OTTAWA — Vancouver-bred contemporary artist Kenneth Lum, whose works have challenged notions of identity in galleries and public spaces across the globe, is among this year’s winners of the Governor General’s Awards in Visual and Media Arts.
The Canada Council for the Arts revealed the eight honourees Wednesday who will each receive a $25,000 prize for their contributions to Canadian creativity.
Lum, who currently serves as the chair of fine arts at the University of Pennsylvania’s School of Design in Philadelphia, won the Lifetime Artistic Achievement Award for his body of work spanning photography, performance art and public installations over three decades.
Fellow lifetime laureates include Toronto’s Deanna Bowen, Dana Claxton of Vancouver, Ruth Cuthand of Saskatoon, Jorge Lozano Lorza also of Toronto and Michael Fernandes of East Dover, N.S.
Fibre artist Anna Torma of Baie Verte, N.B., received the Saidye Bronfman Award for excellence in fine crafts, while Mississauga, Ont.-based cultural administrator Zainub Verjee won the Outstanding Contribution Award for her artistic practice and policy work.
An awards ceremony will be held in Edmonton on July 3, and the winners’ works will be displayed at the Art Gallery of Alberta through the summer.
This report by The Canadian Press was first published Feb. 19, 2020.
Jo Jo Zhu inspires students during art classes in her Charlottetown studio – The Guardian
CHARLOTTETOWN, P.E.I. —
Sunshine streams through the window of The Bookworm in Charlottetown, creating a relaxing atmosphere for young people who are working on their paintings.
Overseeing her Wednesday afternoon art class, Jo Jo Zhu is enthusiastic.
“I am very proud of my students and I’m so lucky to have the opportunity to teach and encourage them to chase their dreams,” says the Charlottetown art teacher, pointing out the young people around the room.
In one corner, April Deng is painting Sunset at Basin Head, mixing oils together on a palette to get the right shade of blue for the water.
She was inspired to create the painting after seeing a photo on the Internet.
“I’ve never been there before but, I thought it was very beautiful,” says the 14-year-old, who is looking forward to jumping into the water at the provincial park this summer.
On her break, she shows completed works – including New York’s Central Park and Nova Scotia’s Peggy’s Cove – inspired by her travels during summer vacation.
“Painting makes me feel relaxed. It’s one of my favourite things to do,” says the Queen Charlotte Intermediate student who, after picking up her first paintbrush when she was five, wants to become an artist/designer after high school.
“That’s why I’m working really hard.”
- Picture of the Day is a regular feature in the Guardian’s C section. It showcases the art of young people from across P.E.I.
- Graphic artist Jo Ann Crawford coordinates the project, for the Guardian, contacting schools and Facebook pages for submissions.
- When art teacher Jo Jo Zhu sent her some of her students’ artworks, Crawford was “blown away by the talent.” And, since then she has been happy to share her students’ talents with Guardian readers.
- Crawford encourages other teachers or parents to submit drawings. They can drop the pictures off in person, at The Guardian office, 165 Prince St., marked picture of the day or send them, by email to firstname.lastname@example.org.
In another corner, Ted Zhang is painting a rabbit sitting on a cliff.
“I like the bunny. He’s really cute. To make my painting different, I’m doing a back view,” says the eight-year-old, creating an orange background before adding a furry centrepiece.
Jenny Wang has come up with her own take on the rabbit theme by painting Easter Bunny in the Moonlight.
“It’s fun,” says the Stratford resident.
On a wall nearby, April Li is busy working on Starry Night, a large mural inspired by Vincent Van Gough’s 1889 painting. She’s using oils and, to make it distinct, she’s adding extra elements – a little village as well as pine trees and some far-reaching mountains.
“As I was painting Starry Night, I imagined myself sitting on the grass, watching moon and the stars and the floating clouds,” says April, pointing out a mountain, which is shaped like an eagle and for good reason.
“I want to be like an eagle and soar through the sky,” says the Grade 9 student from Queen Charlotte Intermediate School, who has worked on the piece for three months.
In another room, Jake Zhang’s enthusiastic brush strokes have created Man on a Sofa. It’s inspired by a work by another artist that he saw in a book. Jake also shows a fox that he recently completed.
“I come to art classes because my teacher is very special. Her classes are very interesting,” says the 11-year-old who attends West Royalty Elementary School.
He’s one of the 12 students who attend Zhu’s art classes each week. A graduate of Beijing Institute of Fashion Technology, Zhu moved to P.E.I. four years ago.
