Posts Tagged ‘art’

Toronto Outdoor Art Fair 2018,
Nathan Phillips Square

three men, in two different booths, side by side, looking at paintings, Nathan Phillips Square, outdoor art fair

three men looking at paintings, Nathan Phillips Square, outdoor art fair

two small paintings on wood, hanging on a metal grid

reflections in a framed artwork, people passing by, outdoor art fair

woman in a brown hat starts to pack up her paintings of people's faces at the end of an outdoor art fair in Toronto

two paintings in a booth at an outdoor art fair, one is yellow, there is a table in front of it, with a flower and and a hat on it, a man walks past

three little glass sculptures of little robot like creatures with rectangular heads and one large antenna

a woman walks past a painting of a cat head in blues and greys,

old rusty hand saws with wood handles, blades have been cut in intricate designs, one in maple leaves and the other with oak leaves

a couple looks at a painting at an outdoor art fair

a man, with back to the camera, stands beside a painting of a topless woman, their faces are close together

a woman carries a large painting, passes by another large painting of a black man with a white beard

a woman in a large brimmed pink hat is talking to another woman in front of some paintings at an outdoor art fair

five black and white photos are attached to a string with wooden clothes pegs

square artworks arranged in a grid on a metal mesh wall, hanging at an outdoor art fair.

sqaure artwork, mainly yellow, person body with large clock head , fish swimming around, letters and numbers on the edges

two muslim women in head scarves walk past some glass sculptures at an outdoor art fair

Tinirrusiangit is an Inuktitut word that means “their gifts” or “what they gave”.   It is the name of the latest exhibit at the Art Gallery of Ontario features the work of two Inuit artists, Kenojuak Ashevak (1927-2013) and her nephew Tim Pitsiulak (1967-2016).   Ashevak (1927-2013) was born in southern Baffin Island although she grew up on the land in the traditional, semi-nomadic hunting lifestyle, living in igloos and skin tents.

In the 1950’s she developed TB and ended up, against her will, in a hospital in Quebec City  This was not a happy time in her life.  She had just given birth when she was forcibly transferred; the baby was adopted by a neighbouring family. Several of Kenojuak’s children died while she was in the hospital.   One of the ways of passing time at the hospital was making arts and crafts such as beading and doll making.

When she returned to Kinngait Nunavut (previously Cape Dorset), she learned printmaking.  She was also one of the early members of the West Baffin Eskimo Collective which became Kinngait Studios.

Ashevak was the first internationally known Inuit artist.  Her most famous piece, ‘The Enchanted Owl’ 1960, was used on a Canadian postage stamp in 1970 in honour of the Northwest Territories centennial.   Owls were one of her favorite subjects.

 

below: Ravens and Owl, 1979, stonecut and stencil on paper, by Kenojuak Ashevak

a picture of an Inuit artwork, Ravens and Owl, stonecut and stencil on paper, 1979, by Kenojuak Ashevak

below: Happy Little Owl, 1969, stonecut on paper, by Kenojuak Ashevak

a picture of an Inuit artwork, Happy Little Owl, stonecut on paper, 1969, by Kenojuak Ashevak

below: Untitled, 2004-5, pencil and felt tip marker on paper, by Kenojuak Ashevak

woman in an art gallery looking at two pictures on the wall, both by Kenojuak Ashevak

Tim Pitsiulak, born in Kimmirut Nunavut,  was a hunter and a painter.  He started drawing as a young boy and although he tried carving and jewelry making, most of his artwork centers around depicting everyday life in drawings and paintings.

below: GoPro Hydrophone, 2016, pastel on black paper, by Tim Pitsiulak.  Here, the artist (the hunter) throws a GoPro camera into the water to record the sounds and images of the animals in the water.

gopro hydrophone, a painting by Tim Pitsiulak at the art gallery of Ontario

“What more could I ask for, than for people to notice what we have up here? This is the best thing about being and artist and a hunter.” Tim Pitsiulak quote on the wall at the AGO.

below: Swimming with Giants, 2015, by Tim Pitsiulak.  Beluga whales swimming with a bowhead whale.

two people sitting on a black sofa, looking at a large painting by Tim Pitsiulak called Swimming with Giants, lots of fish and whales swimming in the water

 

The exhibit continues until 12 August 2018

… and vicinity

The Bentway is a new park being built under the Gardiner Expressway between Bathurst and Strachan.  I walked it almost two years ago when the park was only in the planning stages.   I thought that I’d take a look at it again the other day.  Originally, it was supposed to be ready last summer so it’s a bit behind schedule.  Surprised?

