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North Okanagan art shows heart beyond the mask – Revelstoke Review – Revelstoke Review

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Behind the mask of quarantine, there was pain, but there was also a lot of heart.

A Lumby man is bringing a sample of some of that heart, displayed via art, to the community.

During the quarantine, resident Ernie Hurd joined the Facebook page A World of Hearts and decided to contribute to the theme. With help from his siblings, he cut out a line of plywood hearts and placed them along Whitevale Road at the edge of his property and posted photos to the social media page.

Inspired by the many art pieces pictured on the site, Hurd, a carpenter, put a call our for some of it.

“I had this crazy idea I wanted to collect art that was being posted on the WOH site,” Hurd said. “I call it pandemic art.”

His first piece arrived at the start of May from a girl in Lake Country, and additional works came from as far away as Newfoundland.

Hope Among Sadness is another piece, from 14-year-old artist BriannaSue Arsenault (Anderson).

“I painted this on a Sunday afternoon. I was really missing my friend,” Arsenault said. “The flower crown represents the hope and beauty her words meant to me that day, the tears represent the sadness I was feeling.”

The 12 pieces Hurd collected from various artists shown on that Facebook page will be exhibited at an art show at Lumby’s Village Gallery. Titled Beyond the Mask: A Collection of Pandemic Quarantine Art 2020 will be on display Aug. 3-29.

To add to the show, the Monashee Arts Council is putting out a call to local artists who have created works during the past four months. Photography, paintings, drawings, and a limited amount of 3D art will be accepted.

“Many people have used the time to unleash their inner artist and express feelings about the pandemic as well as the quarantine,” Monashee Arts Council program coordinator Jennifer Greenwood said.

To enter, submit a photo of your piece and a brief statement about it to the MAC either via email (monasheeartscouncil@gmail.com) or in person at 1975 Vernon Street (The Village Gallery/MAC office) on or before Wednesday, July 29 at noon. Accepted entries will be received at the MAC office on Friday, July 31 (10 a.m. – 4 p.m.) and we require those participants to purchase or renew their MAC membership at that time to take part in the show.

“We look forward to seeing what you’ve been busy creating,” Greenwood said.

For more information, call the office at 778-473-3029 or contact Robin LeDrew at 250-547-6397.


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This Lake Country artist’ work is among 12 being featured in a collection of pandemic quarantine art called Beyond the Mask, at Lumby’s Village Gallery Aug. 3-29. (Submitted Photo)

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Highlights from 'With Pleasure: Pattern and Decoration in American Art 1972-1985' – Interior Design

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Installation view of “Fringe.” Photography courtesy of Denny Dimin Gallery.

Writing wall labels for an exhibition at The Museum of Contemporary Art in Los Angeles in 2016 led to curator Anna Katz’s discovery of an American art movement from 1970s. “After completing a Ph.D. in contemporary art, I was astonished to have never heard of Pattern and Decoration and some of its key artists, such as Kim MacConnel,” she tells Interior Design. The first thing Katz embarked on upon becoming the museum’s in-house curator the following year was an exhibition that would put the influential but somewhat forgotten movement back on the map.

“With Pleasure: Pattern and Decoration in American Art 1972-1985” opened at MOCA in October, 2019 with a display of around 50 artists whose work between early 1970s and mid-‘80s defied the era’s male-dominated minimalism with interpretation of craft and decorative techniques, “while using abstraction with forceful presence,” according to the curator. The show recently traveled to the Hessel Museum of Art at the Bard College campus in Annandale-on-Hudson, New York, to emphasize the movement’s exchange between East and West Coasts as well as to continue the conversation around Pattern and Decoration (also known as P&D)’s influence on artists who insistently use craft today.

“When I visit young artists’ studios, I see how craft has become a tool to talk about marginalization and value,” Katz explains. P&D’s unsung motto of “more is more” echoes in contemporary artists, who according to the curator, believe “what’s considered unnecessary is necessary; over the top, just the right amount;” and “irrelevant, exceptional.” 

She had initially planned a show that would perhaps be “a sharp edge of a wedge,” but her three years of research and visits to many attics and storage facilities led her towards an expansive direction. Besides the movement’s critical figures, such as Cynthia Carlson, Joyce Kozloff, Kim MacConnel, and Miriam Schapiro, artists who have not necessarily been considered a part of P&D also made the cut. “I am not claiming Lynda Benglis or Al Loving were a part of the group, but there is a tremendous crossover between the core artists and others’ overturning of hierarchies of western art tradition which gerrymandered to exclude anyone except white and male.” 

