MEET THE EXPERTS @ THE NGC THIS SATURDAY: The #curators & #conservators of the National Gallery of #Canada #Ottawa offer public tours

The Curators and Conservators who worked on the new Canadian and Indigenous Galleries speak on their work.

This week the new Canadian and Indigenous Galleries has opened. To celebrate the occasion the NGC is offering tours all day Saturday with the experts who make things happen at the Gallery. All tours are free with admission.

SCHEDULE OF TOURS

10 AM KATERINA ATANASSOVA: Senior Curator, Canadian Art

Room A105 (English with Bilingual Q & A)

Join Katerina Atanassova, Senior Curator, Canadian Art, as she talks about the new installation of works by the Group of Seven and Tom Thomson and provides insight into the artists who shaped the Canadian art landscape in the early 20th century.

11 AM CHRISTINE LALONDE: Associate Curator, Indigenous Art

Room A101 (English with Bilingual Q & A)

Meet Christine Lalonde, Associate Curator, Indigenous Art, as she talks about the Gallery’s new installation of Indigenous art and provides insight into the Indigenous cultures who created the works on view.

12 PM JONATHAN SHAUGHNESSY: Associate Curator, Contemporary Art
Room C218 (English with Bilingual Q & A)

Join artists Damian Moppett and Ron Moppett as they discuss their work and exhibition with Jonathan Shaughnessy, Associate Curator, Contemporary Art.


2:30 PM DORIS COUTURE-RIGERT: Chief, Conservation & Technical Research
Room A102 (English with Bilingual Q & A)

Join Doris Couture-Rigert, Chief, Conservation and Technical Research, as she address the challenges faced in conserving, restoring and displaying works of art in the Canadian and Indigenous Galleries

3:30 PM GENEVIÈVE SAULNIER: Conservator, Contemporary Art
Room B205 (French with Bilingual Q & A)

Join Geneviève Saulnier, Conservator, Contemporary Art, as she address the challenges faced in conserving, restoring and displaying works of art in the Canadian and Indigenous Galleries.

#OTTAWA OPENING TODAY: “Outside These Walls – Photographs by Yannick Anton & David Ofori Zapparoli” @ #Carleton #University #Art #Gallery


David Ofori Zapparoli, Backstage at Fashion Show (1989), archival digital photograph, courtesy of the artist.

Tonight, as part of CUAG’s Winter exhibitions Outside These Walls opens to a party including DJ Memetic spinning the tunes!

WHEN: Monday, February 27 @ 5 pm
WHERE: Carleton University Art Gallery, St. Patrick Building, Carleton University, Ottawa

Featured Artists:

As part of the exhibition a conversation with curator Pamela Edmonds and the artists David Ofori Zapparoli and Yannick Anton will be moderated by Kwende Kefentse (aka DJ Memetic) tomorrow evening.

WHEN: Tuesday, February 27 @ 7 pm
WHERE: Carleton University Art Gallery (CUAG), St. Patrick’s Building, Carleton University, Ottawa

More on the Outside These Walls:

“This exhibition brings together photographic works by Toronto-based artists Yannick Anton and David Ofori Zapparoli whose respective imagery share a community-focused and collaborative approach to documenting urban life and its people. Zapparoli has represented the visual history of Canadian cities for over 30 years, the majority of his work is informed by a strong social realist approach. Until 1999, he had focused on the public housing development of Regent Park, putting a human face on the stigmatized and transitional community of which he had been a part of since his teens.Anton’s candid and energetic photographs draw stylistic inspiration from the youthful, street, fashion, music and queer-positive cultures that he captures.  Together both artists’ compelling works present unique and unapologetic insights into diverse landscapes and lives, addressing the systemic barriers that they expose and refute, while re-imagining regimes of the image away from fixed inscriptions of race, gender, class and corporeality.” (more info…)

ALSO OPENING TONIGHT: 

The Other NFB: The National Film Board of Canada’s Still Photography Division, 1941-1971
Curated by Carol Payne and Sandra Dyck

Making Radio Space in 1930s Canada
Curated by Michael Windover and Anne MacLennan

The exhibitions run from February 17 to May 7, 2017.


Yannick Anton, Blap Blap (“Yes Yes Y’all” Series) 2013, digital print. Courtesy of the Artist.

#OTTAWA CLOSING THIS WEEKEND: Last day 4 “Transactions” exhibit #celebrating #Queer #experiences at #Carleton #University #Art #Gallery

Work by Elisha Lim. 

Final day to see Transactions by curator Cara Tierney at CUAG

This amazing show “celebrating queer experiences” closes today after it’s run at the Carleton University Art Gallery (CUAG) in Ottawa. Curator Cara Tierney has created a space that pulsates with jubilation. The artists flesh out what it means to be deeply connected to your community as well as deeply loved by your community. The work in the show positions joy and empathy as resilience. Beautiful portraits of the Queer and allied community are created through visuals, words, and performance. Transactions is a visually stunning show that includes in situ graffiti by Ottawa based artist Kalkidan Assefa that wraps around corners softening the space “as the show unfolds in the visual embrace of this unswerving ally.” This is a not-to-be-missed exhibit!

WHEN: Sunday, February 12 from 1 – 5 pm
WHERE: Carleton University Art Gallery, St. Patrick’s Building, Carleton University,

FEATURED ARTISTS:

“Celebrating queer experiences that emerge from transactional creative exchanges, the artists in TRANSACTIONS define, refine, redefine, exult themselves today for the (a)genders of tomorrow, linking communities and challenging ideas of authenticity, allyship, belonging and being.”

More info on CUAG’s website

Images from top to bottom: Portrait of Kama La Mackerel; graffiti by Kalkidan Assefa with work by Elisha Lim in the background; work by Elisha Lim; more work by Elisha Lim, graffiti by Kalkidan Assefa.