Walking south on Strachan from King, and whoa, there are changes happening here too.  Cranes everywhere.  Holes in the ground.   How many people are employed in the construction industry in Toronto?  in the GTA?

below: Looking eastward from Strachan Avenue, immediately south of King Street.

looking east from Strachan, immediately south of King, past older brick buildings to the CN Tower and city skyline

below: The view from a few metres farther south on Strachan.  The metal grid covers the railway tracks and supports the retaining walls on either side.  It also makes an interesting pattern.  These tracks turn northward – they are used by the UP Express to the airport and GO trains to places like Georgetown and Barrie.   There’s the CN Tower again – just in case you’re a CN Tower junkie like me.  I can’t resist taking pictures of it, especially when I find new angles, new foregrounds.

looing over the railway tracks to city skyline and CN Tower, construction of new building on the right

below: Immediately south of the train tracks is Ordnance Street.  Until recently it was a sleepy little dead end street of light industrials.

cement truck on street in front of construction site, cranes, fences, building about 20 storeys high

below: Ouch! Look at all those transformers on the poles.

 

white crane in the background, many hydro utility poles, with large grey cylindrical transformers on each of them

below: The east end of Ordnance Street is at Strachan.   It doesn’t actually end there, but continues on the west side as East Liberty Street.  This is the eastern edge of Liberty Village.

the NW corner of Strachan Ave and East Liberty Street, construction site with fence and hoardings.

Sorry, we haven’t got to the Bentway yet.  If you are a Torontonian you should now have your bearings and know at least approximately where you are.  Not far to go now.  It’s a beautiful day and we’re walking slow!

The Ordnance Street development is on a triangle of land with one side as Strachan Avenue and the other two sides as railway lines.

below: You’ll have to take my word for it that the construction on Ordnance Street is just behind the bushes on the left.   These are the tracks that run to the west and the bridge over the tracks is at Bathurst Street.  By this time, the two sets of tracks have come together as they approach Union Station.

railway tracks and CN Tower

below: One of the first views of the Bentway.  More construction.  I was standing on Strachan when I took this picture.  This is the beginnings of a new entrance to the Bentway – a large staircase down the hill from the street.  The steps are wide to allow for multiple uses – a place to gather, a place for entertainment.

construction under the elevated Gardiner Expressway, making a large set of stairs down from Strachan Ave to Grenadier Common near Fort York

below: This end of the Bentway parallels Garrison Common.  The Ordnance Street development can still be seen but there is also another structure being built on Garrison Common side of the railway tracks.

construction of an elevated ramp beside a park from a distance, with condo building going on behind it

below: A closer look.  It appears to be a ramp to a pedestrian/cycle bridge that will cross the tracks and join Ordnance Street to the Bentway, Fort York, and the streets/paths to the south.  I also really like the billboards – one with graffiti and the other is empty.

billboard beside construction of an elevated ramp beside a park

below: The new rusty entrance to the Fort York Visitors Centerentrance to Fort York visitors centre, rusted metal panels on exterior walls and as covering over doorway

 

below: Just beyond the visitor’s center, the Bentway is closer to completion. There was a skating rink here this past winter.

concrete path winds under the bents and pillars of the Gardiner Expressway

below: Also here is an installation by Dana Claxton called ‘Forest of Canoes’.  Colourful images of canoes on the concrete pillars.  Light-wise, they are probably best seen in the morning but that’s not when I was there.

at the Bentway, Dana Claxton's 'Forest of Canoes' art installation of pictures of canoes on the concrete supports of the Gardiner Expressway - grey canoe on black background

The Bentway follows the shoreline of Lake Ontario that existed before landfill was used to create a space for the railway lines.  Canoes were once an essential means of transport.  Now their images sit on concrete pillars that hold up the Gardiner Expressway where thousands of cars pass by every day.

