s process.
The exhibition was produced by the Gallery with generous access by members of Franklin Carmichael’s family, the Estate of Franklin Carmichael, and funding from the Government of Canada through Canadian Heritage.
“The works of art in the exhibition are of outstanding significance by their close association with a person, Canadian artist Franklin Carmichael (1890-1945), and a group of artists, the Group of Seven (1920-1932), who were emblematic of a critically significant early 20th-century national modernist art movement,” says a gallery news release.
Franklin Carmichael, the youngest original member of Canada’s most storied group of artists, the Group of Seven, first visited the region in 1924. From then on, until he passed away in 1945, his paintings, drawings, and prints captured the beautiful light and rugged landscape of La Cloche region in the District of Sudbury.
Showcasing 37 original drawings and paintings from the artist’s estate, most never before exhibited, this exhibition provides visitors with an exclusive preview of the foundational gift of the future Franklin Carmichael Art Gallery of Sudbury.
“The exhibition provides a wonderfully intimate look at the artist’s approach to painting landscape. There is a tremendous resonance in Franklin Carmichael’s practice of painting outdoors, en plein air, on site (in his case, usually from a height) with a great view of La Cloche or Lake Superior or a smaller northern town like Cobalt before him, with that of very many of our regional artists today, both professional and amateur. Artists, residents and visitors to our beautiful region alike find the experience of being in nature, in the great outdoors, whether hiking, canoeing, photographing or painting, to be essential to health and quality of life.
“When Franklin Carmichael died suddenly, all of his art works, including many that he was still working on, fell into the care of his family. These works reveal the materials he used, his palette of colours, how he prepared a panel or painting surface, his preliminary sketch, his form of composition, and his process of painting, whether in oils or in watercolour. We consider it a tremendous responsibility and privilege to bring works like these in the public sphere, works that the artist himself may never have intended to be exhibited. We have approached this special exhibition with the utmost respect and care.
Franklin Carmichael (1890-1945) was the youngest founding member of the Group of Seven.
In addition to his association with the Group of Seven, Franklin Carmichael held memberships in numerous art societies, including the Canadian Society of Painters in Water Colour (founding member, 1925; president, 1932-1934), Canadian Group of Painters (founding member, 1933), and Ontario Society of Artists (president, 1937-1940). In 1932, he became head of the Graphic Design and Commercial Art Department at the Ontario College of Art, Toronto, where he was a distinguished teacher until his death in 1945. He was elected to the Royal Canadian Academy in 1935 and became a full academician in 1938.
Franklin Carmichael was born in Orillia, Ontario. By 1911 he was working in Toronto, for the commercial art firm, Grip Limited, which served as a catalyst for his introduction to artists such as J.E.H. MacDonald (1873-1932), Arthur Lismer (1885-1969), Tom Thomson (1877-1917) and Lawren Harris (1885-1970). Carmichael studied in evening courses at the Ontario College of Art with G.A. Reid (1860-1947) and William Cruikshank (1849-1922), and at the Toronto Technical School with Gustav Hahn (1866-1962). From 1913 to 1914, Carmichael continued his education in Europe, attending the Royal Academy of Fine Arts in Antwerp, Belgium, where Arthur Lismer and Fred Varley (1881-1969) had studied. In 1915 he married Ada Lillian Went. Following his marriage, he worked in Toronto for the commercial art firm, Rous and Mann, where he met A.J. Casson (1898-1992).
The original members of the Group of Seven were Franklin Carmichael, Lawren Harris, A.Y. Jackson, Franz Johnston, Arthur Lismer, J.E.H. MacDonald and F.H. Varley. Tom Thomson was a peer and a leading influence but died before the Group was formed. All except Lawren Harris made their living as commercial artists.
How to visit during Covid-19:
Pre-book your visit online at artsudbury.org or call (705) 675-4871 to make your booking. There are five different time spots available each day. You and your group will have exclusive access to the Gallery and gift shop for one hour. We can accommodate small groups of one to eight persons from the same family or social bubble. Visitors and staff conform to Covid-19 precautions as outlined by Health Unit Sudbury and District: masks and gloves are provided as necessary, social distancing, with hand sanitizing stations. Gallery touch points including washrooms are sanitized between tours.
The exhibition continues until December 24. Admission is by donation.
The Art Gallery of Sudbury is located at 251 John Street.