All images by Leah Snyder for Mixed Bag Mag. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

#OTTAWA TODAY: “Universal Loss” opens at Gallery 101


Michèle Pearson Clarke, “MJ and Louise” from the “It’s Good to be Needed” series, C-Print, 2013

An exhibit on how loss impacts life opens this weekend at Gallery 101

In viewing the political circus down south there is a concern that we are moving away from consideration of those deep emotions that make us human. The masses are reduced down to behaving with base emotions expressed either as primal rage or manic exhilaration. Initiatives that allow for reflection on what makes us complex as well as beautiful are increasingly important giving us a chance to flesh out what it means to be human.

WHEN: Saturday, January 21 @ 3 – 7pm with panel discussion at 4 pm
WHERE: Gallery 101, 51 B Young St, Ottawa

“Loss is the collateral damage of life. All of us, regardless of social status, cultural background, or ideological affiliation, experience a sense of loss, whether it is a state of bereavement at the death of a loved one, the disappearance of an old self, the expiry of childhood, etc., the state of loss permeates our experience and becomes a contrast that enables us to recognize the goodness, to savor the memories, and to keep going.  

Universal Loss explores the ways in which artists with various practices, lifestyles, and backgrounds deal with the theme of loss within the context of the contemporary moment. In a world so rife with nationalistic tribalism, instability, uncertainty and conflict, working through (and embracing) this sense of the contingent, makes us better able to deal with the world, with ourselves, and our fellows: friends and strangers alike.”

Artists:

Curated by Ulysses Castellanos and soJin Chun.


Gretchen Sankey, “Dundas and Bellwoods bouquet,” Watercolour, 2016

 

OTTAWA TOMORROW: “Kanata 150?” critiques #Canada150

Image: Oo Aqpik “Crown for Sedna” 2016. Provided by Studio Sixty Six. 

Countering celebrations of nationalism with alternate narratives. 

Graduating just last year from Carleton University with a Masters in Art History, Rose Ekins has already made her mark on the Ottawa art scene with her ambitious programming at Studio Sixty Six, a commercial gallery located off of Bronson Avenue. Gallery owner Carrie Colton trusted Rose’s vision allowing her the opportunity to consider how a commercial gallery could also play a role in creating a space for art that wasn’t just about saleability but also about provoking tough questions. “I was able to carve out a mandate for myself” and that mandate includes diversity not only in the media that artists work in but more importantly cultural diversity and the stories that get communicated through the work. 

In an effort to offer a counter-narrative to the stories of nationalism that will be getting lots of air time in the 2017 celebrations of Canada’s Sesquicentennial, Rose has curated KANATA 150? a show that questions what the celebrations are about and who the celebrations are for. Featuring predominantly Ottawa based artists, KANATA 150? is “a nod to the origin of the country’s name,” and “presents seven emerging Indigenous artists reflecting on the nature of “Canada 150”.”

Image: Barry Pottle “Creeping South.” Provided by Studio Sixty Six

One of these artists is Barry Pottle, whose work documenting the Urban Inuit experience has previously been featured on Mixed Bag Mag. Also, the work of fellow Inuk, artist Oo Aqpik, will be presented in this show that roots Studio Sixty Six’s 2017 provocative programming that will include emerging artists Florence Yee (Menu of Exoticism) and Kosi Nnebe (Coloured Conversations) later on in the year. Originally from Nunavut, Oo is “well known for her roles in the Inuit language programs in television, radio and recently a feature film documentary, Arctic Defenders.” Like Oo, the artists of KANATA 150 are working in the capacity of activists and ambassadors of culture. Their work is about communicating to Canadians that it is a great risk if Indigenous perspectives, on where this country is headed, are not moved to the centre of all national debates. 

KANATA 150? opens tomorrow evening and promises to be an engaging way to start a critical year in Canada’s history. ARTISTS:

WHEN: Thursday, January 12 @ 6 – 9 pm
WHERE: Studio Sixty Six, 202-66 Muriel Street, K1S4E1

Free – Bar & Food
Physically accessible building
This event is taking place on the unceded territory of the Algonquin Anishinabeg Nation

“The City of Ottawa and Government of Canada are celebrating the 150th anniversary of the Dominion of Canada with events, promotions, and other ambitious goals to increase Canadian pride and patriotism. These festivities are promoting both the history and future of the nation state confederated in 1867. Canada is a country built from settler colonialism, which leaves the question of how the Indigenous peoples of this land are meant to participate in these celebrations. KANATA 150? (January 12 – February 18), a nod to the origin of the country’s name, presents seven emerging Indigenous artists reflecting on the nature of “Canada 150”.”

More info on the Facebook Event Page.

Follow Studio Sixty Six on Facebook, twitter and Instagram.

Image: Krystle Retieffe “Through the Looking Glass – 150 Years” 2016. Provided by Studio Sixty Six

C MAGAZINE REVIEW: Jolene Rickard speaks on Indigenous Cultural Resurgance and Wampum at the Creative Time Summit Venice Biennale

C Magazine looks at the curatorial presentation of the issue of Citizenship at the Venice Biennale.

The Winter edition of C Magazine is out. Inside the pages is a review I wrote on “Questioning Citizenship at the Venice Biennale.”  Here is a little sneak peek: 

I attended the Biennale this past August with The Power Plant’s delegation of artists and curators from Canada to take part in the Creative Time Summit (read CREATIVE TIME SUMMIT AT THE BIENNALE: Mixed Bag Mag arrives in Venice)It was an amazing time where we as creative professionals looked at ways we can critique and improve the Biennale culture from the inside. Along with the opportunity to meet other cultural provocateurs from around the world I also had the opportunity to meet Okwui Enwezor, the curator for the 2015 Biennale “All The World’s Futures.”