at the Bentway, Dana Claxton's 'Forest of Canoes' art installation of pictures of canoes on the concrete supports of the Gardiner Expressway - blue canoe

at the Bentway, Dana Claxton's 'Forest of Canoes' art installation of pictures of canoes on the concrete supports of the Gardiner Expressway - cedar strip canoe

below: In the bottom left corner of this picture is what looks like a bluish blob.  My apologies to the artist for calling it a blob but I’ll blame it on the lack of light and therefore, the lack of detail, in the photo.  This is another art piece.  It is ‘Future Snowmachine in Kinngait (Colossus)’ by Janice Qimirpik, Moe Kelly, Embassy of Imagination, and PA System.  Embassy of Imagination is a collaboration between PA System (Patrick Thompson and Alexa Hatanaka) and youth in the Cape Dorset community of Kinngait.  This sculpture started with small playdough models of snowmobiles made by Qimirpik and Kelly.  They were then scaled into a larger than life sculpture.

at the Bentway, Dana Claxton's 'Forest of Canoes' art installation of pictures of canoes on the concrete supports of the Gardiner Expressway

The next part of the Bentway is under construction and there is still no pedestrian crossing across Fort York Blvd and is passes diagonally under the Gardiner.   There is (was?) one in the plan.

below: This sculpture is on the corner of Fort York Blvd and Grand Magazine Street.  It is ‘Fountaingrove’ by Carlo Cesta and Nestor Kruger, 2014.  It sits above the Garrison Creek Culvert that carries the now buried creek to the lake.  Like the name states, it represents water in fountains.   Of course there is a white crane hiding behind it.

part of a metal twisty sculpture, condos behind, blue sky, sun spot

below: Just west of Bathurst Street

blue surface, window relief sculpture in it, other side is artifical rock, under the Gardiner Expressway, lock stone ground,

below: Getting cosy.  Condos rise up right beside the Gardiner Expressway.  If you’ve driven across the Gardiner, you’ll know just how close some of the buildings are to the traffic.   How useful is a balcony if it’s metres away from a highway and from all those cars and trucks?  They keep being built and people keep buying them.

below: I couldn’t resist all the yellow and orange bits and pieces!

yellow circular bike rack, bikes, condos,

below: On the east side of Bathurst is the construction of a new Loblaws.  It never ends does it?

construction site that is partially covered by the Gardiner Expressway

This blog may have been a bit heavier on construction photos than you were expecting, especially since the title was about canoes. There was just so much work going on in that area that it was hard to avoid.  The next time that I walk this area it will probably be totally different… unfortunately new buildings are a lot duller to look at than construction sites so there may not be many photos!

on grey construction hoardings, a sign tat says post no bills. Someone has added 4 stencils of different Bills, Bill Murray, Bill Clinton.

Dana Claxton canoe image at Bentway, Forest of Canoes, multicoloured, bright colours,

This little walk starts with the artwork of Marleen Sleeuwits and her ‘Not the Actual Site’ exhibit at Brookfield Place (Allan Lambert Galleria).

A short walk from Brookfield Place westward along King street towards Metro Hall….

where pictures from John Edmonds ‘Hoods’ series are on display (as are the people who walk past!).

Across the street from ‘Hoods’ is Caroline Monnet’s, ‘History shall speak for itself’.  These photos are the south and west wall of TIFF.

caroline Monnet's large mural on the side of TIFF building, King street, people walking past, bikes parked in front of the art.

Just a bit farther west (at Spadina) you can find a large purple hued image by Felicity Hammond on the north wall of 460 King St. West.

A few more smaller works by Felicity Hammond are in the Contact Gallery at 80 Spadina – the building immediately north of the parking lot where you can find the image above.    The gallery glowed in pink and purple light.

below: Object shapes are cut outs from a thin sheet of acrylic on which photos were printed.  These shapes are held up by clay blobs.

And that’s our tour for today!

Dots, dots, dots.  Millions of dots? Dots and lights worth waiting for.

‘Infinity Mirrors’, Yayoi Kusama, AGO

on a mannequin, a white t-shirt and a polka dot scarf. The t-shirt has writing that says, My life is a dot lost among thousands of other dots, Kusama

Kusama’s polka-dot paintings were based on visual hallucinations she has experienced throughout her life, often based on “a miserable childhood as an unwanted child born of unloving parents.”  These hallucinations often involve repeating patterns that engulf her field of vision, a process she refers to as “obliteration”.  Painting has  helped to keep her demons at bay, to obliterate her anxieties.

