Author Archives: leah

One of these artworks isn’t for sale like the others, all of these artworks are kind of the same

Last night I went to an Images Festival talk, Moving Images for Sale, which was pitched as a discussion of the impact of the hot-as-Brueghel-illustrated-hell art market on video, film and interactive computer art. The moderator was Lisa Steele, Creative Director at Vtape, Toronto, and the participants were Chris Eamon, Curator of the Pamela and Richard Kramlich Collection, San Francisco, and Lori Zippay, Executive Director of Electronic Arts Intermix, New York.

As a grant-grown Canuck who had just returned from viewing some of the riches of one of the largest US private art collections, Miami’s Rubell Family Collection, I was, to be frank, intrigued by the ways that the massive art market in the States worked, and was hoping Zippay and Eamon, as high-rolling Yanks, could indulge my shallow interest in the cold hard cash aspect of the video art life. While the conversation ended up tending more to technical conservation issues than my desired money-grubbing ones, there was a terrific case study presented of an artist critiquing the commercial art system even as he participated in it. I thought I’d share it here as an example of some much needed art a la snark.
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Whither the Great Canadian (Charter of Rights and Freedoms) Novel?


Yesterday there was a compelling piece in the Toronto Star by UBC poli sci professor Michael D. Wallace on the “enduring mythology of Vimy.” In it, Wallace challenges the commonly held wisdom that Vimy was “the birthplace of the Canadian nation” because it was the first time Canadian troops fought together.

Indeed, Wallace’s op-ed predicted the citation by PM Harper later in the day that Vimy is one of Canada’s key “creation stories”. (Unsurprisingly, Harper, however succinct in id’ing this concept, wasn’t quite as critical about the point as Wallace is.)

While I have great respect for the soldiers who have fought in Canada’s battles, Vimy included, and I can barely imagine the horrors and risks they must have endured (and, in Afghanistan, as recent events remind us, continue to endure) I have to say that I agree with Wallace’s assertion.

The upshot? We need to supplant/expand on the mythology of Vimy and other official narratives with more accurate “creation stories” about our nation. So I say, whither the Great Canadian (Charter of Rights and Freedoms) Novel? Continue reading

On waiting for the SCUMploitation double feature

So, I went to see Grindhouse this weekend – you know, that new and much-hyped double feature from Quentin Tarantino and Robert Rodriguez. It supposedly pays homage to the nasty, cheesy, 70s-era genre characterized by over-the-top sex, gore and violence.

For the record, the film was my boyfriend’s suggestion. But you know what? Despite being the type of twitchy, gore-averse gal who had to cover my eyes for most of Pan’s Labyrinth, I liked it. Tarantino’s offering, Death Proof, at least. It’s not that I’m a huge Kill Bill fan – haven’t even seen it yet, actually. And it’s not that I’m simply seduced by the director’s surf and girl-group-rich soundtracks (though I do like them an awful lot).

No, the reason I really loved Death Proof is that it featured three smart, cute, strong women beating up a misogynist – to death, in fact. Continue reading

Art and consciousness raising beyond the 1970s

International Women’s Day rolled around again this year with the usual much-needed-yet-tokenist-seeming columns rife with evidence of how women are still an oppressed majority in Canada. You know: still making 70% of what men do, still killed or injured by the opposite sex in large numbers, and still underrepresented in elected officials (in the House of Commons only 1 out of every 5 members has ovaries).

So…. I thought I’d throw another columnistic log on the fire. But this one isn’t just about the bigger picture of women’s oppression; it’s about the smaller ones that can change people’s minds about whether the struggle for gender equality is still a relevant cause to young women today.

Such “small pictures” – individual art and documentary prints and snapshots – were part of what sparked a heated discussion on whether “feminism is worthwhile” in a college photo art class I took couple of years back. The teacher ( a woman) had just presented us with a slideshow of photo artists whose works dealt with gender and sexuality. The teacher then mentioned that she had noticed, in recent years, that young students had different views on feminism than she herself had. She asked the class for their views.