Upside-down Kelowna public art piece a metaphor for health-care system, says art studio – Global News
A new piece of public art, one that shines a metaphorical spotlight on health-care professionals, has been installed in downtown Kelowna.
Titled ‘Flower,’ the 13-foot-tall, 600-pound piece is located at the intersection of Doyle and Ellis streets, in front of the Interior Health building.
With its roots at the top and the bloom at the bottom, ‘Flower’ is a representation of a Mariposa Lily, an Indigenous flower of the Okanagan.
In a YouTube video, the co-founder of Toronto-based Studio F Minus, which created the art piece, also said ‘Flower’ is also a metaphor for a holistic approach to health care, “and also a representation and celebration of people who provide that care.”
“The flower came about because it’s a fairly universal symbol of good health,” Mitchell F. Chan said of the piece created from aluminum. “We’re used to sending someone flowers to wish them to get well soon.
“But when we start to think about the flower, we wanted to acknowledge that it’s actually the root structure underground that makes that bloom possible.
“And for us, this was a metaphor for how the health-care system works. All this is possible because of this complicated network that often remains unseen.”
Chan said by placing the roots at the top, instead of the bottom, “this is how we celebrate the doctors, the nurses and the health-care professionals who make all of this possible, by giving them their moment in the sun, so to speak, through this sculpture.”
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An associated artist with Studio F Minus, Michael M. Simon, said creating ‘Flower’ required hundreds of pieces.
“The last six months have been a very intensive metal-working project of piecing the hundreds of components that went into making this thing,” said Simon.
“Everything, from building the interior skeleton to cladding it to manually bending the edging that goes around the entire stem and bloom, to finishing the over 100 layers that go on top to give it that very paint-by-numbers look.”
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According to the city, the upside-down artwork was a collaboration between the City of Kelowna, Interior Health and a funding partner, Bentall Green Oak.
It’s unknown how much the art piece cost.
In a press release, Kelowna Mayor Colin Basran called Flower a great piece to the city’s public art collection.
“Flower is a piece for our time,” said Basran. “Animating our public spaces has never felt more important.
“Not only does it add vibrancy and character to the downtown, it serves as a symbol for both our healthcare workers and anyone accessing services at Interior Health during these challenging times.”
© 2020 Global News, a division of Corus Entertainment Inc.
Well known sports figure, teacher Art Gabor passes – BayToday.ca
A man well-known for his love of basketball and teaching has died.
Arthur John Gabor passed on Wednesday Nov 18, at the age of 92.
“Art always expressed that he wanted to make a difference and contribute in a way that made the world a better place and he did just that,” reads his obituary. “Art was an outstanding athlete in his own rite, a dedicated coach and a contributor at every level of sport.”
As a teacher, he spent most of his career at Chippewa Secondary School.
Art spent countless hours organizing tournaments, coaching kids, mentoring coaches, officiating basketball, and supporting the North Bay Legion Track Club. The Chippewa boys basketball tournament, aptly named the Art Gabor Classic Basketball Tournament, one of the largest in Ontario, was one of his sources of pride and he stayed involved until his failing health did not allow him to do so.
Art’s contribution to sport was recognized by the North Bay Sports Hall of Fame in 1986 and he was very excited to receive this honour because as he indicated, it was recognition from his peers, which was very important to him.
“Art Gabor was a multi-sport man as an athlete,” according to the Hall of Fame writeup. “He played hockey, basketball, and football and took part in track. In hockey he won a pair of university scoring titles and went on to star in intermediate and senior ranks.
As a teacher, he started in Kirkland Lake, then came to NBCI&VS and joined Chippewa in 1958 where he remained until June 1985. He was the school’s Boys Athletic Director there for 27 years. He was a multi-sport man there too, and an innovator supreme – starting the Tomahawk Basketball Tournament, starting junior football in the NDA and NOSSA and bantam football at the NDA level.
He coached teams to some 17 football championships over the years. He also coached all levels of basketball for 27 years. A Martyn Memorial Trophy winner for basketball, he served on the Ontario Basketball Association Executive for some time, was a fully ranked basketball official and refereed games into his eighties.