In 1968 she returned to Japan.  In 1977 she checked herself into the Tokyo mental hospital where she has lived ever since.  She has a studio where she works during the day but she returns to the hospital at night.

below: In an effort to keep the waiting times down, the AGO is letting three people at a time into the rooms.   I’m not sure who the man is, but he seemed to put up with Joanne and I and our cameras!  This was the first room in the exhibit and it was a bit of a let down – it was the only one that wasn’t impressive.  Minor gripe – why not a mirror on the ceiling?

phallie fields, white with red dots, mirrored room, mirrored walls, people,

below: 30 seconds per visit.  All timed – note the stopwatch!

a woman is entering Kusama's room with many lights and mirrors

below: Stars and planets into infinite.  Small specks in the vastness of the universe.  Obliteration of the self as we become just a very tiny, minuscule dot in the infinite of space.  This exhibit is “The Souls of Millions of Light Years Away” and is made with hundreds of hanging LED lights.

dark room with lights that look like planets and stars, mirrors on walls and ceiling.

below: The words on the wall say, “The souls of millions of light years away”. This is the line-up for the room above. It was one of the shorter lines.

people lining up inside an art gallery

Kusama was born in Japan in 1929 and trained originally in traditional Japanese painting. One of the only American painters that she knew of was Georgia O’Keefe, having seen her work in an art book. She wrote to Georgia O’Keefe asking for advice on how to break into the New York art world. In 1958 she moved to New York City where she became part of the avant-garde art scene. She was into pop art and hippie counterculture. She organized a series of anti-war public performances featuring naked people who were painted with brightly colored polka dots.

 

below: This room was fun especially since I got to spend a few seconds alone in it.  Dancing with pink balls.

in a room with mirrored walls and ceiling, many large pink balls with black polka dots on them.

below: Looking into “Love Forever” – a small hexagonal box with some mirrors on the outside and two small windows (peepholes!) as seen from the outside.  This structure/exhibit was first shown in 1966.

a woman is looking through a small window into a box with mirrors and lights.

below: Looking in the window…. It’s amazing what can be done with mirrors and lights in a small space.  Mirrors combined with the technology of LED lights that can change colours with computer controlled programs made for an impressive display.  An endless repetition of patterns.

lights, mirrors in a room with a window. Looking in through the window.

below: Same room, different colours

teal blue lights and mirrors, reflections, kusama infinite mirrors

below: Obliteration Room – multicoloured stickers that people have added to an all white room with all white furniture and accessories like wine glasses and dog dishes.  As more people pass through, the more colourful the room becomes.  The dots make it difficult to see the details in the room.  Can you tell what is on the table?

 

a room all white, including white furniture is covered with dots in many colours, stickers that different people have added to the room. Part of exhibit at AGO of work by Yayoi Kusama

Kusama also paints and makes sculptures.

a wall of bright lively paintings by Yayoi Kusama on the wall of the Art Gallery of Ontario. Some women are standing nearby, looking at the paintings.

dot covered sculpture in front of a dot covered painting

the windows on the staircase that runs behind the Art Gallery of Ontario back wall, from 5th to 4th floor, are covered with big red dots in honour of the exhibit by Yayui Kusama

Thanks to Joanne of My Live Lived Full for playing with me!

A return to St. Helens Avenue and the galleries there.

A few galleries devoted to contemporary art can be found on St. Helens Ave.  I know that I have mentioned some of their past exhibits in previous blog posts.  Exhibits change and so back we go.   The three exhibits that I saw today have little in common with each other.  Three artists with different views; three men trying to turn their thoughts and ideas into something visual.  The first gallery that I visited today is the Clint Roenisch Gallery where the exhibit is “Hot Takes, No Sax”, by Torontonian Niall McClelland.   It will be there until 21st April.

