Getting ready for Myths and Confetti that opens on Dec 2 at the Rotunda Gallery in Kitchener Waterloo.
Getting ready for Myths and Confetti that opens on Dec 2 at the Rotunda Gallery in Kitchener Waterloo.
This is the 5th year for The Gladstone Hotel’s annual Grow Op exhibition, and 2017’s selection makes the strong argument: this is one of the must see shows of the season. Curators Christine Leu and Alan Webb with Lukus Toane have put together a rich ensemble of works that address the idea of landscape, habitat and environment.
Stark Olga Klosowski
The show is a delight from beginning to end. It explores the music of weather, the power of an avocado pit, hidden histories, sandbox topographies, walking on eggshells, mini ecosystems, cloud-gazing, starfruit patterns and the secret world of snails among other things. It ‘s on from the 19-23. If you missed this year’s show be sure to pencil it in for next; Toronto’s art landscape is all the richer for it.
Who knew these three paintings were originally meant to be a triptych? I certainly didn’t; but now that they’ve been arranged together for the first time (for the exhibition Mystic Landscapes at the Art Gallery of Ontario) since Paul Gauguin painted them , it sure makes sense. The primary colour scheme alone should have been my first clue. The otherworldly theme of the story of Christ’s life as envisioned in French Brittany runs through all three as well as the artist himself appears in all three with him taking the starring role of Christ in 2 out of three. I always found this to be very revealing about Gauguin, it takes some kind of hubris to paint yourself as a martyr. Maybe this is the reason they never made it to a church to serve as inspiration for the pious. Piety was kind of on the back-burner of Paul Gauguin’s life but I guess he did like to dip his toe in the mystic. He was definitely a seeker.
My hat’s off to the curators for pulling off this feat (along with another, I’ll get to in a minute). I was most excited to see Vision After the Sermon when it was announced it was coming to Toronto, but had no idea the other two were along for the ride. Now that I’ve seen them as a triptych it’s hard to see them any other way. This is exactly what good curation should do, shed new light on the familiar and re-contextualize art into new and exciting combinations and narratives. Having said that: my biggest criticism with the AGO is some of their exhibition themes can get really stretched and unnecessary. Please let the art speak for itself and don’t put words in its mouth.
The art not only speaks for itself in Mystic Landscapes but sings. Besides Gauguin you get heavy-hitters like Munch, Whistler and O’Keeffe and lesser known artists like Jansson and Dulac. There is a wonderful room devoted to the work of Claude Monet with fine representations of the various series he embraced over the years. His Waterlilies, Cathedrals, Poplars and Haystacks are all present. Van Gogh’s Starry Night Over the Rhone is given a place of prominence near the end of the show. A personal highlight for me was this Egon Schiele,
but the biggest surprise of the show is the inclusion of our own nation’s artists. When it comes to landscapes, mystic or otherwise you have to admit Canada can hold its own. Lawren Harris, Emily Carr and Tom Thomson get to share the walls with Monet and O’Keeffe and rightly so. The curators have positioned our artists at the table with some of Art history’s biggest names and this is an exciting and revelatory prospect. It is one thing to propose this in our own backyard but another to shout to the hills, which will happen when this show ends its run in Toronto and moves to the Cathedral of Impressionism itself The Musée d’Orsay in Paris.
Make your way to the Art Gallery of Ontario to see Mystic Landscapes. Come for the Van Gogh, stay for the Gauguin and revel in our National treasures before the secret gets out and standing in line becomes a way of life.
Walking through the Chihuly exhibit at the Royal Ontario Museum I was filled with mixed emotions. I wanted to be filled with awe and wonder, I wanted to get lost in the world of an internationally known glass artist who has shown at the Met, around the globe and now the ROM, but in the end I was completely underwhelmed. I concede this is an extremely unpopular opinion and that the majority of people who encounter this exhibition will leave transported, I’m just not one of them. This is on me. The last thing I want to do is dissuade anyone from going to see it, in fact I do the opposite – please go and see for your yourself. I compel you to go and describe what you witness. I think the best way to approach this experience is trying to find the right words to describe it. This is a challenge for all the writers out there, whether you love it or you hate it please put it into words. I’ll start (extreme snark version).
Chihuly’s work is unabashedly decorative, it’s aesthetic hyperbole run amuck. It’s the gift shop in a casino. It’s Christmas ornaments on steroids. Not that olde (old with an e) timey Bavarian market Christmas, but the hell bent for tinsel aluminium tree 70’s Christmas minus your fun drunk uncle in a turtleneck. It reminded me of over-sized versions of potpourri you’d likely find in Donald Trump’s guest bathroom. Ok, ok I went too far.
Dale Chihuly is batting for the fences and you have to applaud him for that. He is trying to create a unique vision with no other intent but to dazzle the eye. He succeeds time and time again but the end result for me becomes too bombastic. The more time I spent with the work the less engaged I became, most people I’m sure will have the opposite effect.
My favourite part of the exhibit was near the end, with the inclusion of some patterned indigenous blankets from the artist’s personal collection.I would go see an entire exhibit of those in a heartbeat. In the end I’m glad I saw it, and I apologize for the snark. If an artist’s biggest crime is trying to create something uniquely beautiful than what exactly am I complaining about again? Go see Chihuly at the ROM and see for yourself.
