Forest City Gallery

Not For Sale

2012-02-23T14:34:00.002-08:00

Forest City Gallery introducing ‘Not For Sale’ members’ show.

You will have a chance to see a variety of works, submitted by our members, who wanted to share a little part of their lives with London Community. Exhibition will take you on the ride of different emotions and feelings, as well as wonderful stories behind each and every creation.

Don’t miss your chance and visit Forest City Gallery from Feb 24, 2012 to March 2, 2012 to see this amazing art show.

But for now I will leave you with a tiny sneak peak:

Dickson Bou

John Osborne

Jin Won Han

Closing reception will be held on
March 2, 2012 from 7pm to 10pm

See you there!

-Julia C.

Early 2012 in Pictures

2012-02-01T10:23:00.000-08:00

Andrea Carvalho: Made To Measure

Schooled at Montreal's Concordia University, where she obtained an Honours B.A. in sculpture, Andrea Cavalho focuses on spaces within built environments and our interaction with it. Indeed, most of her solo exhibition's pieces are interactive one way or another.

Chair

A common theme that can further be found within the corpus currently on display at the gallery is the ambivalence of each piece; it both invites and forces one to interact with it. Chair, the sculpture that is perhaps more relatable to an existing, functional object, is a notable example. Its wheels, which first startle the viewer daring enough to give in the urge to sit in the sculpture, only to give him or her increased mobility as they choose to (or not to) travel through the room in their new vehicle.

Dome, upper left

Made To Measure is on until February 10, 2012. See more of Andrea Carvalho on her website: andreacarvalho.ca

Rebecca Belmore Billboard Project

2011-12-07T06:38:00.001-08:00

RebeccaBelmore is one of Canada’s most important contemporary artists working today.She is at the center of a court case that is dealing with the rights artistshave to their work once it enters the commercial gallery system.

Rebecca Belmore Billboard, night view, Dec. 8, 2011

Photo Credit: Brad Isaacs

London,Ontario based-artists Jamelie Hassan and Ron Benner proposed to Rebecca Belmorea billboard project. The unveiling of this project is happening on ThursdayDecember 8, and everyone is invited! To begin at 6:30 pm, people will meet atthe corner of Ridout and York St. Later in the evening, Jamelie Hassan, RonBenner and Rebecca Belmore will be in attendance for a concurrent event hostedby LOLA at Museum London.
I am notvery legally minded nor do I know the correct legal terminology to use to tellyou about the situation, I therefore, wrote to Randall Gray of the RebeccaBelmore Legal Fund and to Jamelie Hassan, one of the coordinators of thisindependent billboard project for LOLA 2011.

RebeccaBelmore Legal Fund: Randall Gray shared with me his personal opinion.

How are the rights of Canadian artists atrisk if the court does not decide in Rebecca's favour?

There is achance that once decided in Court, Rebecca's case could become a"precedent" for later cases involving similar facts and issues. Inother cases where artists and their dealers have similar disagreements, eitherthe artist or the dealer could point to Rebecca's case as the precedent thatwould decide their own case. If the Court supports the gallery's argument thatonly the gallery can end a contractual arrangement – not the artist, then otherdealers may use this precedent to their advantage and the rights of artistswould be diminished.

If thecourts do decide in her favour how will this better the situation for Canadianartists?

The legalprecedent would confirm that both artists and dealers are on an equal footingin contract law, and that a gallery's unilateral expectation of 'futurerevenues' is not a valid constraint on the artist in all artist/dealeragreements.

Why doyou think the courts have allowed for this to go on?

Unfortunately,delays (adjournments) are very common in civil cases. This is one method bywhich the party with the more resources (i.e. money, power, time, corporate orestablishment lawyers over independent or small firm lawyers, etc.) can exhaustthe resources of the weaker party. There is typically a considerable powerimbalance between dealers and artists that often results in artistscapitulating to dealers in any legal dispute. Without the help of other artistsand many sympathetic supporters, Rebecca would have not been able to fight thislawsuit for almost five years

Whatsteps can be taken to ensure a gallery holds up their ends of contracts so thatwe can better protect the livelihoods of artists?

Artistswant to have their work displayed, and they want to make money, and they oftendon't like the business side of art. As a consequence, artists are often overlyanxious to be represented by dealers and they don't take steps to protectthemselves. Dealers sometimes take advantage of artists and in any conflict itis usually the dealer that has the advantage of lawyers, more money and morecredibility with the Courts.

Artistshave to better protect themselves to "level the playing field". Hereare three important steps to consider:

The firstis to ensure that artists only enter into agreements that are defined inlegally binding, written contracts. Far too many artists and dealers rely on'handshake' agreements. Some dealers actually refuse to employ contracts –artists should strictly avoid this kind of arrangement. Should the artist /dealer relationship come into dispute, an oral agreement is of little use tothe artist and the dealer almost always prevails in a legal battle. CARFAC hasdeveloped a legal contracts resource guide that is designed to help artistsprotect their rights(http://www.carfacontario.ca/~carfacon/services/books/ac).

Step two isfor artists to be more actively aware of, and participate in, the businessaspects of their relationship with dealers. Far too often artists rely on theirdealer to take care of all that 'unpleasantness' related to the business ofart. This deliberate detachment and ignorance of the business side of art putsartists in a vulnerable position should their dealer be less than ethical.

Step three:artists should be selective about the dealers they work with. The vast majorityof dealers are honest business people and many are members of professionalassociations that set a high standard for ethics. Artists should likely onlysupport dealers that are members in good standing of reputable professionalassociations (one such example is the Art Dealers Association of Canadahttp://www.ad-ac.ca/). Before doing business with a dealer, artists should askaround to determine whether that dealer has a good reputation among otherartists. Too often, artists ignore or discount information that other artistshave been 'screwed over' by the dealer in the past.

JamelieHassan:

If thecourts do decide in her favour how will this better the situation for Canadianartists?

If Rebeccaand her lawyer get this case resolved in her favour it should demonstrate thatthe commercial dealer has to be ethical in their dealings with artists. Thatartists should have the right to end their contractual agreement if they sodesire. In many situations, we have seen that the gallery dealer can end theirrelationship with an artist with impunity at any time.

Whatsteps can be taken to ensure a gallery holds up their ends of contracts so thatwe can better protect the livelihoods of artists?

I do nothave much experience with commercial galleries – but I do comprehend whensomething is happening that is unfair and unreasonable to the situation of theartist. Artists need to have the courage to challenge unfair situations thatarise between commercial galleries and artists – as Rebecca Belmore has done,at great cost to her creative work. Ithink the commercial art world in general is difficult to comprehend - thevalue of the artist’s work is not reflected in the financial transactions. Onlyrarely does that happen.

Why London? How do you connect with RebeccaBelmore's story?

Certainly,London, Ontario is a city whose history of activism has many examples – one obvious & relevant example is in theestablishing of CARFAC- founded here in this city of London by Jack Chambersand other artists in 1968. Speaking out for the rights of artists andrecognizing the value of our work was at the centre of this initiative that is todaya national organization whose advocacy for the rights of artists has had anenormous influence. London’s early establishment of artist-run centres as well,is also part of this community’s cultural history, such as former artistinitiatives, Region Gallery and 20-20 Gallery in the 1960’s and 1970’s, andEmbassy Cultural House in 1980’s. TheForest City Gallery, founded in 1973, will be celebrating 40 years in 2013 whichis an accomplishment for an alternative artist-run centre in Canada. All theseefforts are part of what artists have done in the past to support each other.

To yourknowledge, is London the first city outside of Vancouver which has offeredsupport in this way?