There was an uneasy silence as the dozen youngish women and 2 youngish men in the class shuffled their notes. Ever the annoying “let’s discuss!” person, I tried to give us a start, saying, “Yeah, I’ve noticed in some of the other college classes that I’ve taken that younger women don’t feel feminism is really relevant anymore. They feel like it’s over.” I was going to continue on about how I felt differently, or how I found this surprising, but I was interrupted at that point by a chorus of: “Yes, I totally feel that way!” or “Yeah, it’s overrated. We’re all equal now.” or (worst of all!) “Yeah, I took a women’s studies course and it was all about lesbianism.”

I was shocked. Continue reading

Celebrating photography through photography of performances on photography

Did anyone else see the photos of Rio’s 2007 Carnaval in the media last week? Though the event is always a boon to photographers in search of colour and dramatic juxtapositions, the theme of one group was a real stunner for the SLR set: celebrating iconic photographs. I’m currently doing some work for a (really great) photo-art education group and I feel like, looking at this snap from the BBC website, that this dance piece basically beats about 90% of their — and basically anyone else’s photo-art — programming hands-down. Like, talk about perfectly capturing or raising questions about (a) the power position of photography in our culture, (b) the way that photography and the age of reproduction produces unwilling (and often uncompensated) icons, (c) the role of photography and said reproductions in creating a global visual culture, (d) relationships and disparities between body and image, object and picture plane, and (e) what is creative thought.

Of course, the question of context would be an important one here if I were curatorially or museologically inclined. This dance/costuming/festival/spectacle was not at all created in a contemporary art context, nor was it (I’m guessing, to be honest, but since this wasn’t reported in the art media I’m gonna say) created by artists. Is it, ergo, not art? I think to the art media and to art institutions, it probably means that it isn’t. But if Matthew Barney or Vanessa Beecroft had coordinated it, it would be.

So, I’m wandering here, but it’s basically wandering around something I’ve been thinking about for a while and that a lot of people have theorized around but about which I’m still not convinced. Shall I spit it out, already? OK. I’ve been thinking about how Great Lord Duchamp rocked the art world past and present because his object-projects so exquisitely demonstrated and tested the concept that the definition of object art is contingent on its locational context. That is, if an object is in a gallery, it’s art, but if it exists beyond the walls of a gallery, it’s somehow not art. (Even though we’re all postmodern and stuff, I still think this mentality prevails. Heavily.)

Well, I’ve been thinking (as others likely have before me, but nevertheless) that there is a collary to Level 5 Dragonmaster Duchamp’s experiments in terms of “artistic public performance.” But instead of the physical boundaries of the galleries and museum dictating what is art and what is not, it’s the physical boundaries of the artist’s body that dictates what public performance is art and what is not.

This artist-as-gallery/white-cube-in-flesh-and-blood rule can be a frustrating one, however, because, as demonstrated in Rio, it’s often not artists who are making the most compelling and meaningful public action work. And this is where it might come full circle to photography, in a way. Photography, through its framing, can steal those terrific actions and performances from the public “non-art” sphere (meaning public, “non-artist” bodies) and relocate them in more readily acknowledged artistic contexts (galleries, museums, magazines, or hey! maybe blogs).

But the sucky part, in a way, is that the photog gets the credit, not the incredibly awesome non-BFA’d publics out there. I don’t think these thoughts should stop anyone from making photographs or nice gallery works, but I feel like a snake that’s eaten my tail on this one; if you can get me moving again cerebrally, I’d appreciate it.

On a briefer note, the ever-pleasantly-snake-eating-its-own-tailish Guardian Arts Blog has a little article on whether art critics should also be artists.

Trying to see beyond the bounds of the GTA, and my ego

I’ve been thinking a lot lately about how I know and don’t know the GTA — that’s the greater Toronto area, for those of you not so graced to be in the land Lord Simcoe’s spirit presence, er, har, har.

