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Lorna Mills and Sally McKay
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Sally & I have invited several people to write guest posts (under their own names or pseudonyms), today we are pleased to present our first guest post from writer Lisa Myers
Charlene Vickers: Ominjimendaan/ to remember
While in Vancouver this spring I made a point to see Ominjimendaan at Grunt gallery. The intense presence of Charlene Vickers' art installation created an atmosphere in the gallery space that invited me in to stay awhile. In the Grunt produced video, Vickers describes her original intention of this work to address "missing women, the reality of violence, and how to represent that in sculptural form." Through Vickers' use of materials, she weaves together personal narratives that sensitively connect ideas about finding one's way home, and forms of protection.
Vickers' series of wrapped staffs titled Diviners Grasses (2010), made of an arrangement of grasses bound with white linen, have hair secured to the tops and braids of twine attached to the bottom. Seemingly, the twine serves as grass-hair, and to me this evokes the question: what remains when something/someone is lost, and in the wake of loss, what transforms? Vickers' cedar spear-like carvings leaned against the wall like weapons quietly protecting. Titled Diviners Cedar Spears (2010), this work brings to mind remembering as a form of protection and in this way acts as resistance. Remembering in the form of testimonials reveal marginalized histories, often involving trauma and the abuse of power.
From the artist's explanation, her turtle sculptures arranged on the floor of the gallery represented home and directed the way home. I was comforted by their visual reference to islands and they made me think of my home. During my visit to Grunt, I was engrossed with the stratum of meaning in Vickers' work, as this work reminded me of the life of materials and how their associations and functions have influence in my everyday life.
Charlene Vickers' solo exhibition Ominjimendaan/ to remember, at Grunt gallery ran from February 23 to March 31, 2012. Although the show has ended, its online presence provides various links to her work. Here's Charlene Vickers talking about her artist project Ominjimendaan.
-Lisa Myers
I'm in part 2 of a multi part article on GIF art for a Spanish publication, notodo.com (English translation) written by Pilar Díez
KITTEH!
Eldon Garnet Equal Before the Law at the McMurtry Gardens of Justice 2012
Sally & I have invited several people to write guest posts (under their own names or pseudonyms), this is the 4th post from Leiflet
There's a few days left to check out Building Art, a group show that reflects on the architecture of Toronto. Curated by Phil Anderson, Building Art runs until May 27th at Gallery 1313. This is my drawing of the oil painting Storm and Stress by Pat Rice - I really appreciate how Rice brings out the Gotham City in Toronto. Great painting. On the show as a whole, I know the premise is on architecture and there are implicit references to living beings, but I am left wondering: Where is everybody? Is there anybody out there? I'm lonely.
Leiflet
TONIGHT (Thursday May 24) Sheroes #10: Grace Jones at The Beaver, 1192 Queen Street West., Toronto. 10:30 pm.
Featuring gifs by Les post-Gendered est les autres
Emilie Gervais, Oz Melo, Emilio Gomariz, Absis Minas, Anthony Antonellis, Daniel Rehn, Michael Manning, Giselle Zatonyl, Sarah Weis, Georges Jacotey, Chiara Passa, Andrew Benson, Yoshi Sodeoka, a bill miller, Rodell Warner, sally mckay, Isaac Hicks, Malgosia Woznica , Manuel Fernández, gaby cepeda, Helen Adamidou, Haruko Hirukawa, Juan Manuel Morales, Grace McEvoy, eva papamargariti, Francoise Gamma, Rea McNamara, Lorna Mills, Rollin Leonard and Tony Halmos
Promo gif by Lorna Mills & Rollin Leonard
Screen shot from James Fowler's article: The Artful Blogger
Money quote from R.M. Vaughan, of course,
The difference between a column and a blog is, "about five hundred dollars."
The Photographers Gallery, London, UK. for the inaugural exhibiton of The Wall, (a 2.7 x 3m Sharp Video Wall.)
promo gif by Emilio Gomariz
Lorna's piece.
Sally's piece
Sunday - R.I.P. Donna Summer
Could It Be Magic
Sally & I have invited several people to write guest posts (under their own names or pseudonyms), this is the 3rd post from Leiflet
BEST INTER-SPECIES ART EVER (courtesy of FB)
Emilie Gervais
Kristin Lucas - Yard Sale in the Sky
Sally & I have invited several people to write guest posts (under their own names or pseudonyms), today we welcome Leiflet #2
I always looked forward to seeing the graffiti art on the Roncesvalles foot bridge, particularly the portrait of Rosa Luxemburg. Unfortunately her portrait and all the other bridge art - except for a lone Canada Goose - have been erased. I like the Goose, but who decides what's art and what's vandalism? Is this part of the Roncesvalles street renovations or the City of Toronto's fascist Graffiti Management Plan that: "balances the need to eliminate graffiti vandalism that has a detrimental impact on property owners, neighbourhoods and City image, while supporting graffiti art and other street art that adds vibrancy and artistic delight to our streets"? What idiocy. Fittingly, graffiti portraits of Mayor Rob Ford are springing up around Toronto in response to this policy.
Well, you can erase her picture, but not her legacy. My recent encounters with Rosa include Sanja Ivekovic's installation Lady Rosa of Luxembourg at MOMA, the amazing graphic historical novel Berlin: City of Stones by Jason Lutes, revisiting the piece Rosa Luxemburg by El Lissitzky, and of course, listening to A B for a Bee by the band The Murder of Rosa Luxemburg,
Rosa lives on.
Leiflet
Helen Adamidou - Fun at the Office
Luke Painter at LE Gallery, 1183 Dundas St W Toronto, ON . May 2nd to May 27th, 2012.
Opening: Thursday, May 4th, from 6-9pm.
Suzy Lake - So who's gaze is it now? at Georgia Scherman, 133 Tecumseth St., Toronto.
Until May 26, 2012.
Co-Ed Magazine #5 1973; reprinted 1998 five selenium-toned gelatin silver print, 14 x 11 inches (35.6 x 27.9 cm), edition of 10
Are You Talking To Me (Set 5) 1978-79 sequence of 6 works approx. 44 x 141.5 inches, silver gelatin prints, with tinted photo oil