Othercommunities across Canada have given support, besides Vancouver, both Toronto& Montreal have done support projects. BUT this is the first time thoughthat the billboard format has been presented. The text for the billboard isbased on a placard Rebecca used in her performance at the Vancouver ArtGallery.

How didyou come to decide on a billboard project?

Ron Bennerand I met up with Rebecca Belmore at the recent Aboriginal CuratorialCollective Conference held at OCAD in Toronto. It was Ron who suggested toRebecca that we could do a billboard of the placard. On our return to Londonfrom Toronto we followed up & I sent out an email basically informing a fewpeople we knew of the need to do something to give support to Rebecca at thiscrucial time. The response was very good.

Paul Walde and Andrew Francis saw this as anopportunity for LOLA to get involved. Andrew proposed the project be a LOLAindependent project for 2012. Ron & I are the coordinators as you know& took on the responsibilities that entails.

Rebecca Belmore's performance outside the Vancouver Art Gallery 2010

Please comeand support Rebecca Belmore! For more information visithttp://rebeccabelmorelegalfund.com/

The eventto occur in the evening at Museum London can be found here.http://londonfuse.ca/event/lola-2011-we-thank-you-we-party

Gathering of The Clans

2011-11-30T07:07:00.000-08:00

Sunday I worked at the Museum of Ontario Archaeology during the annual Christmas in the Longhouse event. Over the past few years, the museum has also hosted an exhibition showcasing Ontario’s first nation’s artists. This year there are three artists who are taking part in The Gathering of the Clans exhibition.

Amanda Aikens/Keewaydin Bizhikikwe: http://www.amandaaikens.com/

The emerging artist of the three Amanda Aikens, has just completed her BFA at UWO. She also holds a Goldsmith and jewelry diploma from George Brown College in Toronto. She is currently taking the year off from her studies to actually teach and involve herself as a positive role model in the community. Aikens works for CAMH, in their Fourth R program that helps “at risk” youth in realizing their goals and dreams. http://youthrelationships.org/ The Fourth R is a program that emphasizes the need for healthy relationships to be manifested in our lives. This work really signifies the sincerity and spirit in Aikens’ artistic practice. As she is an Anishinaabe/Metis woman, she deals with a strong diverse living situation with regards to place. Culturally and spiritually Aikens feels as though she is living in two separate spaces, the cultural spiritual space of her Anishinaabe ancestry and the modern western society of her Metis heritage. In her painting practice, she attempts to meld the two together to try to show the viewer how Aikens and other people from a multitude of heritages see and interact within their multiple environments. She creates humorous and poignant imagery that speaks to the natural and industrious worlds, and how they are intertwined. As I was unable to take images of her work, (thinking I could cut and paste from her website), ya, I’m not that skilled in flash copying : ) Please visit her website to see examples of her work. Or better yet pop by the museum, the show is on until late January. Aikens also holds workshops in stained glass making, jewelry and beadwork, Visit Amanda’s website for contact info and more on her ongoing workshops.

Ferguson Plain: http://www.nativeexpress.ca/fergusonplain.php

Ferguson Plain is an “Ojibway artist from the Aamjiwnaang First Nations community in Sarnia Ontario Canada.” Plain is a high school teacher of the Ojibway language and native studies at Wallaceberg District Secondary School near Sarnia.

To date, Plain has written and illustrated seven children’s books which have been published by Pemmican Publications of Winnipeg, Manitoba. These books share the cultural heritage and traditional storytelling of Canada’s first nation’s people with children and the adults who read to them : ) http://umanitoba.ca/cm/cmarchive/vol21no5/amikoonse.html

http://pemmican.websites.ca/Pemmicans-Catalogue.page?CategoryID=46603&CurrentPage=1&ItemID=180209

In Plain’s artistic practice he uses drawing and painting as the main form of expression. I was so fascinated by his works on show at the museum they are beautiful and so intricately woven. I was especially excited when he stated that his art practice is secondary to his life’s work of being a teacher and helping to educate young people in Canada. A wonderful and brilliant soul, we need more people like Plain in this country. Thank you Ferguson for all that you do!

You can reach Ferguson Plain at keewahdin1@yahoo.com You can view and listen to one of Ferguson’s stories on youtube

Leland Bell:

Leland Bell is Anishinaabe from the Wikwemikong Unceded First Nation on Manitoulin Island, Ontario, Canada. His Anishinaabe name is Bebaminojmat. He is Loon Clan and is a 'second degree' member of the Three Fires Midewiwin Society, a medicine society. Bell has his BA in humanities and an Honorary Doctorate in Letters. He is an artist, musician, student and teacher. (read his artist statement and bio below)

His art practice consists of showing and sharing the strengths and philosophies of his heritage. Considered of the second generation of woodland artists Leland Bell is an important figure in the Canadian art world. His works have been collected nationally and internationally, and are in collections around the world.

When Bell began to work creatively, it was very difficult to be a Canadian artist from the Ontario North. It was very hard to go through the art system as an emerging artist there were too many obstacles in showing work in public galleries. He began to promote his work more privately and through a larger framework of art enthusiasts and collectors instead of trying to fit his way into the gallery system.

This enabled Bell to reach a wide range of people, to notice his work and to share the spiritual messages from each piece on a more encompassing level of communication. The messages he paints are very important to the image. They are teachings and cultural stories from his heritage. His works continue to not only teach others, they are also a way for Bell to also continue to learn about his own traditional heritage.

Leland and his wife Lorie Bell have their own gallery on Manitoulin Island. You can contact them if you are interested in Bell’s work or if you are an artist interested in presenting your work there.

(I did scold him on not having a website yet, maybe someone can offer to make one for them wink, wink hint, hint)

Leland Bell Manitoulin Island, Wikwenikong, Ontario, PO Box 93, P0R 2J0 or by email: lelandbell@hotmail.com

Watcha Doin'?

2011-11-29T20:17:00.000-08:00

Just read the news! Jason McLean's Hugh Display Case at the Landon Library in London has a new show up, featuring work by ron rege jr from los angeles and amy lockhart from guelph. Visit the facebook page for more info! http://www.facebook.com/?ref=tn_tnmn#!/pages/The-HUGH-display-case/109353129154124

Five great events in London Happening this weekend!

Friday December 2 2011

Book Launch: The Reverse Cowgirl & Onion Man

At the Forest City Gallery
8:00pm

http://www.forestcitygallery.com/event/book-launch-reverse-cowgirl-onion-man

No. 18: In the CHIME HOURS or STONES and STICKS TELL TALES OF TIMES PAST

PARKER BRANCH 99.5 Stanley Street 6-9pm

http://www.facebook.com/#!/events/259183284131171/

Whitehorse: Melissa McClelland and Luke Doucet

The Aeolian Hall doors 7pm, show at 8.

http://www.aeolianhall.ca/events/whitehorse-melissa-mcclelland-and-luke-doucet

Saturday December 3 2011

Rock Lottery 2.0 - an FCG fundraiser @ apk Live

8:00pm

http://www.forestcitygallery.com/event/rock-lottery-20-fcg-fundraiser-apk-live

F&LS VOLTA Magazine Launch Party!

Cello Supper Club 99 King St, London, ON N6A 1C1

http://www.facebook.com/#!/events/261966910522065/

London to Berlin.... And back home again.

2011-11-23T06:20:00.000-08:00

Marla Botterill: http://www.marlabotterill.com/

Marla Botterill has spent six years volunteering and being a part of the Board of Directors at Forest City Gallery. Botterill is very interesting artist who even worked as FCG’s President at one point.

With a BFA from (sadly the soon to be suspended) visual arts program at Queen’s University in Kingston (http://oncampus.macleans.ca/education/2011/11/11/queens-suspends-fine-arts-program/), and a MFA from the University of Waterloo. Botterill works at Fanshawe College here in London, Ontario teaching painting and drawing.

