View on Canadian Art

Piotr Uklanski, Jeppe Hein and Jim Lambie are among the artists who will create art works for the public to interact with, at a new IKEA store in Moscow.

Jim Lambie’s floor at MoMA. Image: apartmenttherapy.com

The art is part of a mixed-use plan for IKEA, where new developments will “fuse culture, commerce and leisure.” Plans for the site includes shops, restaurants, an ice-rink, as well as an Ikea flat-pack furniture store.

Could this idea be the start of something big for the Swedish retailer?  And if so, what impact, if any will it have on the art market?

Jeppe Hein’s Moving Neon Cube. Image: euroassistance.com

Read the full article from the Art Newspaper, HERE

About 4 years ago, we predicted the importance of mirrors in art.

Michelangelo Pistoletto breaks mirrors during a performance for the creation of his “Twentytwo less two” installation at the 2009 Venice Biennale. Image: inapache.boston.com

And then we started to see it, slowly seeping in: David Altmejd’s mirror-covered pavilion at the 2007 Venice Biennale, Michelangelo Pistoletto, resurrected in Venice in 2009, Gwenaël Bélanger’s excellent shattering mirror video work at the Quebec Triennale, Michel de Broin’s stunning mirror-covered rock set deep in the forest…and this year, finally, we hear that the Armory featured many works with mirror.

Gwenaël Bélanger, Faux Movement 2008 Detail. Image: canadianart.ca

It makes sense – using mirror in work pulls the viewer into the piece like a magnet. It makes the art about the viewer and, importantly, extends the space between viewer and artwork. Of course, artists have long used mirror -  Michael Snow’s famous piece Authorization from 1969 is one of VoCA’s favorites.

Michael Snow, Authorization, 1969. Image: search.it.online.fr

Lately, we’ve been interested in Yves Klein’s famously patented hue, International Klein Blue.

Yves Klein, Blue Venus, 1961-1962. Image: cyrano.blog.lemonde.fr

That brilliant mid-blue is starting to be seen more and more, from high street fashion (last season’s H&M) to Graham Gillmore’s new paintings at Clark & Faria gallery. Toronto dealer Clint Roenisch has used it on his temporary website, we’ve used it on VoCA’s Twitter page (@carzoo) and it suddenly looks right against red brick in Lawrence subway station or as trim on red brick houses throughout Toronto’s Annex neighbourhood. In 2008, Chanel even made a handbag inspired by it.

A painting by Graham Gillmore from the current show at Clark & Faria. Image: VoCA

Click HERE for an article on Yves Klein’s “painting that scandalised Paris”, coming up for sale in May. The Independent calls works from this series “some of the most sought-after contemporary artworks of the age.”

International Klein Blue is more than a colour - it’s almost the essence of colour that you can sink deeply into. For Yves Klein, it was the “pursuit of the undefinable in painting..” That should certainly resonate in art today.

In Vancouver, the VAG is negotiating with the city to obtain an entire block for their new, larger downtown building. The province has already contributed $50 million.

The VAG. Image: discovervancouver.com

The VAG board has voted unanimously to move the gallery to a prominent downtown location near the current one, rather than the one near the Plaza of Nations that the provincial government had offered them. They want to build “something magnificent for the community which will do the job for the next 50 years”, says Michael Audain, the chairman of the relocation committee of the VAG’s board of trustees.

The excellent WACK! Art and the Feminist Revolution exhibtion at the VAG

Read the full article HERE

BUT…those plans have hit a roadblock as the city has planned to offset the cost of the site with an office tower.

Reece Terris, Ought Apartment, 2009 at the VAG. Image: kostuikgallery.com

The city “cautioned that in the current economic climate, the VAG may have to have a good, hard look at its ambitious plans for a gallery that is double its current size and estimated to cost $400-million.” (For context, the AGO’s Gehry renovation cost $276 million.)

Read the full article on this, HERE.

Will the city acquiesce? Or will the VAG have to find an alternate solution?

Stay tuned…

In Edmonton, a writer’s despair over provincial arts cuts is both convincing and less so on Government arts support.

“Alberta artists have taken the latest news of a 15-per-cent cut (to the arts) in their stride”, says Marliss Weber in SEE magazine.

Andrew Rucklidge, Sleeper, 2009. Image: courtesy the artist.

She continues, “Art allows us to express ourselves, which is an innate human desire. Without access to art, without the ability to write and draw and act and make music, or consume all of the above, we seriously limit the effectiveness of our communication abilities. We also limit our ability to persuade, to entertain, to connect with each other.”

Can’t argue with that.  She makes some good points in her article, and yet, while cities need the arts in order to thrive, her insinuation that the arts will cease without government support is troubling.

Read the full article HERE.

There will always be art, with or without government support and there should be absolutely no doubt about that.

A painting by Toronto artist Douglas Walker. Image: tulippress.ca

It’s dangerous to equate government support with the existence of the arts. Government support is important to many arts organizations and artists to get their work made, but there seems to be an idea in Canada that the government owes support to artists.

Does that help or hinder excellence in art?

It’s true that artists benefit greatly from government support, especially as the market is so weak in this country compared to the U.S.

But take a classical pianist, who succeeds with talent, along with drive and determination. So it is with art. If you’re not talented, you’d be wise to consider whether to make a career out of art. There’s nothing wrong with being an artist with a JOB. Ernst Beyeler, the legendary Swiss art dealer, referred to himself as a ‘Sunday painter.’ I think too many artists rely on government support. It’s a very generous situation that Canadian artists have, and it’s in many ways a wonderful thing, but it breeds mediocrity and complacency among the visual arts.