Fabrics with bright sequins or gaudy-colored ceramics may now prevail contemporary art galleries, “but that was not the case back then,” Katz reminds and adds: “The show helps to understand why the current norm was so radical at time and recover artistic voices that has informed today’s artists to speak about political and social movements.”

This very connection between the past and present prompted the Denny Dimin Gallery in Manhattan to organize the ongoing group exhibition, “Fringe.” “Some of our gallery artists, including Amanda Valdez, Justine Hill, and Future Retrieval, are unabashedly influenced by the 1970s movement,” says co-founder Elizabeth Denny. “There are many new conversations to have about the role of the artist in terms of gender and identity that many of the P&D artists were having, which are still so important today.” “Fringe” includes 12 contemporary artists who adapt craft techniques, including sewing or floral arrangement, to deliver statements on race, identity, and gender. Artist Justine Hill, who also assisted Denny in organizing the show, sees the show as an opportunity to expand on a major influence on her work, “and bring that interest out of the studio to think about my peers through a P&D lens.”

Interior Design has picked highlights from the Hessel Museum of Art’s ongoing exhibition at Bard College, “With Pleasure: Pattern and Decoration in American Art 1972-1985,” in addition to a few from “Fringe” in Manhattan. 

Jane Kaufman, Embroidered, Beaded Crazy Quilt, 1983-85

Embroidered, Beaded Crazy Quilt, 1983-1985. Photography by Joshua Nefsky, courtesy of the artist.

Kaufman, according to Katz, “defied the logic that women historically did not make art.” For this nocturnal-hued quilt, the artist used over one hundred historical embroidery stitches dating as far as the 16th century. Kaufman studied them at The Textile Museum in Washington D.C. after she curated the very first P&D exhibition in 1976 at Alessandra Gallery in Manhattan with 10 artists, many of whom are in the current show. “The work of women artists for hundreds of years have been broadly called decoration, and Kaufman’s work shows decoration is worthy of admiration,” adds Katz. Often times intentional, the materials used by the women artists reflect their limited resources under the shadow of their male peers. 

Cynthia Carlson, Tough Shift for M.I.T., 1981-2019

Installation image of Cynthia Carlson, Tough Shift for M.I.T., 1981-2019. Photography by Olympia Shannon, courtesy of the Center for Curatorial Studies, Bard College. 

Architecture, especially Bauhaus, was an influence among the artists of this group. “Not its [Ludwig] Mies van der Rohe-led later stage, but the early Weimar era,” Katz notes. This connection is most apparent in Carlson’s wallpaper-looking painting of floral patterns. The curator also makes a parallel between the artist’s attempt to make-do with a given platform and inherent nature of decoration. “Unlike a painter working autonomously with an easel, Carlson shows the decoration’s dependence on presumed architecture,” she says. The artist first created the immersive installation, for which she applied paint directly onto the walls, for M.I.T. with cake-frosting tools. Between embracing decoration, domestic tools, and so-called feminine imagery of flowers, Carlson—who has recreated the same installation for the Hessel Museum of Art show—builds an expansive panorama of the movement for today’s viewers.   

Sylvia Sleigh, The Turkish Bath, 1973

A figurative painting of male nudes may come off as an unexpected entry to an exhibition about abstraction and craft. Sleigh’s painting, however, sets the overall show’s tone and injects the viewer into the movement’s place and time. In addition to subverting art history’s fascination for female nudity through unrobing the opposite gender, Sleigh also juxtaposes a who’s who of P&D through placing three key male figures—all nude—in front of a geometric tapestry that salutes the movement’s core aesthetic. John Perrault, who organized P&D’s first museum exhibition at P.S.1 Contemporary Art Center (now MoMA PS1) at Long Island City in 1977 takes the painting’s center stage with his gaze locked away from the painter’s. Artist Scott Burton is rendered as perched over his legs on which he rests his hands, while critic Carter Ratcliff who supported the movement with his essays and reviews sits over a chair behind other men.  

Tina Girouard, Maintenance III, 1973

Tina Girouard, Maintenance III, 1973, Video (color, sound) 27 min. Courtesy of the artist’s estate.