With the support of the Ontario Arts Council National/International Artist Residency grant, and the Youth Mobility Visa offered from the German and Canadian governments, Botterill is currently in Berlin, Germany on a leave of absence from Fanshawe for a residency program at Takt kuntsprojektraum, Berlin http://taktberlin.org/residency/activities/2011/Marla%20Botterill.htm; in which she participated in this summer. I spoke with Botterill via Skype Monday afternoon to find out more about her experience in Germany, how her art practice has been transformed by being immersed in such a vibrant arts community, and what her intentions are when she returns home.

Marla Boterill, Hungry Henrietta, 2011

Before her leave, Botterill was working with puppets. Once she arrived in Germany and began her residency she began to incorporate her drawing and painting practice in with her puppet making. Her practice is to create imaginary and fictitious narratives that posit a multitude of identities upon her puppets. She has been very interested in the ways in which stories are told and how they take on different layers of meaning. Since being in Berlin, Botterill has become interested in medieval and early Northern Renaissance painting and is very much influenced by how these paintings told their stories. Through awkward relationships of scale, physical attributes to the paintings themselves, the use of patterning, the construction of tableaux and at times the presence of other worldly creatures there seems to be a sense of nostalgia for this type of narration in her work.

Marla Botterill, Bucktooth Billy, 2011 and two
installation views; one at TAKT and the other at Tamtam

Botterill has been using her puppets to create tableaux and expanded story-telling capabilities: “Puppets are surrogates of sorts they belong to the same malleable world as dolls and masks.” Botterill’s puppets are small, and seem to exist outside of our present world, they are other worldly, and are products of her imagination. She has created small clay props to go along with how they are to be positioned in a gallery setting, “They are small inhabitants of our space”.

Marla Botterill, Up Down Below, 2011

Botterill is not interested in trying to find truths, she is more interested in uncovering lies in our world, and she uses her puppets to further speak of how fiction, or of how lies function in our own “real” world. She does this through drawings that present the puppets in a 2d way, that are also in imaginary settings. When the spectator experiences the juxtaposition of the real and represented objects, there is room for dialogue and possibly confusion to grow. The line between imaginary and real worlds becomes increasingly ambiguous. This occurs on a more metaphysical level, a more secretive understanding to how art objects function. The sense of drawing and painting is always in a past context. They were executed, and completed and left on a wall for you to see the record left from the past. “A drawing is a record of a onetime experience. The puppets themselves are physical objects and yet they only exist in the present, they need to be moved and they need sound to function, they need to be manipulated. When they are positioned together for the viewer it becomes interesting. The drawing gives the information on the lives of the puppets, which are total fictitious stories, -- yet you see the real object in front of you, blurs the notion of reality and fantasy, questions arise “What is the fiction? What is the lie?”

Botterill hopes when once she returns home to London, she will meet people who are interested in collaborating with her on a puppet performance. For this she needs a puppeteer. Her puppets need to have different stories that can only come from collaborations with actors/puppeteers. She is interested in producing work that involves more of an improvisational performance, where there is more interaction from the public, that the puppets can keep changing, the narratives can become more improvised and open. If you are interested in collaborating with Botterill, you can contact her through her website http://www.marlabotterill.com/.

I also asked Marla about her experiences in Berlin, in terms of how the vibrancy of tons of creative people in one space plays out. And if she has any advice for other artists who want to also visit Berlin on the youth mobility visa. This is what she said.

“Berlin is a great place for emerging artists, especially for those who want to show their work and have their work seen. The community is large, yet it is very responsive to all artists, things get done. There are more alternative venues always popping up around the city, and they are very much open to experimentation. There are not a lot of hoops or red tape for artists to go through to try to get their work shown. Berlin is very supportive of their art communities. The possibilities are endless, and are enabled by the support of the artistic community and Berliners.”

Berlin is actually a very affordable place to live and work as an artist, slightly cheaper to the cost of living here in London. You can afford a big enough place to work and to live, and with the support of the exchange program that is offered, to young artists aged 18-35, it is a fascinating and life changing experience. If you can save up some money it is worth it to go.

The level of responsiveness and the amount of support is astonishing. Botterill wishes for London to take on more of the encouraging attitude she has experienced in Berlin. It would be interesting to see more alternative spaces popping up in London for our own very vibrant community. The limits on how many places are available for artists to show their work is difficult when you are an emerging artist. There are so many empty spaces in London it would be wonderful if there was more appreciation for the arts in the overall community, to allow for artists to enter into those spaces temporarily and create more involvement with the city. It is difficult for artists to understand the lack of appreciation by those not involved in the arts, for art encompasses their lives to such a degree that that it overshadows the nature of inattentiveness from other members of the community. We do not have a lot of traffic coming into the city, and the larger cities like Toronto, and Vancouver do not pay attention to the smaller artistic centers. It needs to be easier for emerging artists from the smaller cities, to show their work and to be included in the larger framework of the Canadian and International art world.

Botterill is very grateful for the support from Fanshawe College, by allowing her to take this leave of absence to further develop her own practice. She is also grateful for the Ontario Arts Council, Takt, and the Youth Mobility Visa. It has been an incredible experience. And I am thankful Botterill was able to talk to me and explain such an awesome artistic practice. Thank you SKYPE!

Botterill will be home by January 2012, and she is interested in hosting studio visits and pursuing collaborative projects incorporating her puppets. If you are interested in collaborating with her, you can contact Marla through her website http://www.marlabotterill.com/

For more information on the Youth Mobility Visa http://www.ottawa.diplo.de/visainfoyma

--- Jennifer Lorraine Fraser --- fcgintern.

Two more examples of Marla Botterill's larger scale drawing/mixed media works.
Left: Up Down Below, 2011

Right: Popsicle, 2011

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Make sure you visit the museum of Archaeology on Sunday for the opening of The Gathering of The Clans, a painting exhibition featuring three local first nations artists! I will be working there, and will be interviewing all three artists for next week's blog post! I am excited!!!

As well as the Gathering of the clans exhibition, there is the annual Christmas in the Longhouse event happening next Sunday!!

NEW Artist Talk - Jason McLean - Tuesday Nov. 22 2011-7pm

2011-11-17T14:38:00.000-08:00

Wow!! Just heard the news Forest City Gallery in conjunction with the Micheal Gibson Gallery is holding an artist talk with Jason McLean Tuesday November 22 2011 at 7pm

Artist Talk - Jason McLean @ The Michael Gibson Gallery

Tuesday, November 22, 2011

7:00pm at 157 Carling Street

Join us for a free talk by artist Jason McLean, presented by the Forest City Gallery at the Michael Gibson Gallery. Jason will be discussing his current exhibition at the Gibson Gallery and ideas surrounding the collaborative practices of London based artists.

For more information: http://www.forestcitygallery.com/event/artist-talk-jason-mclean-michael-gibson-gallery

Love, Life and The World of Alex Bierk

2011-11-16T07:37:00.000-08:00

In the world of images, there is a constant theme of glamourizing addiction or shining a light on vagrancy in a way that shadows the causes of such difficult lives. I use the words shining a light and shadow together in a very deliberate way, by making an image that is glossy and “fresh” when dealing with the issues of drug addiction and homelessness or mental illness image artists are actually neglecting the essential issues that should be present. Issues, for instance, that speak to the individual history of the person they are capturing, issues that should raise alarms in how governments and their institutions are handling the care of such people. Very human issues are not being addressed. These types of images play on our heart strings, or try to evoke an emotional experience that separates the “us” in people who can function “normally” in society vs. the “them”, the people who have been left behind, them who are “strange”. It is up to artists to do away with these barriers that constantly maintain the stigma of addiction as something that happens to “them” not “us.” This theme is one of importance in the works by twins Alex and Jeff Bierk. Last night I spoke with Alex to get a sense of his practice in order to share it with you.