Why have I been thinking about this? I’ve been thinking about it because I feel that I thought more broadly when I lived elsewhere in Canada. This is no fault of Bay Street or the CN Tower, specifically; a lot of it has to do with myself and my own attempts to get grounded here in a big, interesting, and overwhelming city. In order to do that, I have to pay attention to the city, right? Yes. But here’s some other potential factors, in no particular order:

- It’s fair to say that anywhere I’ve lived there’s always been more going on than I could keep up with. That factor is expanded greatly in a city on the scale of Toronto, where just wading through the local alt-weekly listings is going to take more time; and then, it will take more brainpower to sort through said listings. Ditto for — hey! — actual news.

- Since arriving here, I’ve been lucky to be involved with a group of people quite involved in civic activism and journalism through the Toronto Public Space Committee and Spacing Magazine. Both these orgs share a commitment to public space and civic issues; which, if you’re really gonna be up on, you’re not gonna have as much time to understand what’s happening in, say, Dauphin.

- The explosion of blogs like this one. This point is an attempt to admit that my difficulties in seeing clear to Guelph could be a temporal thing as well as a geographic thing. Before I moved to Toronto, I rarely read, let alone wrote, in blogs, of which there are, I now believe 7.9 trillion. Maybe that’s a bit of an exaggeration, but I’ll play devil’s advocate here and speculate that maybe if I lived somewhere else I’d still just feel more overwhelmed and less informed in 2007 due to the proliferation of overwhelming media content in blogland. And still just as poorly informed about what’s happening in Dauphin.
- Knowing who the people are that I’m competing with, and associated personal neuroses. When I lived elsewhere, there weren’t many people I knew competing for the same markets I was writing for. Now, it seems like most people I know — or know of — are competing for success in the same markets. Used to be when an editor used to turn down a pitch of mine, I wouldn’t have a stricken feeling of “Oh no, has X already pitched them? Did they get the story? Or can they just do it better?” And used to be I wouldn’t read local papers and magazines using up extra intellectual energy wondering how so-and-so pitched such-and-such, or who they found out their scoop from, or, perhaps most significantly, berating myself for not whatever mysterious thing they had done.

- The supersizing of success standards in larger cultural centres. When I first moved to Toronto, I took a course at a local art college to finish up some degree credits from a maritime school. The bitterness of one of my new teachers, a respected, well-known mid-career Canadian artist, struck me intensely. He insulted other artists and designers in our classroom, gossiped about art and school politics, and generally just seemed like he thought life had served him a raw deal. One time he complained that one of his friends had shows in Japan and Europe, but wasn’t able to get respect in the T-dot. At the time, I thought, “Cry me a river! Let me get this straight, they *are* recognized for their art, and they’re even, it seems making a living from it. Isn’t that all you can ask for?” The teachers at my former school had been, after all, quite content seeming in their faculty positions and associated artmaking practices, Japan or no Japan. So of course I was horrified when I found myself in a similar emotional state on occasion of late to that same embittered teacher and artist. The demon of needing more than just a bit of recognition and adequate income had struck. And, like having a zillion brands of sneakers parading around in front of your sidewalk eyeballs rather than just, let’s say, 3, seeing more had led to wanting more.

Does all of this mean I’m going to leave Toronto? No, I’m old enough to know that these problems lie more in me than they do in the longtiude and latitude I find myself in. Yet these symptoms I’ve described, these insecurities, these time-wasting obsessive loops, are characteristics I’ve seen more of in cultural workers of Toronto than those of anywhere else I have lived. Could be a takes one to know one kind of scenario, but, goldarnit, whatever it is, I think for now I just need to strive towards creating my own private Winnipeg to retreat to occasionally… if only in the wheatfields of my mind.

I promise only non-solipsistic blog posts soon.

Artistic retakes on Moby Dick and other classic tomes

I recently got a pamphlet from a very humorously named outlet called Parasitic Ventures Press, which is releasing a new series of art books February 17th at Toronto’s art book emporium, Art Metropole. One tome in particular that caught my eye is entitled “Four Percent of Moby Dick” by what I assume is a young unknown called Herman Melville. Okay, I’m kidding on the young unknown part but not on the four percent. Says the Parasitic Ventures website, “This version of the text is particularly good at underscoring the various subtexts which interweave the main narrative.”