From Wiktionary: “Noun[edit]. hot take (plural hot takes). A bold, broad, and subjective moral generalization on a situation, with little or no original analysis or insight, especially by a journalist.”   Something written quickly and without much thought put into it.   Although some people associate it with journalism, you could also apply it to a lot of things online – think about the comments section after a news article, or something on your facebook or twitter feed.   Sometimes I think that that expression applies well to contemporary art – thrown together to provoke but not much actually went into it.

below: Running diagonally across the room is a line of trunks and metal cases that are covered with bumper stickers.  On the wall are 4 images, each with a black and white background.  The frames are covered with more bumper stickers.  This is only part of the exhibit.

room in an art gallery, a line of trunks runs diagonally across the room, they are covered with bumper stickers.

below: These are the three images on the wall in the photo above.  The frame on one side of the image on the left has the names of four American politicians from the not so recent past – Nixon, Goldwater, McGovern, and Carter.  Some of the images may be familiar to you as well.

three pictures on a gallery wall, in black and white checkerboard backgrounds, blue images on that. Artist is Niall McClelland

below: More of the stickers.  Is there a theme to them?  How do these relate to hot takes?   Which side is the artist on?  “Urban farmer”, “When you sit down for dinner, thank a farmer”, “Impeach Trump”, “Give a hoot”, “The times they are a changin”, “Be green”, “Bio fuels: no war required”, “Who’s your farmer?”, “I’d rather be gardening”, “Nasty woman”, “Break the chains, shop at independent stores”,  “Saving seed is a basic human need”, “Localvore”,  “Whatever happens to the water, happens to the people”, “What is the proper way to fold an anarchist flag?”

sticker covered metal cases on the floor of an art gallery with a picture on the wall behind, the work of Niall McClelland at the Clint Roenisch gallery

Next is Douglas Coupland’s “Tsunami” at Daniel Faria Gallery, until 28th April.  Trashy in a certain way.  Coupland has collected, cleaned and painted various plastic containers and other disposable items he found along the shore in British Columbia.  A number of the items probably crossed the Pacific Ocean after the earthquake and tsunami in Japan in 2011. Trash on display?  We’ve all heard the expression “reduce, reuse, recycle” which may be facetious here?  Is it too pretty to be a statement about the environmental impact of plastics?

plastic containers and other items found washed up on the shore of British Columbia, cleaned up and painted and put in sealed clear plastic boxes, art gallery exhibit, artis is Douglas Coupland

below: The large gold piece is a collection of more debris that Coupland has amassed and painted.  Another one,  all in black, is on a different wall (not shown here).

plastic containers and other items found washed up on the shore of British Columbia, cleaned up and painted and put in sealed clear plastic boxes, art gallery exhibit, artis is Douglas Coupland, with large structure behind made of gold painted containers and other items

This spring, Coupland will transform the Vancouver Aquarium into a vision of the Great Pacific Garbage Patch by filling aquarium tanks with some of the trash that Coupland has collected – by some I mean 20 tons of it.  Twenty tons of found rubbish.  Twenty tons of plastic and other debris.   Jet streams will simulate ocean currents and the garbage will “float, bounce, disperse and gather along the tank, fragments flowing into one another like an overwhelming and exhausted assemblage”.

below: Tucked away in the back room of the gallery are four paintings like this, also by Douglas Coupland.

part of a Douglas Coupland painting, with a black and white picture of a man's face in the center of swirls of colours. Apainting by Douglas Coupland

 

Part three is the exhibit “Raw War” by Bruce Eves that is on at the Robert Kananaj Gallery until 21st April. Eves was just given one of the 2018 Governor General’s Awards in Visual and Media Arts.

“taps into a zeitgeist fraught with peril”

below: Part of Work #901 by Bruce Eves.  There are seven panels in total.  Every hour for a week in February 2014 he took his heart rate.  The numbers in the squares are his heart rate.  It’s difficult to see in this picture, but each square also has the date and time.  In addition, each panel is a day.   Something happened on Friday February 14th at 16:00 to elevate his heart rate to 123 beats/minute!

Part of a set of 7 paintings by Bruce Eves on a gallery wall, each painting is squares with numbers in them. The numbers are Eves' heart rate taken every hour for a week.

Eves has also painted a sequence of numbers that are actually nine blood pressure readings.  It was after he learned that he had a heart condition that Eves started using his health (and the monitoring thereof) as subject matter.   A self-portrait based on data about oneself, so to speak.  How his doctor sees him.

A few things to think about?