Alex Bierk, Portrait Study Oil on Canvas, 17"x22" 2009

In his youth Alex Bierk’s father, acclaimed painter David Bierk, acknowledged the necessity to instill a strong work ethic in his son. This was manifested through teaching Alex how to paint.

“I grew up hanging around his studio in Peterborough with my brothers. I worked at his studio in the summers stretching and priming canvas, glazing paintings and helping out with whatever he was working on. Informally he had been teaching me to paint my whole life.”

By the time high school rolled around Alex was spending less time with his father in his studio, so as an incentive to stay focused David Bierk “would pay me by the hour to come in and paint with him; as long as I did exactly as he said. That’s how much he wanted me to paint. The first project he had me start was to paint 20 black and white portraits – of anyone, from any source, just to work.”

The result of these sessions was a body of work, created by Alex that was focused upon technique and a diligent work ethic. Through his father’s loving care and instruction Bierk gained skills that would reemerge later on.

When David Bierk passed away from Leukemia in 2002, Alex was devastated. This horrific event led Alex to begin to take a path towards destruction. Enabling this destruction was drug addiction.

Alex Bierk, Studio image with self portrait, 2011

In 2006, starting on the road of recovery from addiction, Bierk began to paint again. Bierk decided to focus upon creating images in his own fundamental way that had been encouraged by his father. A meticulous practice of hard work began.

“to further my abilities of painting with a grid as a technique, continuing to explore the process of turning a photograph into a painting. Breaking down the image as a whole and defragmenting it by focusing on one square at a time. I want the viewer to see the brushstrokes, even the different levels left from taping off squares as homage to the process. You see things not in their totality, but as they are; a shape, a line, a shadow, a value.”

One image that came from this period was the image above of David Bierk. When I saw this image I asked Alex if, by utilizing the seventies technique of photorealism, there was a sense of nostalgia and longing involved in the creation of this image.

“I chose to paint my father and his friend Dennis after getting clean in 2006. Before then I had always kept my subject matter at arm’s length. I was always drawn to those images and I came across them after we were going through the belongings at my father’s studio in Peterborough. They are intense images, they both look fearless, the lighting is dynamic... they are from a publication put out for the inaugural exhibition at Artspace (http://www.artspace-arc.org/), an artist run centre in Peterborough my Dad and friends started. There is definitely a sense of nostalgia there....It was the start of my dad's career opening up Artspace, he has the look in his eye like anything is possible… I love it.”

Alex Bierk, Pill Study and Portrait Study,
Oil on Iron Coated Paper, both 20"x27", 2011

This series led to the recent body of work Alex has been pursuing. After recovering a box of old photographs he and his brother Jeff Bierk had taken between the years of 2002-2006, Alex found his new subject matter. These images of experimentation that Jeff had taken in haste, or in exploration of the lifestyle they were involved in, set new ground for how Alex was to approach painting. At the time the photographs were taken, the interest was more on photographic technique as opposed to the subject matter it wasn’t until Alex recovered them that he saw just how intense the subject matter was.

As we see in the source imagery for Alex’s latest body of work, 1) a self-portrait of Alex, 2) Graffiti as Landscape; the backyard/alley view of his apartment in Kensington market 3) The drug dealer Dottie and 4) the coffee table of pills.

Once you are aware of personal drug addiction, images of the past tend to overwhelm you. They act as haunted reminders of a time that really is nearly impossible to reimagine. As a recovered alcoholic myself, (12 years sober) I can completely connect with this depth of loss and overwhelming difficulty of coming to terms with certain aspects of the past, through private imagery. It is a reflective process and a release of desperation, yet a grief of loss sets in, because you realize how non-present you were in your own life. Perhaps, (and this is just speculation) this enormous weight is what initially pushed Alex to paint the images. How Alex describes it is that it is almost like painting a dream, painting the life of a different person. “these images felt like a dream for me, they are interwoven in my memory – a lot of images of the past pop up in my mind they are those that help to keep me clean today” This personal reading of his work stems from listening to lyrics by Bruce Springsteen and to the three years Alex has spent working as an assistant to artist Kim Dorland. One project Bierk worked on as his assistant was a painting based on a dream Dorland’s wife had.

Alex Bierk and his life experiences can speak to many of us, and his strength of character is inspiring. Regardless of extreme traumatic difficulties in the loss of both parents and addiction he still is able to work in the manner his father instilled in him.
“I have now lost my mother, recovered from addiction, fallen in love, married (see image of Bierk's love Amanda Bierk below) and built a life for myself as a painter in Toronto since my dad’s death.”

What is currently of interest in Bierk’s practice is a lean towards the figurative side of things.

Alex and Jeff Bierk are fascinating artists. I think it is so incredible how grounded and confident Alex is when dealing with subject matter that is very hard to digest for most people. This type of practice is very necessary in the world. His paintings truly capture an otherworldly essence; one actually made me take a deep breath and sent shivers up my spine. It was an image of this strange man who always hung out at the Starbucks on Queen Street West in Toronto. This man didn’t seem that scary at first, yet one day he propositioned me to take money and marry someone who was trying to come into Canada. He was so super creepy, with such piercing dark spirited eyes. In Alex’s portrayal of Jeff’s photograph, I felt as though the stranger was actually looking at me again, preying on some part of my inner me. That is how powerful Alex’s work is, it affects you to the core and helps you begin to think about what really is going on within the mind of the subject being portrayed.

Alex Bierk, Ghosts, Oil on Panel surrounded by steel,
26.5"x30", 2010

We are fortunate to have artists like the Bierk’s in Canada, those who come from such a solid loving background and family. It is that strength and love that enables them to create great and significant work and to be sincere in their portrayals of issues that most would shy away from due to insecurities. Alex Bierk’s work is autobiographical in nature, and it is also very much dealing with social issues that we all encounter and need to acknowledge on a more transparent level.

Alex will be involved in a group show of young emerging artists working on paper, curated by Steve Roufas: 198 walnut avenue, Toronto, December 1st, (more will be posted here closer to the date). http://intellectual-property.ca/index.html and a solo show in the new year,

For more information on the work by Alex Bierk please visit General Hardware’s website here http://generalhardware.ca/artists/alex-bierk/ or you can contact Alex here alexbierk@hotmail.com

To see works by Jeff Bierk visit his website here http://jeffbierkphotography.tumblr.com/

--- Jennifer Lorraine Fraser

Watcha Doin'

2011-11-15T18:41:00.000-08:00

Watcha doin’

Wednesday, November 16

Artist Gathering at the Forest City Gallery 7:00pm - 10:00pm

Cup My Cake's Movember in the Spoke! 12-7pm

http://www.facebook.com/?ref=tn_tinyman#!/event.php?eid=256844924363800

Kent Monkman: Artist Talk, 8:00 P.M. Film Studies, University College, Room 84

http://mcintoshgallery.ca/programs.html

Sunday November 20:

Dr. Juan Suarez: Inside the Hispanic Baroque, 2:00 P.M., Von Kuster Hall, Music Building

http://mcintoshgallery.ca/programs.html

11.20 / 20.11 The IDP B-Day Fundraiser w/ guests & silent auction 7pm-2am

Ian Doig-Phaneuf is celebrating his b-day with a fundraiser and silent auction!! GO.

http://www.facebook.com/event.php?eid=220980497967499

Brendan Fernandes: Neo-Speak
Thursday November 24, 8:00 P.M. John Labatt Visual Arts Centre, room 100

Luxe, Vision and the Veil Between What is Real and Imaginary.