Chihuly June 25 – Jan 2
I was unfamiliar with the work of Hurvin Anderson before I made my way up to the 5th floor of the AGO’s contemporary section. I was immediately struck by the similarities to a painter I greatly admire: Peter Doig. It then came as no surprise that Anderson was actually a student of Doig’s back in his native country of England during the 90’s.
Backdrop which was first shown at the Contemporary Art Museum St. Louis consists of a collection of drawings, sculptures and photographs but it was the paintings I was most excited about. Anderson’s approach combines loose flourishes with flat passages that evoke both energy and control. His subject matter ranges from the Jamaican/Trinidad countryside to residential attic barbershops to the filtering of experience through barriers, fences and pattern.
Anderson’s paintings allude to the vulnerability of the sitter in a barber chair. There is an unspoken conception of trust and renewal. His barbershop patrons floating on flat backgrounds reminded me of another British painter: Francis Bacon.
Painting is alive and well at the Art Gallery of Ontario and Hurvin Anderson makes the case loud and clear.
May 19 – August 21
Growing up with an Italian Grandmother; the idea of portion control is a completely foreign concept to me. So when the tastefully arranged modest fillet of perch on a bed of zucchini was placed in front of me I had to remind myself I wasn’t in my Nan’s kitchen anymore. We were in fact dining @ Frank: the fine dining experience located at The Art Gallery of Ontario as part of Summerlicious. But the main reason we were at the AGO, was to see The Idea of North: the Paintings of Lawren Harris .
The work of the Group of Seven and Lawren Harris is as ingrained into the Canadian fabric as road hockey or the first snow fall. It’s part of who we are, and the idea that no one outside of our little hamlet (9.985 million km2 – little) has any clue to their power and brilliance seems unfathomable. But what is so familiar to us is all shock of the new to our neighbours to the south and destinations further abroad. This is a very appealing prospect: what’s old is new again and what’s oversight is getting its due. This is at the core of this exhibition and one of the main motivators for its curator Steve Martin to get involved. He believed our national artist should be recognized internationally.
Martin is no stranger to the art world; he has been an avid collector for decades and has amassed an impressive personal collection. It was this collection that was the impetus for this exhibition. The story goes- the curator for the Hammer Museum in Los Angeles ‘discovered’ a small landscape at one of Martin’s dinner parties. She inquired who the artist was and when he proclaimed Lawren Harris, she replied “who”? A few trips to Canada later and she was hooked and the only one she wanted to helm a Harris exhibition was ‘one wild and crazy guy’. His initial response was he would have to be crazy to take on something like this, but the need to give Lawren his due quickly erased any fears.
The Idea of North is a two part exhibition that focuses on two aspects of Harris’s career: his early Ward paintings of Toronto’s immigrant housing projects from the early 20th century and his momentous northern landscapes from the twenties and thirties. (There is also a small abstract near the end that ties Harris’ work to the city of Toronto but I’m going to focus on the other two aspects.) The Ward paintings do a nice job of highlighting Harris’ mastery of paint and colour but fall short of illustrating the pathos in which I believe they were intended. The effects feel too much like an observer looking in rather than an authentic documentation of immigrant life, but as far as images go they illustrate Harris’ life long pursuit of tapping into the unseen forces of the sublime that are at work behind the paintings. It is this aspect that makes his northern landscapes so powerful. He has focused the landscape to amplify its impact and presence.
Whether you are long time admirer or first time observer The Idea of the North does a wonderful job of showcasing one of our national treasures. There are old friends to revisit and new surprises to discover. I did have to keep reminding myself that this not a retrospective (I love his mountains but his tree paintings are my favourites- saved for another time I guess) but rather a focused introduction, and just like my little perch – less is definitely more.
The Idea of North: The Paintings of Lawren Harris
July 1- September 18
Simple juxtaposition of two icons of Toronto’s cultural landscape.
Toronto never ceases to amaze. You’d be forgiven if the last place on earth you’d think to find this entirely hand carved Hindu temple was on the side of a highway in the 6. But there it is; shining like a polished gem on a cloudless March afternoon.
BAPS Shri Swaminarayan Mandir is a marvel to behold. Made up of over 24 000 individual stone pieces with the heaviest weighing in at 5.6 tonnes. The temple was hand carved by 1800 artisans in 26 separate locations in India over a two year period. Starting in 2005 the pieces were shipped to Canada and then became the craziest jigsaw puzzle you’d ever want to attempt. 400 volunteers over 18 months rose to the challenge and in little over 2 years from conception to completion BAPS Shri Swaminarayan Mandir came into being .
The thing that immediately strikes you is the Herculean feat of it all. The level of intricacy and attention to detail is intimidating. The fact that not a single nail was used in its construction only adds to its mystique.
They don’t allow photography inside the temple but you can see some images here. The experience is a little overwhelming to say the least. It is open to the public, but remember it is a working temple so no shoes, no cels, no talking. Don’t worry on that last point; it’ll leave you speechless.