(P.S. My apologies for the title)

 

Lots of shiny silver balls, like bowling balls with bling, and lots of paint on large canvases…. on the surface these two things don’t really have anything in common.  But because they are two things that I saw at the Art Gallery of Ontario, I’m going to throw them together in this blog post.  The shiny spheres are part of a display by Yayoi Kusama  while the paintings I refer to are those by J.P. Riopelle and Joan Mitchell.

I saw the balls first.   There has been a lot of hype and publicity for the latest AGO exhibit, “Infinity Mirrors” by Yayoi Kusama that just opened this past weekend.  You’ve probably seen the all the red and white polka dots on the TTC and elsewhere around the city.   Last week when I was at the AGO I noticed that another Kusama exhibit was in the works, one that didn’t involve buying a “hard to get” ticket.  I was curious.  I’ve seen some photos of “Infinity Mirrors” so I went with great expectations.   Maybe that was my mistake.

below: “Narcissus Garden” consists of a large room with hundreds of shiny silver spheres laid out on the floor.

a large room, with 3 women looking at hundred of silver balls arranged on the floor. The balls are about the size of bowling balls

“Narcissus Garden” dates back to 1966 when it was a performance piece by Kusama at the Venice Bienalle.  She walked among the balls, picking them up, and looking at herself in them.   Here, at the AGO, they lie on the floor.   The ceiling is reflected over and over again.   It’s a dull ceiling.   The balls are scuffed up.   You might be able to lie on the floor to get a good look at the reflections bouncing around and that might be interesting.  As it is, “listless” is the word that I would use to describe it.  It’s the tag along mangy mutt to the main event.

reflections of a person in a few shiny silver balls

I spent a few minutes trying to figure out how to improve the presentation but, meh, no.  Instead I went upstairs to take a second look at the lesser known “new” exhibit at the AGO, the marvellous Mitchell and Riopelle show, “Nothing in Moderation”.  American abstract painter Joan Mitchell (1925 -1992) and Canadian abstract painter Jean Paul Riopelle (1923-2002) met in Paris in 1955.  For 24 years they were colleagues, friends, and lovers.  This exhibit consists of more than 50 of their works on loan from collectors around the world and shown together.

below: Looking at (part of) ” Tilleul (the Linden Tree)”, 1992 by Mitchell.

A woman in dark bright pink hair, with matching purse and shoes stands in front of a large painting by Joan Mitchell in an art gallery

below: Three degrees of interest in “Chasse Interdit (Hunting Prohibited)” by Mitchell, 1973.  On loan from the George Pompidou Centre in Paris.   The title of the painting refers to a ban on hunting – apparently Riopelle loved hunting and Mitchell loathed it.

Three people are looking at a large Riopelle painting in an art gallery, two are sitting on a couch and the third is standing closer to the painting.

below: The painting here is “Avatac” by Riopelle, 1971.  It is acrylic paint on top of lithographs on canvas

an emptry art gallery room except for a security guard standing on one side, a brown couch is in the middle of the room and a large abstract painting by Riopelle is one one wall, you can see into the next room where there is also a painting on a wall.

below: This is a photo of a small part of the above painting.  If you look closely, you can see the lithograph peeping through.   I can see a small animal head near the top left (a cat?) and there seems to be another lower down.

acrylic paint on top of lithograph, a detail of a large work by J P Riopelle called Avatac, created in 1971.  abstract art.

below: One thing that intrigued me about Riopelle’s painting was that even though there is a lot of paint (palette knife?), there are still some places where the canvas is visible.  Just small bits.

a close up of a large abstract painting with lots of acrylic paint on it

below: The details in the above photo are from the top left square in ” Mitchikanabikong ” by Riopelle.

large painting by Riopelle called Mitchikanabikong which is sort of divided into 6 quares, 3 across the top row and 3 on the bottom.  they alternate light and dark

below: The gallery was quiet on Wednesday morning.   Both of these paintings are by Joan Mitchell.   On the left, on loan from the Smithsonian American Art Museum in Washington DC is “Marlin”, 1960.  The other is “Untitled” from 1961 and it is on loan from the Joan Mitchell Foundation in New York.

a flat bench in front of two paintings on a gallery wall

And to end, a couple more for you to enjoy.

two women looking at large paintings in an art gallery

a woman with her back to the camera is looking at a large painting in an art gallery, AGO, Art gallery of Ontario,