2011-11-09T07:18:00.000-08:00

Just before you read the post I just want to remind you of the artist talk this evening 7-10pm, at the Forest City Gallery with one of the artists from our most recent exhibition, Colin Carney.

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The past couple of months I have been diving into ideas of the neo-baroque, the sublime, what is beauty, the differences between what is modern vs. postmodern. My mind is a jumble of information and I have been trying to connect all of the theories and lectures that I have experienced into one complete whole. Which, I almost feel is a futile endeavor. Its equated to the big overall question "What is the meaning of life?"

Thankfully there are artists out in the world that create imagery that can enable further discourse in what all of the massive ideas stem from. I believe that art fuels philosophy, social criticism, art theory. Art is the language before our individual ways of understanding through symbols and signs we take on to describe meaning. Art to me is a necessity in life and the only thing that is pure and welcoming enough for a naive and inquisitive mind like my own. This weeks blog post deals with two artists Ana Čop and Conan Masterson, both working within themes of the imaginary, what is reality, how we experieince space visually and on a more sensory level. Though their works are extreme contrasts I believe that there are underlining concepts that prevail in each oeuvre. The themes of manipulation, the sublime, beauty and what makes us want to physically engage in our worlds. Ana Čop is an image artist working from Toronto and Conan Masterson is an instalation artist working from London.

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Ana Čop [ān'ə chŏp]

Perhaps: An inquiry into Metamodernism*

Born in Zagreb, Croatia, Ana Čop currently lives and works in Toronto, Ontario, in her beloved Parkdale, on the western side of the city. Čop is one of the most courageous women I know. Moving to Canada in the early 90’s to fulfill goals of living according to her own passions. In 2007, she decided to completely change her career and embarked upon a transformation into a photographer. Not just any kind of photographer, one that is brilliant and vibrant. Čop creates works that Speak to social politics, art and world history, fashion, luxe notions of presentation, modernity vs. postmodernity and identity issues.

Not many people achieve such a success as Ana Čop continues to do, when changing careers so dramatically. In 2008 Ana received a diploma in Photography Studies from Ryerson University and has been enrolled in their very competitive and challenging Image Arts program over the past year.

Ana Čop,
Reclining Nudes Here and Now, 2010

Čop’s most monumental work, thus far is her “Reclining Nudes Here and Now Series,” 2010 which won her second place The Sony World Photography Awards-Fine Art/Conceptual, London, UK, 2011. Her artist statement on this series is as follows:

“Exploring the tensions between classical notions of figure and ground, the series entitled Reclining Nudes Here and Now depicts a sensual, goddess-like female figure as an alabaster statue, set within the geometry and angularity of the modern city. The outsize figure, exuding female strength and endurance, is at once present and alien, as she searches for her place in contemporary society, a world of mass consumerism whose social values are reflected in concrete, glass and steel, creating juxtapositions full of tensions and ironies…

This project continues my exploration into states of beauty, desire and spiritual longing in a consumer-orientated world. The figure stands as a defender of the human qualities of life, containing nostalgic references to the past, and exemplifying ideals of harmony. Reclining Nudes Here and Now celebrates the integrity and values of the old world while commenting on the waste and self-indulgence of modern societies. It aims to provoke and to disturb the familiar components of desire and to alter our emotional states.

The loneliness of a world that fails to breed solidarity can be terrifying. This social isolation feels particularly devastating when it is the extreme opposite of learned norms and values. Ultimately, this brings back a long lasting question of belonging.”

To further Ana’s inquiry into modernism and the postmodern condition of today’s social world she has also completed a project “Debate With Clement.” 2010, which was a part of October’s Kentucky Bi-Annual Arts Festival, a subset entitled “Canadians Invade Louisville Kentucky” http://www.elevatorexhibitions.com/ a large scale photography exhibition. (pictured on the right of this image) “Debate with Clement” is a photographic dialogue with the ideas advanced by Clement Greenberg in his essay “Modernist Painting.”

“An exploration of how the beauty, which often finds itself in the most unusual places, is ours to perceive. It’s also about seeing and being aware of one’s surroundings and being in touch with it. It explores a pure aesthetics, a beauty that got unnoticed. Furthermore, it is a rejection of the naturalist representation.
My choice of subject comes from an intuition and is fuelled by my intimate relationship with my neighborhood and a desire to see it in the way not ordinarily noticed. I aim to transform my vision into images that are the uncommon in the common, by taking apart a pure concept from the object itself.
This project is focused on the experience I got by reading Clement Greenberg's essay "Modernist Painting" and by the understanding of modernism as a theory.
The series of photographs was shot on sites in the neighborhood of Parkdale, Toronto, Canada.
With this photographic adventure I aspire to demonstrate how the subject of photography can shift its meaning as an actual object and to become an abstract form.
The aim of “Debate with Clement” will be to provoke a viewer to find hidden beauty in their own surroundings.”

Ana Čop has now even begun to work with sculpture on a level of fine arts. Her previous training is in sculpture, but on a more consumerist/health production type. Čop is a visionary, and an incredible force. Her presence is like her photographs, they are honest and they relay such a profound depth that an analysis of her work would be a discipline onto itself.

LOVA, a re-appropriation/re-imagining of Robert Indiana’s iconic work from 1970 “LOVE” as well as General Idea’s “ImageVirus* AIDS” from 1988/89.

Playing with language, the world of commodities and what extents people will go through to get what they want. In Croatian, Čop’s native tongue, LOVA translates to cash, and LOV translates to hunting, Therefore this offshoot of the iconic works mentioned above, still deals with social issues, it literally translates to Hunting for $. As Čop states, this work references “What we are capable to do or what we have already done for our monetary gains – no matter what the cost to other human beings.”

Currently Ana Čop is working on a series entitled, “Love In Return.” A 21^st century approach to a gold rush mentality.

“This project will continue my exploration of our desires in a consumer-orientated world. The series titled “Love In Return” will comment on the individuals who are mostly obsessed by celebrities and brainwashed by the media, that are prepared to compromise that little bit more than I would ever be willing to do.

”Love In Return” is a project on gold-diggers; people who have earned their own fortunes, or are planning to, with the help of hefty divorce settlements and inheritances. The “ gold-digging” phenomena can also been seen as a question of who's using whom and it’s hard to distinguish if the winner is the one who has got the millions, or is it the one who got “love in return”. Ironically, it seems the `losers` are often the ones unaware of it.

Although historically, the fact was that for many women the only way to get wealthy was to marry well; I find it fascinating that after the feminist movement, when woman fought for equality and celebrated being independent, it has recently reverted to some of us voluntarily offering to be owned, and often degraded for access to wealth. Moreover, it seems as though in our era when equality is just assumed, there's more acceptance of the ones who are willing to sell their souls and bodies for wealth.

The “Love In Return” will be mostly about women, with a few exceptions, because even though the number of female millionaires has increased in the last five years (according to the Daily Finance Times), women still represent the minority within the ultra-elite group of earners, which perfectly makes them the majority of `hunters` for wealth in today’s modern society.
In addition, our society’s glamorization of greed makes “gold-digging” no longer seem perceived as a bad thing by some. Individuals admired for being smart are often not necessarily seen as clever. Dr Sheila Keegan, a psychologist who has been researching with 14-18 year-old girls in 2010, found out that they're openly aspirational about admiring wealth and admiring women who have married into wealth.”