“I am a designer. I had my own studio in China. So, when I came here I wanted to help kids like April learn about art. I want to see them realize their potential.”
Nanaimo Art Gallery requesting $200000 to upgrade its downtown space – Nanaimo News Bulletin
City councillors appear to be supportive of the Nanaimo Art Gallery’s future plans.
On Feb. 19, the city’s finance and audit committee unanimously recommended that council direct city staffers to work with the Nanaimo Art Gallery on the next phase of the gallery’s development plan and provide the city with funding options as well as an updated co-management agreement.
An existing agreement on the art gallery’s space at 150 Commercial St. is set to expire in 2024.
Although the committee did not specifically recommend increasing annual funding, the art gallery has requested an additional $50,000 per year until 2023-24. A recent staff report notes that the Commercial Street building, which was built in the 1960s and is now the home of the Nanaimo Art Gallery, Crimson Coast Dance, Nanaimo Archives, TheatreOne and Vancouver Island Symphony, is dealing with a number of issues that fall “outside of the scope” of the art gallery’s co-management agreement with the city. Those issues, the report notes, include security, lack of accessibility, leaky faucets, failing hot water tanks and other wear and tear.
The Nanaimo Art Gallery is preparing to enter the third phase of its multi-phased development plan, which has seen the gallery merge its multiple spaces into a single space on Commercial Street and increase programming and staffing since 2013.
According to the same staff report, the gallery’s third phase includes plans to increase “organizational” capacity and community connections as well as exploring the feasibility of expanding the Commercial Street site.
Richard Harding, the city’s general manager of parks, recreation and culture, said staff support the art gallery’s plans for Phase 3 and would be happy to work with them. He also said the gallery currently receives about $160,000 per year in financial assistance from the city.
There was little discussion prior to the vote; however, Coun. Ian Thorpe said he supports making the recommendation to council, explaining that it is “necessary” in order to further support and grow the arts community.
“I think the art gallery serves a very useful function in our community and it has some real maintenance issues right now and problems that need to be addressed,” he said. “I think in the longer term … that there could be a partnership to allow for other groups to use that space and maybe even grow that space.”
The Artist Beneath the Art Forger – The New York Times
ST. PETER, Minn. — Mark Forgy’s home on the outskirts of Minneapolis looks like a museum. Works of art hang floor-to-ceiling. They hang in stairwells, in closets and behind doors. In the living room, a bronze bust of the artist who made all these pieces smirks slightly from the corner, admiring his work: a Matisse, a Modigliani, a handful of Picassos.
Mr. Forgy owns the largest collection of work by Elmyr de Hory, one of the most notorious art forgers of the 20th century. In the 1950s and ’60s, de Hory is believed to have forged over a thousand works by major artists. Many have been removed from museums. Others, some experts say, have not.
Mr. Forgy has spent years dedicated to the memory of de Hory. He has written a book, gives talks and contributes to exhibitions on forgery. It is his calling, he says, and has all led to his newest endeavor: putting on an exhibition of de Hory’s original work. No forgeries. Just de Hory in his own voice.
“It’s work trying to be no one other than himself,” said Mr. Forgy. “There’s no pretense.”
The exhibition, at the Hillstrom Museum of Art in St. Peter, Minn., focuses on de Hory’s portraiture. Now, more than four decades after the painter’s death, viewers can “leave behind the sensational tabloid-worthiness of his story,” Mr. Forgy said. It is the first glimpse at the artist underneath the forger.
Throughout his life de Hory struggled to inspire interest in his own work. A Hungarian artist, he came to the United States in August 1947, and by January 1948 he exhibited some work at Lilienfeld Galleries in New York. ARTNews described it as striking “the well-known chord of the School of Paris.” In a city exploding with the modernity of Abstract Expressionism, this meant “nice but old-fashioned.” De Hory sold only one. He blamed the opening night’s heavy January snowfall.
De Hory had, however, sold a handful of forgeries in Europe. Over the next decade, he traveled America and impersonated an aristocrat fallen on hard times after the war. He sold forgeries in the style of some artists who were still alive — Picasso and Matisse — and created so many forgeries of Amedeo Modigliani that it has become impossible to compile a definitive catalog of the artist’s work, according to Kenneth Wayne, director of The Modigliani Project.
Several hundred forgeries later, a handful of dealers caught on to him, told the authorities and ran him out of the country.
