I want to let you know about our upcoming performance at the closing of Sympathetic Connections on September 11 at 3 pm. Von Bark & The Zen Existential Puppet Theatre and I will create within the sculpture installation a retelling of the sea battle of Dan-no-ura, a story of courage, loyalty and suicide. Andrew Paterson will be the narrator, in the role of Hoichi the Earless, the bard who sang for an audience of ghosts.
The performance space will be standing-room-only for about 25 and I hope for audience participation. If you are frightened by this prospect or just busy, it will be on YouTube later on.
Sympathetic Connections at the AGO next to FRANK Restaurant and it is free and open when the restaurant is.
Showing posts with label AGO. Show all posts
Showing posts with label AGO. Show all posts
Thursday, September 1, 2011
Monday, July 25, 2011
Loopers in the news
Here are some loopers who have made the news recently:
Sandra Gregson was mentioned in R.M. Vaughan's weekend review of Toronto's art scene in the Globe & Mail. He wrote this about Sandra's recent show at Loop: "Last chance to catch Gregson’s shredded-book wonders – exquisite mobiles, carpets, sculptures and collages made from carefully threaded strips of hapless, grinder-fed books. Best (ab)use of Joyce’s Ulysses ever." Read the complete article here.
Ian McLean was featured in the last issue of Hamilton Arts and Letters in an article called Ian McLean: Yards & Muscle Cars by Andrea Rabinovitch. She describes McLean's work as follows:
"Stylistically impressionistic in richly hued colours, the use of the sharply delineated pristine swimming pools in many of the paintings suggest, nature controlled, confined within a very strict order that is considered a status symbol we all subscribe to. Like the Hockney pools of the late sixties, they are used as a compositional tool to describe a place, both real and metaphorically inherent in us hapless humans, but also to consider the nature of water contained." Read the complete article here.
Libby Hague's installation at the AGO was reported in ArtDailyNews and included the following quote from curator Michelle Jacques, the AGO's acting curator of Canadian art. “Libby Hague’s playful, yet foreboding narratives give physical form to fictional worlds that simultaneously mirror and manipulate reality. Sympathetic Connections provides a timely exploration of our problematic relationship with the natural environment, invoking universal themes of responsibility and dependency, vulnerability and rescue, and risk and luck.”
And I published an extract of my conversation with Director and CEO of the AGO, Matthew Teitelbaum, on Fashion Projects. We chatted about art and fashion. The link is here.
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| Sandra Gregson |
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| Modification, oil on canvas (16x20) by Ian McLean |
"Stylistically impressionistic in richly hued colours, the use of the sharply delineated pristine swimming pools in many of the paintings suggest, nature controlled, confined within a very strict order that is considered a status symbol we all subscribe to. Like the Hockney pools of the late sixties, they are used as a compositional tool to describe a place, both real and metaphorically inherent in us hapless humans, but also to consider the nature of water contained." Read the complete article here.
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| Libby Hague at the AGO |
And I published an extract of my conversation with Director and CEO of the AGO, Matthew Teitelbaum, on Fashion Projects. We chatted about art and fashion. The link is here.
Tuesday, November 9, 2010
Art Shows-ongoing
I found the time to make it to the AGO, in truth, we went to Frank the restaurant, the snacks are great, the mixed drinks are too sweet for me.
Anyways, speaking of art, we stuck around long enough to check out the Julian Schnabel retrospective, a superstar of art, according to the AGO.
Really interesting to see the work, still after all these years I don't really get the broken plate paintings, I hope never do in a way.
Having said that, the painting that really touched me was the black velvet painting of Andy Warhol. Interestingly, this painting and the ones around it were in an intimate space not the volumes of air and concrete the AGO committed to this New York Big Mouth who has all but referred to himself as a modern incarnation of Picasso. For all that loud clothes and his bravado, there is something exceptionally touching in this piece he must of saw in Warhol, whose by his own accounts was fairly vacuous, so this painting dialogue between big mouth and superficial is something much greater than the sum of their parts.
here is an article from the Globe and Mail, see what they have to say
Maybe I am a sucker for velvet paintings ever since we had a red bull fighter in our dining room that my Dad painted.
Here is that painting, in the basement with an illustration on top of it from a series of photo/paintings of mine from 2006.
Julian Schnabel: Art and Film
continues until January 2, 2011, take your honey and have some fries and booze at FRANK.
Anyways, speaking of art, we stuck around long enough to check out the Julian Schnabel retrospective, a superstar of art, according to the AGO.
Really interesting to see the work, still after all these years I don't really get the broken plate paintings, I hope never do in a way.
Having said that, the painting that really touched me was the black velvet painting of Andy Warhol. Interestingly, this painting and the ones around it were in an intimate space not the volumes of air and concrete the AGO committed to this New York Big Mouth who has all but referred to himself as a modern incarnation of Picasso. For all that loud clothes and his bravado, there is something exceptionally touching in this piece he must of saw in Warhol, whose by his own accounts was fairly vacuous, so this painting dialogue between big mouth and superficial is something much greater than the sum of their parts.
here is an article from the Globe and Mail, see what they have to say
Maybe I am a sucker for velvet paintings ever since we had a red bull fighter in our dining room that my Dad painted.
Here is that painting, in the basement with an illustration on top of it from a series of photo/paintings of mine from 2006.
Julian Schnabel: Art and Film
continues until January 2, 2011, take your honey and have some fries and booze at FRANK.
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