Wednesday, February 15, 2017

Afternoon on Queen Street West

Bill and I went for a walk on Queen Street West last Saturday with our friend Shelley Savor.
We fortified ourselves with a good lunch at our beloved Beaver.
It was mild for February in Toronto. The day was in a good mood.
We always visit Inabstracto when we can. Today there were small, very interesting, inexpensive paintings by the clearly talented Byron Hodgins.
We thought these looked very collectible. Still might bite.
 Nice wire sculpture in Katharine Mulherin's window. Now our whole walk was centred on seeing her new Keiran Brennan-Hinton paintings -- and they were so fun that I didn't take a picture to show you -- sorry! See the Mulherin gallery post.
Further east on Queen I liked the window of the discount appliance store at Fennings Street.
Their hard-edge aesthetic is irresistible.
The crossing at Ossington was also irresistible.
By the time we got to Pink Optical I fell in love with Bill and Shelley all over again.
We suddenly realized that we had completely walked past Dovercourt and so had missed Lynne McIlvride and Ann Cummings at the David Kaye Gallery. We walked back and I caught a quick snap of a Cummings sculpture. Exhibition continues to February 26th.
On our way home we flew past Trinity Bellwoods Park.

Wednesday, February 8, 2017

Kent Monkman at the University of Toronto

Kent Monkman, popular Canadian First Nations artist, has created a powerful and gut-wrenching exhibition at the University of Toronto Art Centre. The show is Monkman's contribution to the national celebration of the 150th anniversary of Canadian Confederation.
We first meet Monkman's two-spirit, alter-ego, Miss Chief Eagle Testickle, as a newborn in a diorama creche-scene.
The paintings in the exhibition are lit to bring out their "diorama" quality.
In Le Petit Déjeuner sur l'herbe, 2014, wounded Native people are painted in a Picasso-esque Cubist style while naturalistic angels hover overhead.
Here in Bad Medicine, 2014, grizzly bears confront European angels over the remains of a Native woman who is painted in the style of Francis Bacon.
In this detail from Bad Medicine, warriors emerge out of the foliage.
In Seeing Red, 2014, Miss Chief confronts a bison bull in a raw suburban setting.  Monkman often mixes his serious concerns with humour to make his points.
In another room Native children are torn from their parents by priests and Mounties to be "retrained" in residential schools in The Scream, 2016.
A detail from The Scream. Monkman quotes Duncan Campbell Scott's chilling words written in 1910, when he was head of the Department of Indian Affairs: "...Indian children...die at a much higher rate than in their villages. But this alone does not justify a change in the policy of this Department, which is being geared towards the final solution of our Indian problem."
Here I'm photographing the label for Reincarceration, 2013. Monkman's paintings often draw on Victorian landscape traditions such as we might find in Albert Bierstadt and Thomas Cole.
Iron Horse, 2015, is another example of this borrowing, and a clever pun.
The railroads proved to be a Trojan Horse, bringing disaster to the original inhabitants of the prairies.
In the diorama Scent of a Beaver, 2016, Miss Chief Eagle Testickle, perhaps representing the spirit of Canada, is seen swinging between representatives of the French and British Empires.
We liked seeing Monkman's work installed with historical works.
Here Benjamin West's The Death of General Wolfe, c. 1760, has never looked more flamboyant.
Did The Fruit Dance, c 1616-1617 (from the Studio of Peter Paul Rubens)
inspire Monkman's vision of bucolic beaver in their natural state
Study for the Beaver Bacchanal, 2015 (with detail).
On the left find The Massacre of the Innocents, 2015,
with its stuffed-toy-like beaver being slaughtered by white hunters.
Robert Harris' Prepatory Drawing for the Fathers of Confederation, 1883.
Monkman's version of The Fathers of Confederation, renamed The Daddies, 2016, in which Miss Chief confronts Canada's founding fathers.
We'll leave you with The Bears of Confederation, 2016. Pardon us for not showing you details of the action but this is one painting you are going to have to see for yourself.
We exited the art gallery with a deeply enriched concept of the Federation that Canada is presently celebrating. Shame and Prejudice: A Story of Resilience is not to be missed. Until March 4th.

Monday, January 30, 2017

Theresa Casey at Arcadia

Last Saturday afternoon John and I visited the opening of REMNANTS: New Work by Theresa Casey at the Arcadia Gallery across from Little Norway Park in Toronto.
 Casey, a friend of ours, is a brilliant interior designer as is immediately obvious when one enters the gallery.
She is also a deviously subtle artist.
 The inspiration for Remnants was the chance discovery of a set of slides at St Lawrence Flea Market
that led the artist to five years of development
of themes of birth
separation
and the fostering of orphans.
Casey kept a journal of collages as she developed her themes.
 Xerox copies of page spreads taken from the journal line one wall.
These provide the clearest statements of the themes of the show.
One delicate drawing hanging on its own wall left us wanting to see more graphic work.
John and I always get to openings early so that we get a chance to see the art 
and talk to the artist (Theresa Casey, right).
The last weekend for REMNANTS is this Saturday and Sunday, 11 a.m to 4 p.m.  Show closes Feb 5th. Arcadia Gallery, 680 Queens Quay West (at Bathurst).