He worked closely with Bill Colcock in both track and cross country and helped bring both sports to the fore. Active for a number of years with the North Bay Legion Track Club, he emphasized learning and taking part. He was a convenor, coach, official and advisor in both high school and North Bay sports for better than thirty years, working enthusiastically and humbly; many an athlete called him not only coach -but a friend”
In addition, he loved music, playing his guitar and drums and “jamming” with friends whenever he got the chance.
“Art’s life was well-lived and he was well-loved – we have lost a generous and compassionate man but he has left us with abundant memories and set an admirable example for all of us to always be kind to each other and smile, even in the most difficult and challenging times.”
Read Art’s complete obituary here.
5 Art Gallery Shows to See Right Now – The New York Times
It’s Thanksgiving, plus a pandemic. Check online before you go to a gallery this weekend. Many spaces have shortened their hours or are closed for the holiday.
Through Dec. 12. Paula Cooper Gallery, 524 West 26th Street, Manhattan; (212) 255-1155; paulacoopergallery.com.
I’m only a middling fan of Cecily Brown’s paintings, but she has stuck to her stylistic guns and respect is due. Her current show at Paula Cooper is one of her best — although my favorite remains an exhibition of small oil studies at Maccarone in 2015. Those works felt complete, but completeness is not necessarily a priority for Ms. Brown.
A deliberate confusion reigns in her larger, more ambitious canvases. Blizzards of brushwork usually in shades of pink fill her surfaces, through which recognizable motifs and fragments are intermittently visible: animal forms, nude models, the windows of a studio. This shifting ebb and flow is contrarian: It refuses the ideals of finish and skill, wreaking havoc with the gaze, especially the male one. The marks can bring to mind the female nudes of old master painting, blown to smithereens. They also have the allover quality of Abstract Expressionism, but its big, clear gestures are mocked by Ms. Brown’s many small brush strokes.
A frequent theme here is the grand still life of the Dutch Golden Age. Groaning boards covered in red recur, often with a pair of cat eyes glowering in the black beneath them, so do suggestions of strings of pearls and an occasional wine goblet. “The Splendid Table” (2019-2020) — a hulking triptych — can evoke a blood-soaked battle scene from a distance; up close blurry forms of freshly killed game emerge.
The best paintings here take distinct approaches to motif, suggestion and color: the ostensible still life of “Red and Dead,” the apparent woodland fantasy of “The Demon Menagerie” and the de Kooning-esque centrifuge of “When this kiss is over.” Their differences will be exciting to follow.
Through Dec. 19. Pace Gallery, 510 and 540 West 25th Street, Manhattan; 212-421-3292; pacegallery.com.
Sam Gilliam’s been making paintings for more than 60 years, most famously the huge, color-dappled canvases that he hangs, like heavenly curtains, unstretched. So it’s only natural that “Existed Existing,” his inaugural show at Pace, the first New York gallery ever to represent him, should extend across two buildings. It also includes three distinct bodies of work — a group of dapper wooden sculptures, a room full of glowing watercolor monochromes on giant squares of Japanese paper, and nearly a dozen enormous acrylics of varicolored snow, a few of which he’s named after Black public figures he admires like the congressman and civil rights pioneer John Lewis, who died this summer, and the poet Nikki Giovanni.
The acrylics are key, but I’d recommend starting with “Five Pyramids,” a single piece comprising five discrete wooden forms on rolling casters. Mr. Gilliam builds up these pyramids with layers of plywood, divided by thin aluminum pinstripes, and stains their faces deep purple, red, or blue. The execution is so sharp that the pieces strike the eye as flat, more like 2-D renderings than 3-D objects. But it’s a flatness more expansive than any notion you may have walked in with, one that makes the world seem much larger than you realized.
Once you’ve seen that, you’ll understand what the acrylics do to color, in every sense of the term. Their busy, buzzy surfaces, all texture and noise, blow apart any fixed ideas you started with, leaving you gaping at the sheer scale of what you’re looking at.
Through Dec. 5. Mitchell-Innes & Nash, 534 West 26th Street, Manhattan; 212-744-7400; miandn.com.
Many of the painted scenes in “Blue Boys Blues,” the Ghanaian artist Gideon Appah’s first solo show here, are inspired by his life in Accra, the country’s capital. There are nightclub revelers mid-cigarette. Homebodies lolling in underwear. But there are stranger sights, too: otherworldly vistas that have the larger-than-life feel of formative memories and the potent symbolism of dreams.