This edition of C Magazine is on Citizenship and features: 

“Derrick Chang, Victor Wang on the 12th Bienal de la Habana, Yaniya Lee on citizenship and Canadian art criticism, Krista Belle Stewart, Scott Benesiinaabandan, David Garneau and Cathy Busby responding to Canada’s Truth and Reconciliation Commission Report, and Justin A. Langlois, Amanda Shore, Rinaldo Walcott, Leah Snyder, Elle Flanders, Tamira Sawatsky and Adrian Blackwell questioning citizenship at the Venice Biennale; plus an artist project by Tyler Coburn. Also included are reviews of exhibitions and books, as well as our regular sections On Writing by Critical Art Writing Ensemble, Inventory by Bambitchell and Artefact by acqueline Hoang Nguyen” Read more…

To purchase or download the digital version click here.

From the Creative Time Summit Venice 2015 website: 

“As the Director of the American Indian Program and Associate Professor in the History of Art and Art Departments at Cornell University, Jolene Rickard is primarily interested in issues of indigeneity within a global context. Her recent projects include serving as the advisor for “Sakahàn: 1st International Quinquennial of New Indigenous Art” at the National Gallery of Canada in 2013, conducting research through a Ford Foundation Research Grant in 2008-11, participating in New Zealand’s Te Tihi Scholar/Artist Gathering in 2010, and co-curating the inaugural exhibition for the Smithsonian’s National Museum of the American Indian in Washington, D.C. in 2004. She is from the Tuscarora Nation (Haudenosaunee). Her book,Visualizing Sovereignty will be published in 2016.”

Watch all the Creative Time Summit 2015 Venice presentations here.

 

CANADA, MY HOW YOU’VE CHANGED: Shine A Light at the National Gallery of Canada illuminates landscapes dramatically transformed

Lawrence Paul Yuxweluptun Red Man Watching White Man Trying to Fix Hole in the Sky, 1990 (© NGC)

“Shine A Light, Cast A Shadow”

Canada is known for its tradition of depicting resplendent and majestic landscapes but the inspirational legacy passed down by artists like those in the Group of Seven aren’t echoed by the contemporary artists featured in the National Gallery of Canada’s show of new acquisitions.

The vignette of Lawren Harris’ North Shore, Lake Superior, as seen from the Gallery’s water court and framed by rose granite walls, shares with us a vision of the Great White North as a pristine place. Now the more North you go the more you experience the impact of global warming. The Inuit populations located in Northern Canada are the canaries in the coal mine of climate change. The situation is dire and artists in Canada have responded.

I entered the Shine A Light exhibit at a different point each time and each time I was confronted by works that overwhelmed me with a sense of dread. Artists used to celebrate this land. Now artists like Edward Burtynsky, David McMillan and Isabelle Hayeur scatter themselves across the globe to photograph how human populations are manipulating, extracting and polluting their environments often beyond the point of no return.

Edward’s work is by far the most familiar. His command of composition is always breathtaking, even exhilarating because of the scale of the photographs. They suck you in. They are cinematic making you feel a part of the terrain. He places you at ground zero, he’s like the Weegee of the environmental crime scene and you can’t look away.


Isabelle Hayeur, Death in Absentia II, 2011 (© NGC)

David McMillan and Isabelle Hayeur are lesser known but have equally challenging content. David photographs Chernobyl and Isabelle the dead waters of America. The discombobulating viewpoint of Isabelle’s photographs drown you. David’s work brings back the ghosts of the cold war, the stuff of children’s nightmares and threats of nuclear winters. Glasnost saved us from a global moment of disaster but nuclear technology was still devastating for many Russians. His work provides a document of disaster that irradiates how our modern material culture is forever stuck in some plastic purgatory that’s going to be hard to get out of.


David Hartt, Awards Room at the Johnson Publishing Company Headquarters, Chicago, Illinois, 2011 (© NGC)

The content of David Hartt‘s photography in Stray Light, also about location documentation, is aesthetically more palatable, you could even say seductive. Instead of cold war ghosts you feel a guilty sense of nostalgia for that time before the OPEC crisis, a time when North Americans thought there was no real harm in living large. The video component of Stray Light takes us into the building of the Johnson Publishing Company (JPC) former home of Ebony Magazine. As the video transitions smoothly from room to room, accompanied by the lush music of jazz flutist Nicole Mitchell, because of what I witnessed en route to David’s work I can’t shake off a sense of foreboding.

The African sculptures made of wood and stone seem confined in the plastic fantastic world of JPC. People move in and out of the scenes hedged in by office structures that conflict with the softer movements of their bodies proceeding through the space. Watching the final moments of the iconic Ebony in it’s place of conception is like entering a crypt in a necropolis that lures you with its beauty. It feels like the oxygen is going to be sucked out of the building and eventually the space will become a time capsule shrink wrapped for the archive and searching for its final resting place.

Geoffrey Farmer, Leaves of Grass, 2012, Courtesy of the artist, Catriona Jeffries Gallery, Vancouver and Casey Kaplan, New York (© NGC)

My initial response to Geoffrey Farmer‘s Leaves of Grass was “this is obscene.” After more time spent with the work my response was still “this is obscene.” His process (a team spending countless hours cutting and pasting), the content (17,000+ cut outs from 5 decades of Life Magazine) and the final presentation (100+ feet of archivally problematic paper, grass and glue) illustrate the absurdity by which we hold on to the past. We collect, categorize and create hierarchies of meaning that allow for justifications of all kinds. We trap ourselves in a constructed story from which we can no longer budge. Leaves of Grass is an absolutely breathtaking piece but as stunning as it is, the work is suffocating. There is too much to take in with no place for the eye to rest; a well executed entanglement of wicked questions. Do our strategies for classification make perfect sense? Are they nonsense? How do they really help?