This 27-minute projection zooms onto Girouard’s lap while she tends a group of floral fabrics which she inherited from her uncle, Sullivan. Throughout the video, she rinses, sews, and folds the materials while the radio in the background plays content that ranges from the time’s popular tunes, advertisement, and political updates. A song from Pink Floyd’s The Dark Side of The Moon album is followed by a car dealership advertisement, and we eventually hear the most recent development in the Watergate hearings. “That big ‘a-ha’ moment is critical about the movement’s queering of not only contemporary art but the broader authority,” says Katz. The topics’ relevancy to the present, particularly a few years ago during the curator’s research for the show, is further striking. 

Takako Yamaguchi, Magnificat #6, 1984

Takako Yamaguchi, Magnificat #6, 1984. Oil, bronze leaf, and glitter on paper. Two parts, overall 74 × 107 1/2 in. (187.96 × 273.05 cm. Deutsche Bank Collection. Photography by Liz Ligon. 

Despite its rebellious nature, P&D always struggled with inclusivity and remained a heavily white movement. Moreover, appropriation of Asian, Middle Eastern, African and Indigenous craft was a common practice—although most artists committed to research and travel to understand the geographies they found themselves strongly influenced by. In addition to being the youngest artist in the exhibition’s checklist, Yamaguchi is particular for her take on Japanese art tradition. The California-based artist’s large-scale bronze leaf and glitter-heavy painting satirizes the West’s notions on Japanese Minimalism and the moderate use of expression with a medley of inspirations that range from kimonos to bedroom dividers to architecture. “She was against expectations and responded with Maximalism,” says Katz.

Howardena Pindell, Untitled #19, 1977

Howardena Pindell, Untitled #19, 1977. Mixed media on canvas 94 3/4 x 74 1/2 inches. Photography courtesy the artist and Garth Greenan Gallery, New York.

Similar to the show’s other Black artists, such as Sam Gilliam or Faith Ringgold, Pindell was not directly involved with P&D; however, her utilization of the time’s unconventional materials is strikingly similar to many members’. During her role at the feminist A.I.R. Gallery in the late ‘70s, Pindell worked with un-stretched canvases and sewed bits of shredded fabrics into paintings. Although this painting does not include her other signature materials, such as animal hair, perfume or glitter, the heavily manual technique and its quilt-like aesthetic is a strong example of Pindell’s inspiration from her travels to West and East Africa as well as challenging of feminism’s favoring of whiteness through her democratic technique.

Miriam Schapiro, Heartland, 1985

Heartland, 1985. Photography by Zach Stovall/ © 2021 Estate of Miriam Schapiro / Artists Rights Society (ARS), New York.

Older and more established than her peers, Schapiro was considered an authority in strategies around collage, decoration and feminism that set the movement’s foundation. Schapiro’s coining of the term femmage to define female collage perhaps cast the biggest impact on P&D artists who elaborated on unapologetic femininity and implementation of found everyday materials. In the shape of a heart, similar to Schapiro’s numerous other works, this assembly of stuff includes found fabric cut-outs sewn together with a commitment to traditional quilter patterns. The work is a mosaic of generations-long female labor and assumption of a supposedly domestic aesthetic with an unabashedly kitsch silhouette of a heart.

Justine Hill, The Arch, 2021

Justine Hill, The Arch, 2021. Photography courtesy of the artist and Denny Dimin Gallery.

Known for her bright-colored whimsical cut-out paintings, Hill cites Cynthia Carlson, who is also a part of “Fringe,” as a strong influence, and this acrylic and paper arch-like painting is a stark proof. Similar to Carlson’s use interiority and painting through form, Hill creates portals for the subliminal with zigzagged gestures and immediate forms which absorb the viewer through their playfulness. The similarity between two artist’s contribution to the Denny Dimin show also lies in their use of multiple panels to play with painting’s notion of flatness and unity.

Josie Love Roebuck, Farm Boy, 2020

Josie Love Roebuck, Farm Boy, 2020. Photography courtesy of the artist.

Figuration rarely made its way into P&D artists’ fabrics and yarns, but numerous threads of techniques in Roebuck’s portrait of a Black boy tie her work with the movement. Sewn and printed onto un-stretched canvas, the square-formed “painting” holds buttons, fabric and yarn that yield the boy’s piercing expression and ruby-colored shirt with geometric patterns. He blends into the background of patched light-hued fabrics. “The inclusion of artists of color and a non-binary into a conversation around who is allowed to claim the domestic space felt like a natural expansion of P&D ideas,” says Hill. “If the movement was aimed at inclusion and a non-hierarchical appreciation of art, then these voices are necessary to talk about its legacy today.”

