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’s art auctions create opportunities to strengthen the arts community.
My first month living in Ottawa I made a small purchase – a tiny black and white painting of a woman who stared out from the frame with an ambiguous gaze. The artist had rendered her with no legs. She ended at her torso where the edges of her baggy shirt stopped abruptly on the paper. She represented my feeling of being truncated due to no roots in the city I unexpectedly had arrived in. Two years later that same painting sits on my desk as a reminder of how deep my roots have grown and that I have found myself located in a thriving arts community. I bought this piece at a fundraiser art auction. The purchase I made will always be linked to the memory of that night and the inspiration I received from being in a city that supports the arts.
That night became the first of many local art auctions I found myself attending, including Ottawa Art Gallery’s Le pARTy. They have become annual traditions that I don’t want to miss. I watch friends get into hot bidding frenzies in order to expand their art collections. I like having my calendar year punctuated by celebratory moments of people purchasing art. I like seeing the exhilaration people get when they invest in something that moves them. Off the wall the work comes and into their home it goes along with the story of the where and the why on how they acquired the work.
But it’s more than just buying the work, it’s about the relationships that are formed around the event – the planning and the people who put those plans into action, the artists who donate, the collectors who buy and the organizations that reach out their audience. It’s a feedback loop that, when done well, has the potential to benefit everyone in the community – the artists, the art lovers and local galleries and artist-run-centres.
Last year, at Le pARTy I watched (with envy) as a beautiful work went home with a lucky couple. That couple, Bridget Thompson and Danny Hussey (Central Art Garage) are known around town for being the kind of people who actively walk the talk and participate in multiple ways to encourage a healthy art scene in Ottawa. Danny shared with me that “as collectors both Bridget and I see the auction as a chance to connect with and support artists. We look for work by regional and Ottawa artists that are interacting with the broader Canadian and international art scene. We never really know ahead of time what if anything we will buy. One of the best parts of the art auction is meeting the artists and getting to know more about them. Once you make that bond it becomes natural to follow their careers and to continue to support them.”
“Caitlin” from Second Self Series by Meryl McMaster
When I asked why she participates in OAG’s art auction she replied “I donate my work to Le pARTy primarily because I believe in the Ottawa Art Gallery is an important institution for Ottawa and I find it rewarding to support the work that they do, supporting local arts and bringing great artists to show in our city. Le pARTy is a good opportunity for artists to have their work viewed by a broad new audience and for art collectors to discover new artists that they are not familiar with. This all happens in a lively environment that allows artists to form new connections with people in their local community.”
At this year’s Le pARTy Danny isn’t just showing up as a collector, he is also playing an important role in the planning process of Thursday night’s now SOLD OUT event.
“From the administrative side, this year I am serving as Co-chair of the auction along with Hattie Klotz. There is so much that goes into the the event and such a long list of contributors. It would not be possible without the artists contributing work, the restaurants and caterers that donate their services and food, all of the corporate sponsors and dozens and dozens of volunteers. The staff at the OAG does a lot of the work behind the scenes and they should get a large share of the credit.”
Also lending a hand as well as adding a critical eye for #lepARTy2016 is Vicki Heyman, wife of the US Ambassador to Canada. Known for the cultural tour de force she has brought to the Ottawa arts community with the Art in Embassies initiative including Contemporary Conversations at the National Gallery of Canada, Vicki is one of this year’s participating jurors.
“This is my third year attending Ottawa Art Gallery’s Le pARTy and my first time participating as a Critic. It was such an honor to be asked to participate in a deep way in Le pARTy – I feel strongly about supporting the OAG and the artist community here in Ottawa. The artists in the Ottawa area have such talent, and they are truly representative of the diverse narratives of Canadian stories, culture and heritage. It is always special to connect with and support local talent because you get the opportunity to experience the voice of the artist, not just the art, and develop rich relationships that often transcend the art itself. The Ottawa Art Gallery is a treasure in this city, and I am looking forward to the completion of the transformative expansion and redevelopment of the building and programming.”
As Ottawa gears up for the 2017 moment that includes the renovations of the Arts Court building and the Ottawa Art Gallery these events that bring us together grow in importance. And this Thursday, OAG’s Director Alexandra Bardak reminds us, “Le pARTy 2016 marks a special year for the Ottawa Art Gallery. This is both the 20th year of the event and the final year in our current spaces. Each of the art auctions over the past 20 years has been the result of our supportive community. The OAG is extremely thankful to all of our partners – from the artists who donate work, the guests who buy tickets and purchase artworks, the restaurants and caterers who supply food and drink, and the corporate and community partners who support the event. Many of these people have been with us from the beginning and we’re looking forward to celebrating with them on Thursday, June 9th.”
So why buy? Because along with a work you can love each day and a lasting memory of great event shared with friends you are also investing in the future of your community.It feels good to put your money where your heart (and your home) is.
Missed out on getting your Le pARTy ticket? You can attend the Pre Le pARTy event tomorrow night.
WHEN: Wednesday, June 8, 2016 Doors Open at 6 pm Panel begins at 6:30 pm
WHERE: Ottawa Art Gallery (2 Daly Ave)
TICKETS: Free! RSVP through Eventbrite
TOPIC: Where does photography fit within the contemporary art gallery?
“A panel discussion and Q&A with photo-based artists and photographers from Ottawa exploring the role of photography today both in and out of the public and private gallery space. An initiative started in conjunction with Le pARTy in 2014, Le pre pARTy consists of a lively panel, moderated this year by Michelle Gewurtz, Interim Senior Curator at Ottawa Art Gallery, followed by a Q&A and reception with music, mingling, hors d’oeuvres and beverages.
This free event also offers the opportunity to view the installed artworks available at Le pARTy in advance of the auction as well as the chance to purchase the Le pARTy Special Edition photograph portfolios a day early!”
Above images by Maija Hirsimaki courtesy of Ottawa Art Gallery.
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.
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.
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.
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.
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.
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.