Junk culture. That is what we are left with and this is the legacy that many of the contemporary artists in this show are trying to illuminate.

David Armstrong Six, The Radiologist, 2012 (Courtesy of the artist and Parisian Laundry. Photo: Matthew Koudys)

The shadowside of Readymades

“Combining found objects with a variety of materials – plaster, plywood, steel, rebar – his sculptural explorations merge the raw and the readymade into aesthetically intriguing and ambiguous compositions.” (sited from Shine A Light catalogue)

David Armstrong Six continues in the tradition of the readymade but Duchamp and the Dadaists weren’t working at a time when people had to be concerned about an impending environmental crisis. Bricolage takes on a different meaning when we are at risk of burying ourselves alive in a rubble pile of our own making. Maybe ‘l’art pour l’art’ is no longer enough to redeem the materials.

An Te Liu, Aphros, 2013 (© An Te Liu. Photo: Dustin Yu)

This is the question that An Te Liu seems to be trying to tease out as he works with casting the materials that accumulate from our post-modern predicament with packaging. Arranged like collection of Brâncușis, the five pieces are beautiful to behold but lack the life force that Brâncuși’s pieces, made of wood and stone, exhale. Rendered in ceramic and metals they give the impression of impotence like the materials they reference, materials that will persist in the environment without the capacity to be generative.

From the room with the David Armstrong Six’s readymades and An Te Liu’s towers you can look out across the Donald R. Sobey Family Gallery and view Luke Parnell’s Phantom Limbs from above. Here yet another graveyard is encountered. The 48 wood carvings laid on the ground are made to represent the homecoming of the ancestors when the Haida Repatriation project succeeded in having ceremonial objects and human remains returned to Haida Gwaii from private and public collections. Luke gave each carving a different expression. Contained under cases of plexi some look understandably pissed.

The Shine A Light catalogue, arranged alphabetically with each artist’s name, ends with the work of Lawerence Paul Yuxweluptun and a 2 page spread of his painting Red Man Watching White Man Trying to Fix Hole in the Sky (see above). This work hasn’t been publicly viewed for nearly 2 decades. Now seems like the requisite moment to bring it out again to remind us that in those 20 years we haven’t transitioned forward with many solutions. Instead we see a global trend to become more entrenched with ‘pie in the sky’ ways of living. Suffering with the collective trauma of watching our world come to the brink of disaster do we brush off our artists as Chicken Littles? Because the sky is indeed falling, our ozone layer is literally breaking apart into pieces.

large abstract drawing of large round shapes in a dark background

On the back wall of the 2nd floor is The Arsenal, a work by Jutai Toonoo. It is a large scale oil stick drawing of T cells. He created the work at a moment when he was trying to understand the pathology of the cancer his mother was stricken with. The helpful T cells fight against viruses, bacteria and diseases.

Our material culture is replicating faster than stage 4 cancer. It metastasizes in places as topographically different as Chernyobyl, Nunavut and India. The micro T cells, as the subject of Jutai’s work, are metamorphosed into a macro landscape that covers a large expanse across the Gallery’s wall. The allied cells shine like a phosphorescence glow in an inky black sea. After the challenging content of Shine A Light his work highlights hope. We are in need of an arsenal of solutions to push back the chaos. Encoded in the DNA of the planet are the cellular memories that can transform a landscape in crisis.

Above images by Leah Snyder for Mixed Bag Mag unless otherwise noted.

INTERSECTING THE CITY: Urban Fabric at the Textile Museum Toronto shows how the natural and constructed co-exist


Queen. Image provided by Scott Norsworthy.

“Urban fabric as a metaphor for the city” ~ Deborah Wang

“The artists in Urban Fabric: Portraits of a City engage with the interwoven hard and soft dimensions of the city from multiple perspectives; their photographs, paintings, sculpture, film, and pattern-making create a portrait of a city, often taking Toronto as their subject.”

This year’s Toronto Design Offsite included an interesting partnership between TO DO and the Textile Museum. Urban Fabric: Portraits of a City, curated by TO DO’s Creative Director Deborah Wang (pictured right) traversed the intersections of what comprises a city – “the built environment, webs of individuals, and the social, technological, and economic processes that produce a particular urban framework” as well as the insertions / assertions of nature.

The exhibit featured stunning photography by Scott Norsworthy that included the West End of Toronto. Hard isolating walls of bricks, unbroken expanses of asphalt and a multiplicity of electrical wires were softened by gentle light blanketing the concrete jungle with air and sky. Sheila Ayearst‘s series of Concrete paintings also contained a softness despite their subject matter. The canvasses, in varying shades of gray, had titles like Beaconsfield Concrete, again recalling the West End and its rapid development.

“Holes in the urban fabric, these sites speak to the city as an evolving network of development, appropriation, redevelopment, undoing, and neglect.” ~ Scott Norsworthy

(top to bottom) Dundas, Dupont, and Dupont. Images provided by Scott Norsworthy.

“Visitors in search of escape instead encounter.” Jessica Craig

Jessica Craig’s large projection of a location along the Don Valley revealed the lushness of a green Toronto that doesn’t just exist as an unattainable Shangri-La in our imagination.


Don Valley #212 (2012). Image provided by Jessica Craig. 

“Long protected from intervention by floodwaters and topography, the ravine defies construction and therefore profit: it is a fracture in an otherwise unified urban fabric.”

Jessica’s photographic work considers the concept of “terrain vague” and in her essay Landscape off the path she writes:

“Terrain vague is Ignasi de Solà-Morales’ term for abandoned spaces within a city that exist outside the common social realm and are often perceived as empty.”

These transitional spaces, because of the ambiguous mystery they offer city dwellers, hold latent potentiality as places of enchantment and restoration. “The value of the still unaffected land – and the relief it offers to a highly developed city – is difficult to quantify” but there is a sense that spaces, such as these, are seen as necessary in order to restore some sort of balance to the rigid confines of the constructed city.