How’s that for a controversial statement? It’s harsh, but I believe it’s true.

Ben Reeves, Dog Walker, 2009. Image: johnbentleymays.com

Does government support mean better art?  Not necessarily.

Artists should pursue art for art, not for ego or adulation. To be creative is a wonderful, and necessary. But to be famous or successful to your peers is a different thing altogether.

For a while now, VoCA hasn’t been trotting off to art fairs the way we used to. This year, the New York Amory almost went unnoticed to us. But then we noticed that some people, curators, dealers…are choosing to remain home this year, too.

New York’s Armory Show. Image: thearmoryshow.com

Is it the end of the art fair?

A new non-fair, called the Independent, is on from March 4 - 7 at the Dia building in New York, and is billed as a “hybrid model and temporary exhibition forum.” It is the subject of THIS fascinating article in the Observer.

The article states that “New York is going through a moment right now—that the glitzy, frivolous culture of the boom years is giving way to a new era of intellectual engagement and open-minded community among art lovers.”

Johan Lundh’s evening of critical discussion at Fillip’s offices. Image: firtheaglandlundh.net

That same “new seriousness” can be found, here and there, in Canada, though our market wasn’t as deflated as that of the U.S. in the recent economic downturn. Nonetheless, upstart journals such as the excellent Fillip Review from Vancouver and Toronto’s publication Hunter and Cook, run by artists Tony Romano and Jay Isaac, show us that the art world wants to talk. Also, galleries around town are working discussion into their programming. The Toronto Free Gallery is a not-for-profit space that has long been doing this with events that express their mandate to provide a forum for social, cultural, urban and environmental issues.

The Toronto Free Gallery’s executive director, Heather Haynes. Image: photojunkie.ca

New festivals, like the Flash Forward photography festival (coming next fall to Liberty Village in Toronto) aim to blend exhibition opportunities with lectures, workshops and public art - in short, to provide a place for artists and the public to learn, and engage with art in a new, real, hands-on way.

This is also echoed by the Young Patrons groups sprouting up in this city. At various price levels and interest points, they range from the AGO’s NEXT, to the ROM’s Young Patrons Circle to the Canadian Art Foundation’s New Contemporaries (which - disclaimer - I help organize), all of which aim to generate interest, engagement, education and discussion about arts and culture.

Finally, the recent interest in art criticism that is blossoming in Toronto, particularly, in both serious and less serious ways, (and that took off with THIS VoCA post) is heartening.

VoCA loves our GG.  She understands the value of arts and culture.  Last week in Montreal, Governor General Michaëlle Jean gave this statement: “Culture must be able to express itself everywhere and always, and be accessible to as many people as possible, for it bears within it our choices, our hopes, our memory and our imagination.”

I See What You Mean, the Big Blue Bear at the Colorado Convention Center. Image: denvergov.org

On the evening of March 1, culture-minded Torontonians gathered at a Town Hall meeting to protest the City Council’s rejection of BeautifulCity.com’s initiative to have taxes from advertising billboards going toward arts and culture.

Check out past blog posts on that topic HERE and HERE.

It might not seem like a big deal, but it points to the fact that the arts community must keep fighting for recognition of the importance of art in Toronto. It’s the most obvious difference between Toronto and cities like Chicago and Montreal.

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Tomorrow, Sunday, February 28, in Toronto, the Canadian Art Reel Artists Film Festival will host the first tribute to the legendary Swiss art dealer and founder of Art Basel, Ernst Beyeler, who died Thursday at his home, aged 88.

Ernst Beyeler in his gallery office, 22 May 1982. Image: beyeler.com

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Well.  Last night I did a “Face the Critic” at the Drake, with Leah Sandals and Richard Vaughn and it was…interesting, to say the least. I didn’t feel able to properly articulate my views - there were some big personalities in the room. But I learned a lot, and it’s always good to have your foundations shaken a little.

Brendan Flanagan, Reflective Pool. Image: brendanflanagan.ca.

The idea was that each critic would bring two works – one we ‘love’ and one we ‘loathe.’

Richard began by pointing out that he doesn’t subscribe to the idea of ‘loving’ or ‘loathing’, which is fair enough. Then he went on to talk at length, and very interestingly, about how much he loved an Allyson Mitchell work – one of her large, fun-fur covered Sasquatch sculptures.

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Join us TONIGHT for a FREE evening of art criticism as Leah Sandals, RM Vaughn and myself debate works by Judy Chicago, Kent Monkman and Vanessa Beecroft, among others.

Loved vs. Loathed.

A Louis Vuitton-inspired work by Vanessa Beecroft. Art?…..or hype? Image: femka.com

Are you ready?

More HERE.

In the midst of promoting the Canadian Art Reel Artists Film Festival, which opens this Wednesday night, Feb 24th with a big gala screening and then to the public from Friday Feb 26th to Sunday 28th in Toronto, there are three under-the-radar highlights that you should know about:

A wallhanging by El Anatsui at the Venice Biennale. Image: artradarasia.com

1. Fold, Crumple, Crush: The Art of El Anatsui is the world premiere of a film on the amazing African artist whose wondrous metal wallhangings took the Venice biennale by storm several years ago. He will also have the world premiere of a retrospective of his work at the ROM in Toronto coming up later this year.

Click HERE for more info on the film.

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