Unlike their Black counterparts in Mr. Appah’s more realistic portraits, these dreamscapes’ inhabitants are mostly greenish-blue, like the verdigris of weathered bronze. In this fictional cosmos, skin color doesn’t range between black and white. Rather, bodies turn from black to blue, as people move from the real world into mythic realms. Throughout, the artist’s loose painting style leads to nice moments of surprise. In “Teen Smoking on an Imaginary Street,” for example, unexpected traces of orange paint interweave with ocher brush strokes to portray the branches of a faraway sapling peeking between a palm tree’s half-desiccated fronds.
As galleries have started mounting a sustained attempt to give Black figurative painters the recognition they deserve, one worries that institutional zeal translates into something more detrimental behind the scenes: unfair pressure placed on these painters to stay the course, their own desires be damned. So it’s heartening to see Mr. Appah’s paintings wander widely. At one moment, he seems to be sampling the limbless torsos and barren horizon lines of European surrealist painters; at the next, he’s delving into childhood recollections. Memory has been a prominent theme in Mr. Appah’s work for a while now. That focus serves him especially well in 2020, with so much of the present world off limits.
Through Jan. 25. Sculpture Center, 44-19 Purves Street, Queens; 718-361-1750; sculpture-center.org.
“Consciousness is constantly mutating, moving from one state to another, and possibly back again,” the New York-based artist Tishan Hsu wrote in a catalog accompanying his exhibition at the Pat Hearn Gallery in 1986. How to represent these mutations in artistic form? Mr. Hsu did that with strange, gorgeous precision in about 30 sculptures, wall reliefs, drawings and other works made from 1980 to 2005 that you can see in “Liquid Circuit” at the Sculpture Center, the artist’s first museum survey exhibition.
Mr. Hsu trained as an architect at M.I.T., but he was also interested in artificial intelligence. The builder’s and technologist’s approach is apparent in “Liquid Circuit” (1987), an electric yellow wall relief with industrial handles that has waving lines painted in a dark field suggesting a spooky digital screen. “Vertical Ooze” (1987) is a powder-blue object that straddles the divide between biomorphic sculpture and a tiled industrial space or a science-fiction film set.
Mr. Hsu’s wall reliefs recall elements of Minimalism and ’80s Neo-Geo, like Ashley Bickerton’s sculptures. (Mr. Bickerton extended the concerns of Pop Art, however, by including product logos and references.) Mr. Hsu’s work is subtler, with flickers of surrealism, psychedelia and cybernetics. Mostly, however, they feel fresh and wildly prescient, predicting perfectly how consciousness has mutated even further in a digital and biotech age.
Through Dec. 6. James Fuentes, 55 Delancey Street, Manhattan; 212-577-1201. Online through Dec. 1; jamesfuentes.online.
The self-taught artist Purvis Young was nothing if not prolific. His output includes hundreds of paintings that he hung outdoors in Good Bread Alley in Miami’s Overtown neighborhood in the early 1970s; the roughly 3,000 pieces he sold to the collectors Don and Mera Rubell in 1999, the entire contents of his studio at the time; and the 1,884 artworks left behind when he died in 2010.
So James Fuentes’s exhibition, featuring 15 paintings online and 8 in the gallery, is a drop in the bucket — and not an especially strong conceptual one. But for those who haven’t seen much of Mr. Young’s art, it’s a welcome and gratifying introduction.
The gallery presentation better displays the textures of the scavenged objects on which he painted. In “untitled (MM 11324),” from 1974, strips of wood in different shapes form a frame decorated with wispy bodies that surrounds an image of a saintly, crying Black man. Recurring throughout the show, this theme of the individual in relation to the group is fitting for someone who worked alone intensely, yet was a notable public part of his disenfranchised community, which he brought to wider attention through his art.
The unjust dynamics of American society were never far from the mind of Mr. Young, who did a brief stint in prison as a teenager, for breaking and entering, and took inspiration from the protests and Black Arts Movement of the ’60s. In the most haunting piece here, “untitled (MM 11315),” 1973-4, eyes representing the establishment surround a prone, Black, bleeding body and a crowd of onlookers behind bars.
What comes through equally is the spiritual side of Mr. Young’s practice. Haloed figures, funeral processions, angels, and horses abound, creating the feeling that judgment is looming — but with it, the possibility of redemption.
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