(top to bottom) Don Valley #212, Don Valley #132, Don Valley #240 (2012). Images provided by Jessica Craig.  

“Roots are the first kind of textile.” ~ Scott Euson

For artist Scott Eunson plant roots are like fibers as they shoot up and spread out and the city is like fabric in that it is made up of many single “elements [fibers] that cooperate with the whole” as it rises up and moves out across the landscape like a rhizome. He spoke on how we often talk about the city as though it is a textile “neighbourhoods are knit together” or “densely woven.” He took wire and wood along with roots and bent metal, all found on walks through the city, to loop and twist a typography into place.

His piece Material Map – Toronto represents the complexity of urban spaces and their intertwining of newly digitized and still naturalized realities. The city is where we are often forced to locate our busy lives but not without letting go of our desire to feel our natural-ness now and again. As skyscrapers rise we haven’t completely forgotten the call of the waves. The shoreline always beckons us to return to some ancient cellular memory. Below the foundation of the city lies what was once the Glacial Lake Iroquois, what’s left now named Lake Ontario which means “Lake of Shining Waters” in the Wyandot language.

I like that this piece presented without judgement. In the assemblage there is no warning about the eradication of nature due to the city, the metal wires are able to co-exist with the natural. Despite the entanglement there is a type of order and an absence of hierarchy. The wood and wire take turns coming up between the foreground from the background, at times each receding, other times bending or breaking out of the grid.

The shape of the work represents Toronto as it is contained by the borders of the Humber River on the West and the Don River on the East. A few wires and twigs grow out past the North, West and East boundaries but at the shoreline of the Lake all halts, deferring to the great body of water that lies to the city’s south.

For me this piece is hopeful suggesting that there can be a resolution between the requirements of a city with all of its systems and our urban yearning for woods and water, that the existence of one doesn’t mean the end of the other.

Perhaps we can wrap ourselves around the notion that balance is not beyond our imagination and our quest to discover where it lies in the urban space is the taut thread that snaps everything in place.

Urban Fabric closed on January 25, 2015. Read more about the show on the Textile Museum’s website.

Images by Leah Snyder for Mixed Bag Mag unless otherwise noted.

 

ALEX & ALMA: Alex Colville Retrospective closing this weekend in Toronto & Alma Duncan next weekend in Ottawa

Alex Colville was never an artist I considered as an interest. The experience of viewing the Art Gallery of Ontario’s current retrospective of his work left me considering otherwise.

Alma Duncan was never an artist I even knew to consider but her painting Young Black Girl (1940) is one of my favourites in the AGO’s collection. I had no knowledge of Alma at the time but I was drawn to the demure painting that used to hang in the round room to the right of the Old Masters Collection along with a Picasso from his Blue Period, and a pulsating Kees van Dongen. The room held a rotation of portraits and this enigmatic and somber piece made me return again and again.

Now the painting hangs at the Ottawa Art Gallery for one more week. It is positioned on the wall that intersects Alma’s bold self-portraits that greet me with a commanding series of stares.

There are many ways to conceptually enter into both the Alma and Alex exhibits but my pathway into understanding their work more deeply is through the relationships that they each present.

ALMA DUNCAN: The relationship one has with oneself. 

Alma’s portraits of herself are entirely different than my introduction to her work through her subject of the black girl who sits slightly askew and closed off from the viewer. In each painting Alma positions herself squarely, looking beyond the frame to her audience. It’s as if she is daring those who might question her authority as an artist. She began painting at a time when the art world offered little opportunity for female intervention into male dominated spaces. Even as she paints her young self with braids bound at their ends with red bows (Self-Portrait with Braids, 1940) there is a clear message she sends as she stands affirming her right to participate. She paints herself wearing a pair of trousers instead of a skirt. When I encounter this row of paintings with such a strong female presence my thought is that I am disappointed that it took this long for me to find her.

In the main room, behind one dividing wall, are her renderings of mines and the machinery of industry from her time spent documenting a developing Canada focused on trade and resources; on the other side abstracted sketches of grass and landscapes softened with snow. We can see how far she travelled in her journey to explore her visual language but its when I enter the second room and experience the blood red wall upon which her Woman Series (1965) is hung that I have a longing accompanied by an intense regret that my younger self didn’t experience these at an earlier moment in my own odyssey.

I would have loved to have experienced her boldness in my youth when looking for creative and conceptual heros sheros. The clean cut demarcation between the black and the white is not set in opposition to each other but rather as a compliment from one to the other.

They are magnificent.

As I come closer I sense a movement in the shimmering of the strokes. It reminds me of the shadowy depictions of the Shroud of Turin also known as the Shroud of Christ. But this analogy is not quite right. Rather than a covering used for the dead I realize it reminds me more of a vibrating sonogram where you can detect a pulse, a heart beat, a life. This is why I find them so magnetic because as I walk towards a particulate one that draws me close I see the defining outline of a woman’s torso reflected upon itself emerging from the inky deep. Although she moves from realism in her early work to this period of experimentation with abstraction in the 60s the strength and intensity of that young woman with the braids and red bows is the anchoring attribute we find repeated here.

Alma’s work may visually change, flux and bend but the explorative relationship she has with herself as a female artist is what moves me. It’s why I find myself coming back to this newly discovered piece over and over again not wanting to say good-bye.

ALEX COLVILLE: The relationship one has with their lover and life partner.

When I am at the Alex Colville show its also a female relationship that grounds me into the exhibit. I make a few laps around the rooms, weaving in and out of the crowd, to finally sit down somewhere mid-point and watch a short film. The video is narrated by Alex’s daughter Ann Kitz and in a few short minutes she poignantly shares with us the timeline of her parents lifetime of love – a 70 year excursion that ends the way it began – together. Alex died just weeks after his wife’s passing.

