I should just make mention here that Canadian Club, the Persona Volare exhibition at Rodman Hall in St. Catharine',s is f***ing great. If you are looking for a field trip, go there and see it. I wrote a little bit about their last exhibition here. I enjoyed all three of their shows, but in the past have felt that the artists were really disaparate and I couldn't see much reason, other than convenience and social fun -- which are fine reasons -- for all these works to be shown together. This time, however, the show is really coherent! Maybe some cross-talk has been developing over the years. Not only that, but everyone's work is cranked up a notch, really, really good stuff. Of course I am always thrilled to see the lovely and brilliaint art of the lovely and brilliant Lorna Mills. Other highlights for me were Rebecca Diederichs' big digital banners that hit a fine juicey balance between abstraction, typography and narrative; John Dickson's foggy sci-fi cardboard city that was spooky cool in affect (apparently where there's smoke there's not always fire); Chantal Rousseau's totally freaking awesome little black and white animations about strange birds; and Michael Davey's wonky snow cones on the shoe tips video. I liked all the other works too by Lyla Rye, Lisa Neighbour, Brian Hobbs, Carlo Cesta, Kate Wilson, Johannes Zits, and Reid Diamond.
Thanks for the plug, Sal.
There has been much cross talk over the years, but its all been on the subject of convenience and social fun. (convenience is really important to me, and it makes leaving the house feel heroic)
I don't mean cross-talk as in people literally talking to each other, but rather that the work itself seems to be increasingly in dialogue. Makes sense that if you show with a group of people for awhile the thematics might develop.
You are right, it does develop in an unarticulated way. (prior to Paris, I just obsessed to everyone about hotel rooms, we figured that the art would take care of itself)
I added your graphic to the top post...looks grand!
We were going to use this image originally, but there weren't enough alcohol bottles behind the great Chesty Morgan.
Who is Chesty Morgan?
And better yet, who is Doris Wishman?
What an inspiration for my old age!
She's grand! I like this bit: "Wishman's films often featured hand held tracking shots that would be interrupted by cutaways to bizarre shots of ashtrays, bric-a-brac, and characters' knees, hands, and feet. It was easier to dub voices into her films if she didn't have to worry about matching the actors' (and non-actors') lips to the dialogue."
Was still working on movies, before she died, at the age of 90.
Kate Wilson first informed me about her, since the Chesty image is from her film "Deadly Weapons".
I used to send chesty-grams to middle management when I worked on-site. (figured if I was going to get fired, I'd take them down with me)
another fave tid-bit:
One thing though, Doris would not shoot the explicit scenes. She would say, 'Go ahead and do what you have to!' retiring to another room until we told her we were done shooting.”
The line refers to two triple x movies that she publicly denied making.
Good title: Another Day, Another Man.
All 4'11" of her.
found near the top of the list in google images.
what a dame!
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I should just make mention here that Canadian Club, the Persona Volare exhibition at Rodman Hall in St. Catharine',s is f***ing great. If you are looking for a field trip, go there and see it. I wrote a little bit about their last exhibition here. I enjoyed all three of their shows, but in the past have felt that the artists were really disaparate and I couldn't see much reason, other than convenience and social fun -- which are fine reasons -- for all these works to be shown together. This time, however, the show is really coherent! Maybe some cross-talk has been developing over the years. Not only that, but everyone's work is cranked up a notch, really, really good stuff. Of course I am always thrilled to see the lovely and brilliaint art of the lovely and brilliant Lorna Mills. Other highlights for me were Rebecca Diederichs' big digital banners that hit a fine juicey balance between abstraction, typography and narrative; John Dickson's foggy sci-fi cardboard city that was spooky cool in affect (apparently where there's smoke there's not always fire); Chantal Rousseau's totally freaking awesome little black and white animations about strange birds; and Michael Davey's wonky snow cones on the shoe tips video. I liked all the other works too by Lyla Rye, Lisa Neighbour, Brian Hobbs, Carlo Cesta, Kate Wilson, Johannes Zits, and Reid Diamond.
- sally mckay 12-04-2005 10:38 pm
Thanks for the plug, Sal.
There has been much cross talk over the years, but its all been on the subject of convenience and social fun. (convenience is really important to me, and it makes leaving the house feel heroic)
- L.M. 12-04-2005 11:08 pm
I don't mean cross-talk as in people literally talking to each other, but rather that the work itself seems to be increasingly in dialogue. Makes sense that if you show with a group of people for awhile the thematics might develop.
- sally mckay 12-04-2005 11:30 pm
You are right, it does develop in an unarticulated way. (prior to Paris, I just obsessed to everyone about hotel rooms, we figured that the art would take care of itself)
- L.M. 12-04-2005 11:39 pm
- L.M. 12-04-2005 11:50 pm
I added your graphic to the top post...looks grand!
- sally mckay 12-05-2005 12:11 am
We were going to use this image originally, but there weren't enough alcohol bottles behind the great Chesty Morgan.
- L.M. 12-05-2005 1:19 am
Who is Chesty Morgan?
- sally mckay 12-05-2005 1:22 am
And better yet, who is Doris Wishman?
What an inspiration for my old age!
- L.M. 12-05-2005 1:31 am
She's grand! I like this bit: "Wishman's films often featured hand held tracking shots that would be interrupted by cutaways to bizarre shots of ashtrays, bric-a-brac, and characters' knees, hands, and feet. It was easier to dub voices into her films if she didn't have to worry about matching the actors' (and non-actors') lips to the dialogue."
- sally mckay 12-05-2005 1:40 am
Was still working on movies, before she died, at the age of 90.
Kate Wilson first informed me about her, since the Chesty image is from her film "Deadly Weapons".
I used to send chesty-grams to middle management when I worked on-site. (figured if I was going to get fired, I'd take them down with me)
- L.M. 12-05-2005 1:44 am
another fave tid-bit:
One thing though, Doris would not shoot the explicit scenes. She would say, 'Go ahead and do what you have to!' retiring to another room until we told her we were done shooting.”
The line refers to two triple x movies that she publicly denied making.
- L.M. 12-05-2005 1:48 am
Good title: Another Day, Another Man.
- tom moody 12-05-2005 3:07 am
All 4'11" of her.
- L.M. 12-05-2005 9:45 pm
found near the top of the list in google images.
- bill 12-05-2005 10:15 pm
what a dame!
- sally mckay 12-06-2005 12:42 am