When Mr. Forgy met de Hory, it was on the beach of the Spanish island Ibiza, in 1969. A series of recent scandals had connected de Hory to forgeries in the U.S. and France. Yet, in Spain he was safe from consequences. So he embraced his new persona: the great forger who had fooled the art world. De Hory teamed up with the novelist Clifford Irving, who, taking de Hory’s exaggerations and inventions at face value, wrote a best-selling biography of the forger, “FAKE!” (Irving’s next project was a fraudulent autobiography of Howard Hughes, which landed him in jail.)
Into this era of mythmaking stepped the 20-year old Mr. Forgy. The two became close, and with its four-decade age gap, their friendship resembled that of teacher and student. De Hory would give etiquette lessons for royal company (the correct manner to kiss a princess’s hand) and regular tests on art history (“When did Botticelli live?”).
“He was more of a father than my actual father,” said Mr. Forgy, now 70. “He was concerned with my future.”
In his lectures on art, Mr. Forgy said, “Elmyr was always attempting mightily to champion the intrinsic merit of art as opposed to having a name tag on it.” He hated the market’s obsession with famous names. De Hory also made it clear that if his works could pass for original that made them, and him, as good as the greats.
After six years together, however, their friendship came to an end. De Hory was battling a new extradition request to France. When the news came that the extradition had been granted, Mr. Forgy was the one who told de Hory. On Dec. 11, 1976, de Hory killed himself.
He left everything to Mr. Forgy, who returned to Minnesota with around 300 of de Hory’s works. For decades he fell silent and moved on. Only in 2007 did he begin a memoir. After he self-published it in 2012, he adapted it into a play and then a musical. A new purpose for himself took shape as the caretaker of de Hory’s legacy. Mr. Forgy lent works to exhibitions on art forgery and recounted the story of the lovable rascal whose mischief turned the art world upside down. People found the story irresistible. Some were so intoxicated by it that a small market emerged for de Hory’s forgeries and pastiches. Mr. Forgy said that in 2014 a de Hory in the style of Matisse sold for $28,000. Other pieces have gone for a few thousand or hundred.
Mr. Forgy now believes this new exhibition can bring de Hory the recognition he sought during his life. The paintings were done in Ibiza and many are quick snapshots of friends, including several of Mr. Forgy. Some are unfinished or pulled from de Hory’s sketchbook. The variety of styles is striking. There are many that evoke the artists he forged. The playful simplicity of some of his drawing wobbles between channeling and being derivative of Matisse.
Julia Courtney, who co-curated an exhibition of forgeries at the Springfield Museums in Massachusetts, said she could see in de Hory’s work his affinity with Modigliani. A similar tendency to elongate the features might point to why de Hory turned to Modigliani so often when forging.
“His original work really opens up the door to who he was,” Ms. Courtney said. “There’s confidence in his line, shading. There’s a level of skill that’s apparent. Seeing the artist’s hand, that is sort of timeless.”
Some pieces are experimental and darkly stylized while others are naturalistic and melancholy, nodding to Albrecht Dürer. These are styles he never attempted, or felt confident enough, to forge.
De Hory’s variety of style is at once an indication of talent as well as his uncertainty. After a life of impersonation and lying about himself (including to Forgy — about, among other things, his name), it is difficult to pin de Hory down in his own work.
“The virtue of originality is overestimated,” Mr. Forgy insisted. Once when he asked de Hory if he felt he lacked any artistic tools, the older man said, “Maybe imagination.” But de Hory was original and imaginative in what he did through storytelling and sleight of hand, which exploited a specific moment in art history. That is an innovation few reach.
Gene Shapiro of Shapiro Auctions in New York says his story has value for museumgoers and collectors alike: “He’s infamous but he is a name that people will recognize. A collector, for example, may be proud to own his works and tell his story.”
The opening night at Hillstrom Museum of Art was a modest event. Like New York’s January in 1948, Minnesota’s February snowfall prevented many from making the drive up to the Gustavus Adolphus College campus, where the museum is located. But Mr. Forgy was ecstatic. “I’m finally paying the ultimate tribute to my friend,” he said.
The most revealing painting is perhaps de Hory’s self-portrait. Dark and haunted with opaque eyes, it is unfinished. The uncertainty with how to ultimately portray himself is perhaps de Hory at his most human, and his most honest.
The Secret World of Art Forger Elmyr de Hory: His Portraiture on Ibiza
Through April 19 at the Hillstrom Museum of Art, Gustavus Adolphus College, 800 West College Avenue, St. Peter, Minn.; 507-933-7200; gustavus.edu/finearts/hillstrom.
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