Exploration by going deep instead of wide.  

After experiencing World War II in his role as a war artist and documenting the liberation at Bergen-Belsen concentration camp it seemed like his marriage, which took place right before he left for war, became the stabilizing factor upon which he was able to build a career alongside raising a healthy family. The partnership with his wife, Rhoda, also an artist, gave him a solid foundation after experiencing the uprooting tension of conflict.

It was through this relationship Alex was able to arrive at both his signature technique and his recognizable aesthetic. Of the painting Nude and Dummy (1950) seen below he reflects that this was when he accomplished what he called his “first good painting.” From this piece we are able to see what is about to come down the road.

His visual journey doesn’t traverse the same distance as Alma’s trajectories. His way of rendering his compositions remains uniform throughout his career. He doesn’t become driven to aesthetic extremes; his loyalty to his signature style allows a deeper exploration into the psychological subtleties of the human condition. Alex’s work was about looking and then re-looking at a location or a person you know so well to find both the consistencies and the anomalies that open up a contemplative space.  He was quoted as saying that “only by living in a little place for a long time can one build up a sort of extensive body of complex knowledge and understanding of what goes on.”

Alex is known for his compositions that convey foreboding messages of something disruptive beyond the horizon but in seeing many of the his works based on Rhoda there is also an undeniably playful spirit that comes through these images of this woman, his wife. We see her at leisure with the figure we can interpret as Alex in the background close enough to be at her call but far enough as to not disturb her relaxation; we see her with her pets and her children and playing the piano while her aging husband sits close by. Over their lifetime Alex portrays her nude and exposed but accessible in her humanness, flaws not banished for the sake of the artist reflecting a perfected muse. She is real and charming, a crisp outline of paint separates her from the background but because we never fully see her face this woman still manages to maintain complexity surrounded by mystery.

Her head is lost inside of a canoe that she portages to another place; she stands with acceptance, a body shaped by age, in front of the old grandfather clock in their home. The image I come to love the most is of Rhoda defiantly naked and flipping the perspective of the world upside down, the cat as a casual witness. I feel it illustrates the adoration Alex had for this woman, at once his muse and the mother of his children. I can sense a chuckle from him and hear laughter from her as she gingerly makes her way down to plant her feet back on the ground. Headstand (1982) becomes the image that I end up visiting again and gain and the one final time to say farewell as the show closes its doors.

Thanks to the AGO & the OAG for providing an opportunity to view the life and work of two important Canadian artists.

Alex Colville closes today Sunday, January 4 at the Art Gallery of Ontario, Toronto.
Alma: The Life and Art of Alma Duncan (1917 – 2004) closes Sunday, January 11 at the Ottawa Art Gallery, Ottawa.

All above images by Leah Snyder for Mixed Bag Mag. 

 

THE CURATOR AS A 21ST CENTURY AGENT OF CHANGE: Leah Snyder presents at the Michaëlle Jean Foundation’s Power of the Arts Forum

Since the end of August life has been a blur of important events, all of which focus on CHANGE.

Change the way we protect the environment. In August, at the People’s Social Forum Ottawa, I was introduced to people who have become activists out of the necessity to ensure that the land we share is safe.

Change the way we fund community initiatives. In September I was one of 40+ professionals invited by the Governor General David Johnston to be part of a think tank at Rideau Hall that was centred around creating a new Foundation for Canada.

Change the way we construct historical archives. In October I participated in the Aboriginal Curatorial Collective Colloquium in Montreal where one of the main focuses was best practice design for the structure of digital archives that challenge entrenched national narratives.

Change the way we think about diversity. In November I presented at the Michaëlle Jean Foundation’s The Power of the Arts Forum. I encountered many cultural provocateurs who are adding to the discussion around what diversity looks like.

My own presentation assessed the role the institutional curator can play in facilitating deep cultural transformation in Canada.

Since 2010 when I began to write about contemporary culture in Canada I have been fortunate to to attend hundreds and hundreds (and hundreds!) of events. What this gives me is a bird’s eye view of the changing cultural landscape. I have the luxury of being able to stand back as well as step in allowing me both critical distance and intimate knowledge of the environment.

It was a great opportunity to speak at The Power of the Arts and my fellow presenters offered me even more inspiration, ideas and provocative food for thought around broadening the definition of what we mean when we say ‘diversity’.

Below is the transcript of my presentation as well as the Powerpoint images with the accompanying text. If you want to read the presentation along with the images you can click on the top left image and the rest will follow!

black stroke

black stroke

2013 was a year that Canada experienced a lot of growing pains. We are a young nation and sometimes we act with youthful grace and other times with the messy inappropriateness of bodies not yet used to the skin they are quickly expanding into.

Idle No More was a movement that probably wasn’t on most people’s radar when it first formed but it rapidly spread thanks to the brilliant ease that technology allows messages to travel.

What it also did was start to shake the foundational narratives and pushed Canada into a bit of an identity crisis.

And an identity crisis can be good a thing. Even healthy! If it is recognized as a moment to reflect back on who you were before the rug was pulled out from underneath you.

And like any identity crisis the signs were already pointing to a breakdown long before it happened. If you step away from the history of colonization and the impact it has had on Indigenous populations there are other histories Canada has had trouble acknowledging – slavery in Canada, the treatment of Japanese Canadians during World War II, and the unfortunate history of the community of Africville, Nova Scotia to name a few.

Canada has not always been a safe place for new immigrants and there are still areas where many Canadians feel they are outsiders in their own nation. LGBTQ rights have been a work in progress and away from urban centres it can still be unsafe to be open about your sexuality.

But I have hope. BIG HOPE! I know Canada is going to make it through this incredibly painful time where collectively as a Nation we are having to acknowledge hard truths about our history.

