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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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Gordon Hicks - LIGHT RAIN TONIGHT 2007 polycarbonate, plumbing, water
20 inches diameter, 3.5 litres per hour
Gordon Hicks - LIGHT RAIN TONIGHT 2007
installation view on Bloor Street near Lansdowne for Nuit Blanche
Part of Bloor NIGHTLIGHT, during Nuit Blanche, this is one of ten Streetlight Sculptures - a project curated by Orest Tataryn. Other streetlights were by Lois Andison, Matthew Birch, Anne O'Callaghan, Thrush Holmes, Heather Nicol, Jonathan Sabine, Orest Tataryn, Christy Thompson and John Wilcox.
Sara Milroy reviewed Nuit Blanche
"A thought for next year. True, some of the real delights of the evening were the small things, like the stuffed architectural model of the city of Toronto by the UpBag collective, which we discovered by chance in a hallway at 401 Richmond. (I particularly enjoyed the Mies towers rendered in black corduroy, and the knitted CN Tower.) But the big guns - The Power Plant, the Art Gallery of Ontario, the Gardiner Museum of Ceramic Art, the Museum of Contemporary Canadian Art, the Royal Ontario Museum - were all more or less passive (throwing dance parties or staying open late to show your regular programming doesn't count), leaving it to Barbara Fischer at the Justina M. Barnicke Gallery, at Hart House, University of Toronto, to be the only museum director in town to catch the Nuit Blanche fever. Her Night School program was packed with onlookers when we checked in.I agree with the statement "what's wrong with these people?" but I have a problem with her solution of simply pouring more money onto their turf. I know too many artists who put together superlative pieces with very little funding, if any at all, so excuse my peevishness on this point.
What's wrong with these people? We shouldn't really need to apply the heart paddles - they are supposed to be the folks that believe in art, after all - but if heart paddles are indeed required, maybe the city/sponsors of Nuit Blanche or other patrons should consider grants to these leading centres to fund one major one-night-only project either in their gallery space or out in the city. (How about $20,000 each?)"
I love Toronto's all night artist freak show. NUIT BLANCHE - A FEW DAYS AGO!!!!!!!
Dean Baldwin’s Minibar 2007 From Nightschool at U. of T. during Nuit Blanche
Sally & I will be playing Nuit Badminton (not retardminton, as the worst art critic in Canada calls our beautiful game) and I'm letting Bat-boy loose in the crowds so that he can eat children.
Fine Line - curated by Mia Nielsen
September 25 to October 28, 2007 in Viborg, Denmark
Edith Dakovic Home is Where the heart is 2007 silicone, human hair, pigment, tent hardware
Max Streicher Horses 2003 vinyl and electric fans
The largest exhibition of contemporary Canadian art held in Denmark; featuring installation, video and mixed media works by:
Paul Butler, Edith Dakovic, Angela Grossmann , Diane Landry, Nicholas & Sheila Pye,
Jessica Thompson, Max Streicher, Robert Waters
The show will occupy three sites across the town of Viborg, the Kunsthallen Brænderigården at Riddergade 8, Senko at Sct. Mathiasgade 35 D and an outdoor installation at Viborg Svømmerhal at Banegårdspladsen 1, all within a 3km route.
FASTWÜRMS - DONKY @ NINJA @ WITCH opens at AGYU Wednesday, Sept. 26, 6 -9 pm.
Don't forget to bring your torches, pitchforks, ignorance and fear, townspeople!
Red of Tooth and Kaw 2001 digital video still
And don't forget to loudly ask: "Haven't I seen some of this installation at Zsa Zsa? Why isn't that mentioned in the PR from York? Is that what they meant by Queen Street West Storefront Exhibitions? Isn't it easier and faster just to write Zsa Zsa? Now why would the AGYU not do that? Is everyone mad at each other now?"
[update: Info about Paul Petro and Zsa Zsa is on the pdf file, just not on the mailed print version]
[shit fuck damn, I wanted to see some sissy fights]
 Emblem XVII from Michael Maier,Atalanta fugiens (Oppenheim: Hieronymus Gallerus, J. Theodorus de Bry, 1618). Borrowed from Hyle "The historians who make alchemy their particular interest are sometimes looked on as eccentrics: their methodology may be impeccable (I mean, good archival research, sound iconographic analyses), but their choice of subject matter makes them suspect. In that respect art historians who are interested in alchemy become one further example of the oil-and-water problem of mixing alchemy with any ‘legitimate’ discipline." - excerpt & illustration from James Elkins' Four Ways of Measuring the Distance Between Alchemy and Contemporary Art (2003) |