From this morning’s Ottawa Citizen, we learn that Shirley Thomson, the former director of the National Gallery of Canada, has died.

Jana Sterbak, Vanitas: Flesh Dress for an Albino Anorectic, 1987. Image: makefive.com

Thompson is known for her staunch defence of the gallery’s decision to purchase Barnett Newman’s Voice of Fire for $1.8 million in 1988. You can’t help but smile remembering the hou-ha that that caused, considering today’s $100 million plus prices that we see at auction. She also acquired the famous “meat dress” by Montreal artist Jana Sterbak.

From the article, which quotes her as saying “We know that some of the cutting-edge Canadian artists, by the very nature of their innovation, are not necessarily going to please a broad expanse of the public. However, we are morally and esthetically committed to these artists.”

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VoCA contributor and artist book collector Bill Clarke is back with a third installment from his collection, this time of books that take the form of exhibition catalogues. Check out parts one and two HERE and HERE, and part three, below.

“Recent Snow”: Michael Snow That/Cela/Dat, 2000. Image: canadianart.ca

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VoCA contributor and artist book collector Bill Clarke is back with a third installment from his collection, this time of books that take the form of exhibition catalogues. Check out parts one and two HERE and HERE, and stay tuned for part four, coming this week.

Moderna Museet exhibition catalogue, 1968. Image: courtesy Bill Clarke.

Bill Clarke edits Magenta Magazine Online, a great new publication which you can read HERE.

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Click HERE for a questionnaire with Vancouver artist Jeff Wall in this month’s issue of Frieze magazine.

“I get so much from looking at great works, but some days – or even some months – I get more from not looking at them. You experience the art also by being away from it and not seeing it.” - Jeff Wall

Jeff Wall, The Destroyed Room, 1978. Image: tate.org.uk

Also, HERE in Art + Auction, Souren Melikian writes on the shifting perceptions in the Old Masters market, where mediocre works are achieving great prices, thanks to scarcity of the real gems.

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Last week we posted HERE part one of our conversation with Douglas Coupland. In this post, Coupland talks about his collecting habits, coming from a “guns-and-ammo” family, his interest in nuclear culture and his new TV mini-series, among other things.

Douglas Coupland’s tiny cubes of 100 stamps. Image: VoCA

Coupland brings out a bowl filled with small cubes of 100 stamps, held together with a band of paper.

VoCA: Wow, did you make all these?

DC: Oh God, no. I collect stamps, I collect Japanese stamps.

VoCA: See, you do collect! You collect tons of things!

DC: Ok, the thing is, there’s a show on A&E called ‘Hoarders’, have you seen it?

VoCA: I’ve heard of it. It’s about people who obsessively collect things.

DC: No, no. I collect. These people don’t get rid of shit. (laughs) These are people who use a paper towel and don’t throw it out thinking it might be useful in the future. People who hoard have almost always had a huge, catastrophic loss in their life, a family member usually and it’s almost impossible to get rid of once you’ve got it. It becomes for them, ‘something you can’t take away from me,’ kind of thing.

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Last week at his beautiful, art-filled Ron Thom designed home in Vancouver, VoCA sat down with artist-slash-writer Douglas Coupland to get his views on everything from Warhol to techological obsolescence to City of Toronto love.

“All young artists secretly think they’re the next Warhol,” says the Generation X author.

Douglas Coupland. Image:anthonygeorge.com

Here are some highlights:

VoCA: Douglas Coupland, are you more artist than writer or vice versa?

DC: I don’t differentiate. I don’t see a real difference. Is cooking different from roasting?

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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.”

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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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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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You may remember, if you’re in Toronto, or Calgary, that the Canadian Art Foundation screened the excellent documentary, Herb and Dorothy, at last year’s Reel Artists Film Festival.

Megumi Sasaki’s touching documentary, Herb and Dorothy. Image: now-movies.com

The film tells the extraordinary story of Herbert Vogel, a postal clerk, and Dorothy Vogel, a librarian, who managed to build one of the most important contemporary art collections in history with very modest means.

In the 1960s they began devoting all of Herb’s salary to purchase art they liked, mainly the emerging practices of Minimalist and Conceptualist art, and living on Dorothy’s paycheck alone, they continued collecting artworks guided by two rules: the piece had to be affordable, and it had to be small enough to fit in their one-bedroom Manhattan apartment.

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