WHY am I so hopeful? Because I have the wonderful fortune of working in the Arts (and with people like this)

This is where I see amazing work being done. And I see a lot of that work happening in institutional settings.

Outside of producing Mixed Bag Mag I am also a web designer. Many of my clients are artists, and more specifically Indigenous artists whose work is about dialoguing with national narratives regarding historical and contemporary realities of First Peoples in Canada.

One of my clients is Jeff Thomas, a self-described Urban Iroquois, and who I have dubbed “The Godfather of Indigenous Urban Photography.” I will come back to him later but where I want to start my story is on a cold, winter night in Toronto that included a snow storm, a Tribe Called Red and a gifted ticket from a stranger on Facebook. I found myself, last minute, at the Art Gallery of Ontario for First Thursdays.

If you don’t know about first Thursdays, it’s a great event that happens the first Thursday of every month at the AGO. The night includes entry to the exhibits, live music, performance art, interactive demos and food. This particular Thursday A Tribe Called Red was performing.

Despite the cold it was a hot night! Sold OUT! I left my decision to go so late I couldn’t even get a media pass so I put a call out on Facebook and a friend -of-a-friend gave me his ticket.

I stood above the crowd packed into Walker Court in order to get a good photograph. What I witnessed made me stop and put my camera down to take it all in. I have these times as a photographer where I know I need to stop and spend time with the moment – to just feel the energetics of the space. I was having one of those moments.

Duncan Campbell Scott, the man who was head of Indian Affairs in the early 1900s was quoted as saying “The happiest future for the Indian race is absorption into the general population, and this is the object and policy of our government.” Here were 3 men – 3 men that if Duncan Campbell Scott had his way would not exist – being unapologetically Indigenous. And the crowd could not get enough of their beats that include mixing dance hall, reggae, hip hop and powwow.

One of the members of Tribe is Jeff Thomas’ son – Bear Witness.

I know he is damn proud of Bear’s work because as he says “he is reaching people I never could.” So why is Bear, a DJ who re-mixes club music, playing for a young, fashionable crowd so important? Because traditionally spaces of Western Culture are not welcoming spaces if you are someone who lies outside the dominant culture. If you are Indigenous, African, South American, basically any culture conquered by the European Countries and colonized you have undoubtedly found your culture being reduced to relics in the structures that dictate what is culturally relevant – even what is culturally ALIVE.

And now a quick history lesson on Museums and Galleries.

The history of what Philippe de Montebello, former director of The Metropolitan Museum Art, calls the “Universal Museum” is around 200 years old. The concept, which we are all familiar with, is to take a look at the world, in chronological order, a linear space where we move through time – a documentation of “PROGRESS.” This type of space allowed for aesthetic connections to be made between culture objects from varying places from the same points in time – a visual record of history – but whose history?

The Louvre was the first public museum. The princes wanted to show what they had “acquired.”

As de Montebello says “Western museums started because they felt legitimately entitled to take the art of the places they were conquering and bring them back to study them.”

With this start as the backdrop it is easy to understand how objects became festishized for their aesthetic and stripped of the human stories that accompany
…their creation,
…their use within their own culture context,
…and then the often tragic events that lead to their acquisition in the collections.

But in the context of the pluralistic realities that we live in now this way of organizing what is our experience of culture is highly problematic. We know there is more than one entry point to history and multiple views are not only valid they are necessary to reconstruct a strong foundation upon which to move forward.

While on a recent trip to New York City I visited the Brooklyn Museum. They had this tremendously beautiful gallery space that was about just that – the act of reconstruction.

As you entered into the space you were met with the words “CONNECTING CULTURES…Museums bring the world’s treasures to the public. Like many other museums The Brooklyn Museum collects works of art in order to inspire, uplift and inform.”

The room was a glorious hodge podge of exquisite and ancient craftsmanship and work by contemporary artists. It was clear that in this space notions of hierarchy were dissolved. A linear progression was abandoned. Instead there was a conversation between equals. And that is an important note of difference.

This image says it all because this young boy who was there studying and taking notes would have been denied access to this museum in a recent past.

Everywhere you turned in the museum you were met by thoughtful curation and diadatic panels that added more voices to the mix. And their emphasis on presenting contemporary African-American artists like Kehinde Whiley makes sense in a community where there is a huge Black population.

Ok, so enough about America, let’s get back to Canada and that night at the Art Gallery of Ontario. The AGO, at the height of Idle No More movement, just weeks after Chief Spence ended her hunger strike, had Tribe programmed to perform. Inside an institutional space that traditionally was about implied exclusivity the performance of 3 men related the message:

NOT ONLY AM I ALIVE, BUT I AM YOUR CONTEMPORARY.
NOT ONLY HAVE MY PEOPLE SURVIVED BUT WE THRIVE.

That’s powerful stuff, especially in light of the historical documents currently being uncovered that speak to the strategies to annihilate Indigenous populations here in Canada.

A few months after that Tribe performance at the AGO the National Gallery of Canada had an exciting opening – Sakahàn: International Indigenous Art Exhibit – that included 150 works of recent Indigenous art by over 80 artists.

This exhibit was the groundbreaking because of the fact it was the first of its kind – an exhibit that took an international scope of Indigenous artists alive, THRIVING, today. This wasn’t a show about surveying artifacts. This was an exhibit about the relevance of Indigenous artists using their practice as social commentary. Sakahàn was long in the making before Idle No More but the timing was certainly interesting as it situated the work of Indigenous artists working in Canada in the present tense. Canadians could frame the work with current events of Idle No More, Truth and Reconciliation Commission and the call for an inquiry into the  Missing and Murdered Indigenous Women.

