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Lorna Mills and Sally McKay
Digital Media Tree this blog's archive OVVLvverk Lorna Mills: Artworks / Persona Volare / contact Sally McKay: GIFS / cv and contact |
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It's Top Ten Aesthetic/Art Event time. (best or worst) (of 2010 or the last decade, we are lax about rules)
Send us your lists and links (so we can source images.)
You can be a detailed over-achiever like Anthony Easton
or you can complain a lot like R.M. Vaughan
Subtle self promotion is welcome.
Blatant self promotion is only welcome if you make me laugh.
Our sort of deadline is Dec. 27th. (once again, let's not leak too much into the new year because we're all sick of it by then)
(contact)
HAPPY KRAMPUS DAY TO ALL OUR EUROPEAN FRIENDS!
Bill Burns at MKG127 127 Ossington Ave, Toronto until December 18, 2010
Northern Trees and Moose Curator 2010 Watercolour, Illustrations from his ongoing autobiography
Anthony Easton on Jack Bush:
The thing with the Late 60s Bushes (and i saw an amazing one atMiriam SellnikMiriam Shiell today), is that one assumes that tthey are like noland or early stella, in their flatness, but their use of thin washes and subtle underpainting, combines a variety of modes of abstraction--here, with the underpainting of light purple on violet, then the impositon of a hot pink element, grounded onto a obliqued angle/tower of decortative colour--decorative colour that could be on couches or pillows or wallpaper, assumes a number of competing narratives of how to paint non-represenational them, and makes an anthology, that transitions b/w extreme comfort to jarring discord. The one at Sellnik, which is not on their website, does the same thing, but intsead of a collection of disparte elements, was 6 stripes in colours that were both clear and muddy, muted and bright, natural and fake, almost a dilaectic (a less sucessful one from the mid 70s had a swampy mudgreen ground with three bright swatches of colour, which indicates that the high risk/high reward compoenet of this kind of work)