While I do look forward to reading the four percent version offered by Parasitic, the idea got me thinking about other artists who use Moby Dick and other classic literary tomes in their work. Another whale-hunt-spinoff recently seen in Toronto was painter Margaux Williamson’s “Painting to Moby Dick,” a series of works made while the artist was listening to an audio version containing 100 percent of Ishamel’s obsessive, seafaring agony. I saw the paintings and while the novel’s themes aren’t apparent, it is interesting to consider that it’s the main narrative (besides the life of the artist) which links them.

This spun me off into thinking about a much more literal version of books-as-art, particularly in the form of artist Robin Pacific’s recent exhibition Shelf Portrait: A disappearing archive. In this work, Pacific laid out the contents of her entire personal library (that’s 1,670 titles) for the taking. And a popular take it was; the lineups for Shelf Portrait’s opening were early and far out the door, the envy of any small artist-run centre.

I wonder now, as an art writer blogging for a more literary journal such as Descant, what “real writer” (i.e. people who don’t cut up, filter, transmogrify or give away books as a significant form of creative work) think of these types of artworks. Within the art world it is well accepted that playing with narratives, even the classics, is legit; nothing is sacred. What do you, “real writer,” or “unreal reader,” think about this?

Artists and critics as friends: a good thing?

There is a great discussion thread going on over at the Guardian Online’s art blog on whether artists and critics can or should be friends. Given the way these kinds of relationships impact the Canadian reviewing scene, be it in art, music or literature, it’s somewhat reassuring to know that scenes everywhere (even in the hallowed, and supposedly sprawling) London scene can get uncomfortably cozy at times.

On the flipside, of course, it’s also frustrating to see this kind of dynamic reproduced at the level of so many cultural scenes, no matter how large or small they may seem.

An alt-weekly I once worked at tried to remedy the problem of “friendocracy” by refusing, for a time, to review anything one of their staff members was involved in. Unfortunately, because many of their staffers did lead double lives as theatre directors, rock n roll bassists, or gallery artists, and because the city it covered was relatively small, this wasn’t the best solution.

What is the best solution? I’m going to keep thinking on this; let me know if you have any insights.

Art-abulous invitations across the nation

So many great art events happening tonight and in the next few days across Canada that it’s enough to make me want to build my own time-space transmogrifier overnight. Yeah. We’ll see how that works out. But here’s an overview depending on where you are:

Halifax: Imaging a Shattering Earth: Contemporary Photography and the Environmental Debate – A great overview of photography in this realm including work by Burtynsky, Gown, and Rudewel; opened January 12

Montreal: Conceptual Cartographies – Really interesting work on mapping, with a talk, Imagined Geographies, tonight (January 18)

Ottawa: Dollar Store Dollarama by Colwyn Griffith – An Ottawa-raised, New York-based artist exposes the landscapes of “plenty” in dollar stores. Opens tomorrow (January 19)

Toronto: Elapse I & II by k.g. guttman This book/artwork by Montreal-based guttman documents an unusual group performance where a party was held one night and meticulously recreated the next. Opens tonight.

Saskatoon: Conex-Us – In this show, which opens tomorrow night, curator Adrian Stimson explores the process of curating itself with the assistance of 12 Saskatoon artists.

Calgary: The Annie Pootoogook show, which opened last week at Illingworth Kerr Gallery, is not to be missed; Pootoogook has been invited to the upcoming Documenta in Kassel.

Vancouver: ATSA’s upcoming actions and documentation at grunt gallery provide a formula for trule encouraging social change in an artmaking context.

Happy time and space travelling!

Snowriffic artmaking by grand master toi?

Toronto artist Diane Borsato, last in the local public eye for her coordination of tangoing police officers on city streets for her piece How to Respond in an Emergency, is back up to some public art hijinx this month — and she’s looking for others to join her. For January 28th’s Snowbank, Borsato’s plan is to move — you got it — a snowbank from downtown Toronto to York University by subway.

To find out more about her and to volunteer, click here. If you’re scared, take heart; I held a dead hare at an art fair for Borsato a few years back, and I’m better for the experience.