Sakahàn means to strike a light, a fire, in the Algonquin language. Algonquin people, part of the greater cultural group of Anishinaabeg peoples, are the traditional custodians of this land where Ottawa is now located so it was an appropriate and important gesture to use this as the show’s title.

The three curators who organized this immense project were Greg Hill (Audain Curator of Indigenous Art) and Christine Lalonde (Associate Curator of Indigenous Art) of the National Gallery as well as independent curator Candice Hopkins (Elizabeth Simonfay Guest Curator).

I am grateful to Greg, Kayen’kahaka (Mohawk) of the Six Nations of the Grand River, for giving me an thorough tour of the show. What blew me away was the fact that the artists in this show were working way beyond being concerned with just an aesthetic. They were working from deeply personal spaces. They understood their role as artists and their responsibility as cultural producers to make visible what has been buried.

It was overwhelming, emotional, beautiful, and I went back 5 more times. One of the most powerful things that Sakahàn did was it reached out to the larger arts community in Ottawa. Auxiliary shows and events happened all over the city. This is where I felt Sakahàn had it’s most transformative impact. In Ottawa last summer, you encountered contemporary Indigenous art everywhere.

But Sakahàn wasn’t the only show that year that managed to squeeze itself into the institutional space to force open a crack to allow change in.

Between  2013 to 2014 I have lost count of how many shows I have attended that are about using an institutional space to create meaning around contested histories, controversies, and current events. This doesn’t even include the shows that came prior to 2013. Many people have invested blood, sweat and tears and had doors shut on them. It’s the legacy of their labour that allows for the incredible explosion of culturally transformative work we are witnessing now.

I have seen these types of shows in New York and here at home in Montreal, Toronto, and Ottawa as well as smaller cities like Kitchener, Oakville, Oshawa, and Markham. Something has definitely shifted!

The door is now open and there is no going back into the shadows.

In recent news The Royal Ontario Museum in Toronto has been open about their epic fail when they launched “Into the Heart of Africa” in 1989 – a re-framing of the Africa collection through colonial eyes. Although meant to be a critique, once it opened what was demonstrated was that the curators were still not willing to consider that perhaps their framing perpetuated hurtful narratives. There were protests that had little immediate impact but what we see now, as we approach the 25th anniversary, is a demonstration in best practice around the complexities of reconsidering history from alternate perspectives.

The ROM has brought in Julie Crooks and Dominique Fontaine to curate “Of Africa” a “multiplatform and multiyear project aimed at rethinking historical and contemporary representations of Africa.”

On October 24 the ROM Hosted a symposium in preparation for “Of Africa” that included panel discussion on “Learning from Into the Heart of Africa.”

“The elephant in the room” as Silvia Forni the ROM’s curator for African programming calls it has now become a moment upon which something transformative AND truthful can be built.

We are in a beautiful moment in time. We can be intentional about how we move forward to create change. There is opportunity for everyone’s voice to be represented at the table. Best practice around how to navigate this new space we are in is:

  • First acknowledge the hard truths

  • Second, like the ROM, acknowledge how communities were wronged

  • Be ok with being uncomfortable

  • Be open to learn something new

  • Inquire about Protocol

  • Outreach to communities

  • Get to know the leaders

I am going to book end this talk by finishing where we started at the AGO’s Walker’s Court. On July 30 this year, on a little warmer of a night, with no snow storms in the forecast, Beyond the Horizon: Anishinaabe Artists of the Great Lakes opened. At the very top of the court were a series of drums by Anishinaabe artist Robert Houle, who was also in attendance. The drums hang in the place where the German artist Lother Baumgarten was commissioned, in 1984, to do a site-specific work that he titled Monument for the Native People of Ontario. In this piece it was clear that neither Baumgarten nor the AGO did their research. The recent AGO renovation did away with the install and now Robert’s work intervenes in the neo-classical space with his series that references the Seven Grandfather Teachings of the Anishinaabeg peoples.

  • Zaagi’idiwin / Love

  • Nibwaakaawin / Wisdom

  • Dabaadendiziwin / Humility

  • Minaadendamowin / Respect

  • Debwewin / Truth

  • Aakode’ewin / Courage

  • Gwayakwaadiziwin / Honesty

The opening began with prayer and song by Elder Garry Sault who spoke in both Anishinaabemowin and English followed by a welcoming by Chief Bryan LaForme of the Mississaugas of the New Credit First Nation.

Also on the agenda that  night was an awards ceremony. Metis artist Christi Belcourt, the woman behind the initiative Walking With Our Sisters, received the Ontario Arts Council’s Aboriginal Arts Award. When Christi got up to accept her award she used it as a platform to educate the audience about the Missing and Murdered Indigenous Women. Her act was an important intervention into the space.

In the palatial court part of the Beaux Art structure built in 1920s and revamped by architect Frank Gehry in 2008 what could have been just-another-art-party became a somber and important moment of remembering.

When Andrew Hunter, Curator of Canadian Art at the AGO, came up to the podium to speak he made one thing clear – this was not a show of contemporary art paired with “artifacts” but of contemporary artists juxtaposed with past masters. Indigenous art has often been presented as relics of a dead culture far removed from contemporary realities and without relevance to current events.

This small statement powerfully defines how today’s institutional curator can be an instrument for change.

Andrew stood in solidarity with a community who has had the institutional door closed on them many times.

At some point in the evening I took a moment to go back up to the area where I watched A Tribe Called Red perform over a year before. Again, like that night, Walker Court was packed full of people from all backgrounds and all walks of life. I took a few photos. Then I put my camera down.

I listened to the moment.
I heard change.

Thank you. Merci. Miigwetch.
black stroke

Check out Mixed Bag Mag’s poster submissions for The Power of the Arts. Top poster features talented dancer / choreographer Emily Law, middle poster visual artist Ekow Nimako with his amazing work, and dancer / choreographer Esie Mensah, another beautiful talent!