And I must say that I am so extremely excited to see how this plays out! Ana Čop is a fascinating woman, and an incredible artist. We are so fortunate to have her here in Canada pursuing her passions. She is helping to raise the status of Canadian artists on an international level. I believe that she is encompassing the new theories just beginning to emerge on the notion of *metamodernism. A recognition that we have traversed postmodernity, the post modern –ism, and have found new trends in a historical approach when dealing with identity and understandings of the subject in our new age.

To stay updated with Ana and her art endeavors “like” her facebook group page here. http://www.facebook.com/pages/Ana-%C4%8Cop-photography/11073136055

· *“metamodernism asserts that the 2000s where characterized by the return of typically modern positions without altogether forfeiting the postmodern mindsets of the 1990s and 1980s.” http://www.madmuseum.org/events/no-more-modern-notes-metamodernism

· http://www.metamodernism.com/

To read more on Ana Čop: http://www.theglobeandmail.com/news/arts/article1889184.ece

http://www.capic.org/search.html?s=member&id=MjQ4Nw==

Ana’s website is being updated: Here is her old site. http://www.anacop.ca/

Awards:

2011
*Honorable Mentions in Fine Art category, IPA, Los Angeles, USA
*second place @ The Sony World Photography Awards-Fine Art/Conceptual, London, UK
*nominated for the L'Iris D'Or Sony World Photography Awards Photographer of the Year 2011, London, UK
*PDN Photo Annual Winner, New York, USA
*SNAP!Star winner @ The SNAP! 2011
2010
*Hamish Kippen Excellence in Arts Award Toronto Canada
2009
*Honorable Mention Winner Of IPA 2009 in Fine Art Los Angeles, USA
*Honorable Mention Winner Of PX3, Prix de la Photographie Paris, France
*Jim P. Shea Memorial Award at SNAP!09 Toronto, Canada
2007
*Ryerson University Award for The Best Overall Submission Chang Photo exhibit Toronto, Canada

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Conan Masterson

Conan Masterson graduated from the University of Western Ontario’s Masters of Fine Arts program in 2007, http://alpha.lib.uwo.ca/record=b4533295 her thesis was Kaleidoscopic: The Neo-Baroque, hyper real and the grotesque. Masterson was a previous board member for the Forest City Gallery as the gallery’s program coordinator, and is still a member of the gallery. This past summer, Masterson found herself in a residency program near Cornerbrook Newfoundland, at the Full Tilt Creative Center http://www.fulltiltnewfoundland.com/ thanks to the great support from The Ontario Arts Council Emerging Artist Grant. I had the opportunity to speak with Conan yesterday and I wish to share with you her remarkable practice.

Conan Masterson, 3way view of Kaleidoscopic, 2007

As her thesis title portrays, Conan works within the neo-baroque. A world of illusion, where possibilities abound, in which the spectator is invited into an environment that affects the individual’s sensory experience on numerous levels. The world of illusion that Masterson has been immersed into over the past few years is the world of the carnival. The carnival and its landscape by the point of view from the performers the space that is vacant from the spectacle. Once it is night and the lights from the big top are dimmed after the last guest has left, the box office is closed and the real magic begins. An imaginary fiction is underway.

Masterson works intuitively and within a process oriented practice. She takes space and transforms it, so that there is a dialogue between the space, the materiality of the installation and the spectator. Earlier in her career this manifested as how the spectator moves through the environment and how their presence changes the dynamics of the room.

With her thesis work, she had transformed the Artlab, in the John Labatt Center for Visual Arts into an abyss of absurd darkness. The entrance invited the spectator to stop and take a deep breath before entering into the cavernous atmospheric environment, in which she had installed a multitude of anthropomorphic sculptures made of felt each at 9 feet long. “It is an ever-shifting entity that blurs the lines between the real and the imaginary.” The real is in the ways in which the spectator moves through the space, interacting with the hanging objects, or how they maneuver around the ones placed on the floor. The imaginary is in the affect and how this type of experience takes hold of the senses of each individual. Inferring upon them a questioning of what they think is their own reality.

After graduation, Conan found herself installing in Calgary. A window display work that dealt with what she calls the “Who sees Whom game?” Acting like the ringmaster of a circus, removed from the work. Masterson created an installation that reacted upon notions of vision, overwhelming qualities of the grotesque and how one incorporates their surroundings into an overall understanding of space. Peep Show was an installation of 550 felt eyeballs, hanging sporadically inside a window display case on a well-travelled path within Calgary’s transit system. Incorporated were ideas of repetition and happenstance, as affects of feeling and of astonishment, to counteract the “cuteness” of the material.

As I mentioned above, Masterson’s latest progress of art creation brought her to Newfoundland. She entered into the residency program, at the Full Tilt Creative Center in order to shed new light on how she can approach art making. By a need to get away from the familiar, Masterson fully engaged with the new majestic surroundings. She has begun to incorporate ideas of robotics into her work, and believes that this is a natural transition from her earlier installations.

In Newfoundland, Masterson created an environment, See Anemone, 2011 that used motorized electronics to further a connection with how movement is manifested within a space. Creating an interaction with the work and the spectator, not only as how the spectator manipulates the space, yet also how the work itself manipulates the allowed space for the spectator to enter into. A dialogue is set up that is triggered by the spectator in communication with the objects, their place and their presence within the manufactured landscape. Intuition is still a great factor of Masterson’s relationship to her creations, the jellyfish became one through her common themes of using trial, error and happenstance in creating an involved environment. Conan is now beginning further investigation into robotics and electronics.

Conan Masterson, SeaJabDig (3way view), 2011

Conan Masterson is interested and open to engaging in intimate studio visits with the public, you can contact her here. cmaster3@gmail.com

Conan Masterson, Studio Explorations; 1,2 &3, 2011

FCGIntern: Jennifer Lorraine Fraser

Creative City

2011-11-02T08:18:00.000-07:00

This Friday, November 4^th 2011, London will have two exhibitions opening.

One here at the Forest City Gallery, 7pm-10pm “Here, Then and There”: Colin Carney http://colincarney.com/blogging/august-2011-thoughts-about-space-and-circumstance/ and Ian McLean http://www.ianmclean.ca/Home and the other at The Michael Gibson Gallery http://www.gibsongallery.com/, 8pm-10pm.

Both are exhibits showcasing London, Ontario and area artists.

Here, Then, and There

The Forest City Gallery 258 Richmond Street London Ontario 7-10pm

Colin Carney (Red Head Gallery) and Ian McLean (Gallery Moos, and Loop Gallery) seem to be living paralleled lives to one another. Until last Saturday for the installation of their collective show, they had never met, which I noticed almost as an impossible fact after seeing their work in the same space. Both studied fine arts at the University of Guelph, both are educators, Colin currently on staff at UWO in the printing department and Ian teaching art at a local high school in Sarnia. Even their individual works speak to one another in ways that I’m sure will even transcend this particular show. Their rapport with one another, seemed almost like a meeting of old friends, coming together after some time apart and beginning where they left off in a long lost conversation. There are definite narrative streams that seem to connect each piece with the other.

Not to influence any other ideas on the show or their individual working themes, this is purely my own experience with both bodies of art within the same space. I tend to think of Colin’s work having to do with an individual’s memory of place, as the initial images are from an actual place of refuge he has been visiting since he was a child and his theoretical practices stem from an inspiration by Jack Chambers. (And here is where my interpretation may get the better of me…) in relation to Colin’s work I see Ian’s more like nature’s memory of man, or humanity. Some places Ian represents are true architectural places in time, a time where suburbia was considered near to a utopian ideal, other scenarios are imaginary. There is an initial warmth, or inviting nature about the paintings, yet once you spend time with the space that they are depicting you feel a sense of unease or for a different example, you see the work initially and it reminds you of images from a collective memory, something that you think you know and then a moment happens and you realize you really do not know much at all. Like Socrates has been said to have said “The only thing I know is that I know nothing?”