Max Colby, They Consume Each Other #1, 2019-21

Max Colby, They Consume Each Other (#1), 2019-21. Photography courtesy of the artist.

Similar to artists of color, queer artists were invisible throughout P&D’s roster. Colby’s elaborate installation of beads, faux flowers, sequins, ribbons, fabric and jewelry is a flamboyant celebration of self-expression through the artist’s meticulous process of utopian construction of a universe. “Max may not list P&D as a direct influence but the work uses forms and materials more associated with ritual or craft than art, and the topics discussed such as gender, power and beauty—all feel like topics the P&D artists would rally behind,” says Hill. Connected to the movement through her commitment to handwork, labor, and color, Colby builds a set-like small scale glass towers crowned with lush arrangements that burst with color and materials. The viewer is invited for a full tour around an impossibly colorful and joyfully queer banquet of shiny glass beads and lush surfaces.

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Metchosin art market works to support BIPOC artists – Vancouver Island Free Daily – vancouverislandfreedaily.com

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Down to Earth Gardens and Nursery in Metchosin will hold an art market in August to unite people outdoors and provide an opportunity for artists facing greater barriers to sell their work.

Running 10 a.m. to 4 p.m. on Sunday, Aug. 15, the Down to Earth Art Market will provide an environment where artists and the public can meet in person in a green and fresh garden setting.

Mixed media artist and Down to Earth Art Market vendor Rose Cowles’ outdoor market setup. Event organizer and abstract artist Jessica Freedman used her business background to promote the idea of an art market and select a diverse group of talented artists to participate. (Courtesy of Rose Cowles)

Victoria-based abstract artist Jessica Freedman proposed the idea of an art market to the nursery, hoping to bring a variety of lower Island artists together to resume sharing their artwork in person.

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“I’m sure every other artist at home was saying ‘oh no, my art show is being cancelled,’ but I also have a business background and thought, why don’t I use that to help other artists?” Freedman said.

She selected 16 diverse professional artists to participate in the event, ensuring that BIPOC artists and others who may face barriers would be included. Mixed media artists Sarah Jim and Rose Cowles, ceramic artist Cindy Gibson and painters Eunmi Conacher, Andrea Soos and Cheri Le Brun will be among those presenting their works.

“I’m definitely feeling really excited to see people face to face and see people’s live reactions to real art,” Freedman said.


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New art gallery exhibit features ceramics inspired by Japanese aesthetics – moosejawtoday.com

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A new exhibit in the foyer of the Moose Jaw Museum & Art Gallery (MJMAG) takes a look at a selection of artwork and how artists have been influenced by Japanese ceramics and aesthetics.

Titled Shibui, the display of ceramic and clay platters, bowls and vases comes from the MJMAG permanent collection and features the works of Moose Jaw’s own Robert Froese, along with Saskatchewan artists Jack Sures, Randy Woolsey and Japan’s Soji Hamada.

The project was put together by curatorial assistant Jared Boechler, who made the selections as a counterpart to the current exhibition ‘Wholeness’ by Hanna Yokozawa Farquharson.

“It’s just a really interesting take on some local ceramic artists and the international influences on their work,” said MJMAG curator Jennifer McRorie. “It’s interesting to see where people draw their inspiration from, and there’s such a strong ceramics tradition in Japan, where they really try and emphasize the quality of the clay. Then there’s a lot of chance that’s allowed to happen in the making of the works, there’s kind of a rustic element where they allow the glaze and clay to interact and see what happens.”

That randomness leads to every piece having a unique look, something that can be seen even in pieces in the same style by the same artist. As an example, a selection of five items on display from Woolsey all carry similarities but are distinct in their differences.

That’s not to say there isn’t an element of precision involved, especially with some of the more intricate works.

“There’s a really beautiful bowl by Jack Sures that very much looks like a traditional ink painting or calligraphy,” McRorie said. “So it’s nice to think of his work through that lens of a connection to Japan.”

One can also find distinctions in the medium itself, with McRorie pointing to a selection of tea bowls by Froese as a prime example.

“You look at the clay, there’s a real roughness to it that they use and you can tell it’s different clay body than what we’re used to around here,” she explained. “It’s similar to what you’d see from other items from artists in Japan.”

The exhibit can be found immediately upon entering the museum and art gallery and will be on display until Sept. 5.

The gallery is open from 1 p.m. to 5 p.m. Tuesday through Sunday and closed Mondays.

For more information on the MJMAG, visit their website at www.mjmag.ca and follow them on Facebook at www.facebook.com/mjmag.

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