I asked both Colin and Ian, separately, their opinions on the show: “How do you think your two bodies of work go together, now that you have installed?” And “Does anything surprise you with the pairing of your practices together?” This is what they shared with me.

Ian Mclean Insertion, 2011

Ian McLean: It is exciting and fun to be paired up with someone you have never met. It really shows a faith in the curator. It adds to the excitement to meet other artists and to see how two disparate approaches to image making can work together. It is interesting that both, Colin and I are working with exterior environments. Dealing with similar themes as time, place, memory and longing, and in both bodies of work it is difficult to actually pinpoint a time period being depicted. (On Colin’s work, and how Ian’s work seem to be in dialogue) Colin is prescribing a great reference to the past by using a contemporary medium, hovering between formal elements and feelings of utopia- or of a sense of the sublime—attempts of the sublime are incorporated in both series and there is a definite notion about the struggle with nature.

Colin Carney White Noise, 2010

Colin Carney: “The multi-layered digital images stem from a video project that was inspired by Chamber’s “Hart of London”, like Hart it was exploring authentic things, themes of family and community, this work operates on a similar level, using multiple layers to evoke wonder in each work and using wonder as a unifying element throughout the series. (On Ian’s work and how it relates to Colin’s) Both bodies of work are concerned with a kind of sentimentality and effect on place. Interests seem to be on nostalgia, (this of which is an undercurrent of all of Colin’s work) Nostalgia seems to be front and center in Ian’s work. Both are dealing with elusive narratives, clearly there is storytelling involved. Storytelling as open-ended and invites the viewer to participate.

Colin Carney will also be giving an artist talk at the Forest City Gallery Wednesday November 9 2011 at 7pm. For more information visit our website or the facebook event page here. http://www.facebook.com/event.php?eid=311056482244908

Not Bad For London:

Michael Gibson Gallery 157 Carling Street, London, Ontario 8-10pm

A group of artists who have been working together, or have been aware of each other and their individual art practices since the early 90’s are having a show that really brings back the notion of London Ontario as a home base for a great creative spirit. I think that their press release and information they sent out to the wider community of London is so well informed that I am just going to paste that up. I really couldn’t say anything better than that. Not bad for London is curated by Jennie Kraehling and for more information contact The Michael Gibson Gallery. info@gibsongallery.com

Marc Bell http://marcbelldept.blogspot.com/
James Kirkpatrick http://www.jameskirkpatrick.org/artist/
Amy Lockhart http://amylogheart.blogspot.com/
Jason McLean http://www.jasonmclean.ca/
Jamie Q http://jamieq.net/
Peter Thompson http://londonfuse.ca/flickr/50-dollar-drawings-local-mastermind-peter-thompson
Billy Bert Young http://billybertyoung.com/index.php?/project/collages/

“The title Not Bad For London is based on a Jason McLean drawing where a lone tree sits next to a forked river called The Thames. The tree has big googly eyes and a flowing head of hair. But, most importantly, the tree has roots.

Living and working as an artist in London can sometimes have its challenges. We are situated between the dynamics of Toronto and Detroit, in a city where Greg Curnoe, Paterson Ewen, and Jack Chambers became national icons. Perhaps, then, it is the history, and the fact that London is a challenging place to live, that so many artists have chosen to work and stay.

Not Bad For London celebrates a group of young artists who acknowledge this past, but have forged ahead, creating their own identity and relevance. These seven artists are multi-dimensional; they draw, paint, sculpt, make films, installations, zines, and sound art. Working alone or together in collaboration, their art creates an imaginary world based on the places they visit, the colours they see, and the noises they hear. With this exhibition, you are invited to discover how each artist uses their own and their shared experiences to reflect the world in which we live.”

A few other pieces of information you may be interested in are:

Amy Lockhart will be screening films the day of the opening and also throughout the time for the exhibition. http://www.gibsongallery.com/exhibitions/not-bad-london

Make sure you visit City Lights Bookstore @356 Richmond Street, London Ontario, to see the constantly changing Zine exhibitions by Jamie Q in her Teenie Weenie Zine Machine

Jason Mclean also curates a rotating exhibition space in the Fred Landon Library, at 167 Wortley Road London Ontario, The Hugh Display Case http://www.facebook.com/pages/The-HUGH-display-case/109353129154124?sk=info is on view during the operating hours of the library. Tue - Thu: 9:00 am-9:00 pm Fri:9:00 am-6:00 pm Sat:9:00 am-5:00 pm

The Dimensionality of the Title

2011-10-26T05:22:00.000-07:00

As I have mentioned in previous posts, my return to London has been one of the best things to happen to me in life thus far. This is primarily due to the positive energy and embracing nature within the arts community. As I left Toronto, slightly jaded, heart torn and shocked by the contemptuous and cunning nature of its own social networks, I was worried about what was to come to my passionate affair with the creative world of which I was exposed to. What has happened is that my love for the art world has actually blossomed. The passion I felt when walking through the large doors to the AGO on a weekly basis, has now become a feeling I experience day to day. My thanks is to the beautiful festivals I attended over the summer and to the entire community of which is The Visual Arts Department at The University of Western Ontario.

Walking through the halls on a daily basis, always with a return of my own smiles by fellow students and faculty, truly lifts my spirit in ways I never really realized could be.

One student that has stood out for me is my fellow museum studies classmate, Solafa Rawas. I actually met Rawas this past summer, first at one of the main stages for the Car Free festival and again during Sunfest. As I shared dances with her friends, right up close to the stage for a Cuban band Sierra Maestra, I couldn’t help but notice her great presence. She has a powerful, silent and grounded nature that produced a louder affect than the music that came from the stage. Now that I have been introduced to her art practice, I can honestly say that this powerful silence is encapsulated within each work.

Solafa Rawas, طريق كفر

Solafa Rawas is a Canadian/Saudi Arabian, born in Ottawa Ontario. At the age of ten, Rawas moved from Canada, with times spent in Lebanon and Egypt, eventually settling in what she considers her home, Jeddah, Saudi Arabia. After leaving high school, Rawas immediately entered into a practical medical program to become a doctor. Five years were spent in this training, and by the end of it, Rawas began to think that there were other ways in which to help the community, not only by a medical practice, she began to consider pursuing work as something that would or could enable her to connect with other members of her community on a more metaphysical level.

Rawas returned to Canada, and began to study at UWO. For the first couple of years, she was expanding her outlook on educational opportunities, by taking on a multitude of different disciplines. It wasn’t until her enrollment into a sculptural and installation class that her desires for education really became understood. Now in her fourth year of a bachelor of fine arts Rawas is considering what to do next. Her goal or dream now is to find a school that offers a multidisciplinary focus, within a Masters of Fine Arts program. She has applied to numerous schools in Canada and to Yale in the US, hopefully to continue her focus upon the sculptural form. Once her education is completed at the higher levels, and having created an identity, an influence in the international art world and market, Rawas hopes to return home to create public arts spaces that enable a pedagogy that assists other young students in realizing more abstract goals. Rawas hopes to teach other young women that there are many different opportunities for them in the world, and it takes an educated outlook and a passion to fulfill their own dreams.

Rawas currently has two works on display, in the visual arts building at UWO. One piece entitled in Arabic, طريق كفر is on display in the concourse gallery. A large green rubber work with embedded tire impressions, draped dramatically down the wall, from a protruding metal frame. The other work, also incorporates the aesthetic of the tire impressions, but is a wandering piece.

Solafa Rawas, 2011

As Rawas described, “a performance piece without an audience, an after effect of the performance, when alone in the school she performs this piece and leaves the traces of the performance as a sculptural work for the audience to contemplate. So far it has traveled around the school four times. Black in colour, and with footprints that encircle it, it is a very haunting work when one comes upon it, a powerful silent nature. There is so much more going on within the framework of her practice, regardless that her works infer her own life experiences they are not to be considered as auto-biographic. I personally think that they should be thought of in terms of a secret poetic message for which the audience is individually, encouraged to read.

To see Solafa Rawas' work as well as the other work by students in the practicum program this year visit the exhibition ONE TO ANOTHER (PARTS I & II) in the concourse gallery of the John Labatt Visual Arts Center for a list of the students visit the website here: http://www.uwo.ca/visarts/

Jennifer Lorraine Fraser ---FCG Intern---

Watcha Doin' October 25-31 2011

2011-10-25T19:11:00.000-07:00

Kind of like our own "Save The Date" post, inviting you to be our ghoulish dinner dates Monday eve.

Join us for dinner, treats and games at the APK Live, 340 Wellington Street, on Monday, October 31 from 6-8 pm. Start your Halloween Celebrations with us and dress up.

Please dress up!! I will if you do : )

Talks in conjunction with Barroco Nova exhibition at McIntosh Gallery:

Dr. Laura Petican: Contemporary Italian Art and the BaroqueWednesday October 26, 4:00 P.M. Film Studies, University College, Room 84
Laura Petican is an art historian specialized in post-war and contemporary Italian art. She is currently SSHRC Postdoctoral Fellow at Western's Department of Visual Arts, where her research focuses on “baroque-centricity” in contemporary Italian art.

Visit their website for more speakers to come in November:
http://mcintoshgallery.ca/programs.html

David Rovics: Songs of the Arab Spring, the Freedom Flotilla & More

Wednesday October 26 6:30-8:00
King's University College226 Epworth Ave

http://www.facebook.com/event.php?eid=303251286356924

WEDNESDAY: Bad Vibrations // Young Wife // A Huron Union (PWYC)

APK Live 9:30-12:30

http://www.facebook.com/event.php?eid=267432453278008

THE SLACKERS 20th Anniversary Tour Thursday October 27 CALL THE OFFICE 9pm - 2am

http://www.facebook.com/event.php?eid=163054870438515

Friday October 28th
No.17: Speed Flex Fibre Face @ Parker Branch 99.5 Stanley Street London, ON
http://www.facebook.com/event.php?eid=154056901357585

Devil's Night at Museum London

9pm-2am Friday 28th 2011

http://www.facebook.com/event.php?eid=154413504653410

Get your tickets to London's best Halloween party. Museum Underground has a jam-packed night planned at Museum London with our biggest line up of live music and events yet!

Live Music:
Sandro Perri (Post-rock/ electronic)
Sad Skeleton (Dance-rock)
Lonnie in the Garden (Indy-folk)
The Riderless (Instrumental, psychedelic)
A Person Disguised as People
DJ Forty Dollar Martini

Plus:
Mask-making Art Party
Sound art collective Audio Lodge
Halloween-themed Poetry Slam
Gallery tours

Best costume prizes:
$200 VIA Rail Canada voucher
Day Backpack from Novacks
Dinner for two at Windermere's Cafe

Cost: $10 per person
http://museumundergrounddevilsnight.eventbrite.com/

Okay, as the little cartoon critters said that's all folks.... unless you know of anymore events I can add here this week. Please post a comment below. I've deactivated the do not allow anonymous posters, so you can post without having to disclose who you are. : ) JLF

Sacred Space, Bernini and The Women Who Love Him

2011-10-19T07:20:00.000-07:00

This week’s blog post will be an exploration of sorts, a kind of writing exercise that may not at first seem coherent. Plus I need some play with words, as I am becoming somewhat overwhelmed with all of the assignments for school. Shhhh!! Don’t tell.

In my private life, I write ‘bits of writings’ as I like to call them. They do not follow a set poetic path or grammatical structure, nor do they really fit into some sort of concept of time. Maybe one day I will post something up, if you all desire. Today I am going to talk of A magical manifestation of spirit that happened to me this weekend.

In my own words. With my own sense of storytelling direction.

Saturday morning, before heading out to our dear Forest City Gallery, I was searching on line for an article that my aunt Barb O’Brien wrote for “Synchronicity Magazine”, on Sacred Spaces. (see pic – as I was writing this I remembered I actually have a hard copy) The morning turned into afternoon and I had completely forgotten that I had been searching for it.

I attended the panel discussion for the Barroco Nova exhibition. Panelists were curators Susan Edelstein and Patrick Mahon, as well as artists Richard Reddaway of New Zealand (http://rreddaway.wordpress.com/), Lee Anne Trewartha of Australia (www.leeannetrewartha.com), and London’s own Kelly Wood (http://www.ccca.ca/artists/artist_info.html?languagePref=en&link_id=1844)

The discussion was fueled by the ways in which contemporary artists work with and play with transcending the historical baroque, Neo- Baroque work that infers to the historical yet has legs of its own. It was fascinating to listen to, unfortunately due to potential plagiarizing problems with assignments I am working on in school, I cannot write much more here.

What I can tell you is about the metaphysical occurrence that spoke to my own life, an experience of synchronicity or perhaps coincidence. Which I assure you is so tough to write out let alone make sense of. So I will leave it for you to decipher and if you come up with anything please let me know. : )

Before the talks began, I was standing just outside the door and unbeknownst to me spoke with Lee Anne Trewartha, who was to share her work. Through our conversation I found out that she lives about 20-30 minutes away from where my biological father is from, of whom I am searching for information, primarily for physiological and pathological histories. She has in turn offered to do a little investigation into my family there.

We enter into the room, I have a seat and the talks begin. Twenty minutes later Lee Anne takes the podium.

She starts by circulating two sealed containers, describing that what we were about to hold in our hands was air from two locations, The first being a mall in Australia, and the second the air from her local church, offering an insight on the ways in which we “shift our thoughts from the mundane to the heavenly.” How we experience sacred spaces.

Yes, there is that formation of words again… Sacred Space, I was jolted upright, remembered how I was searching for close to an hour earlier on just those words. Holding onto a tiny container that had air from the land of my biological father, I felt uplifted. “Did Ken ever?” “Do I have cousins who have entered into the space of which this air was from and breathe it in?” I very nearly did not want to pass it along, I wanted to sit there holding the tiny object and imagine.

Lee Anne Trewartha, Covenant, 2011

LeeAnne Trewartha, who is currently working on her PHD in fine art at La trobe University in Australia, works with ideas and concepts that are in dialogue with how Gian Lorenzo Bernini (1598-1680) created his spaces and sculptures for the spectators. To help the public to contemplate the heavens, “the permeation of the heavenly”, to feel a real connection of spirit in a space, Bernini transformed the everyday prayer rituals into one of transcendence by creating a new innovation in art, called “the Bel Composto, Beautiful Whole.” As Rudolph Wittkower wrote, “Bernini’s statues breathe, as it were, the same air as the beholder, are so “real” that they even share the same space continuum with him.” Through our breath, and the air in the space surrounding Bernini’s works, people can achieve a heavenly uplifting peace, to as shift our thoughts from the mundane. Bernini also used light in very specific ways to help with this spiritual uplifting when experiencing his works. Wittkower translates this experience, “The directed heavenly light, sanctifies the objects and persons struck by it and singles them out as recipients of divine Grace.” Trewartha’s studio practice works within the idea of the bel composto, utilizing it as an interweaving of mind, body and spirit, of that of the artist and the spectator. Questioning whether “spectacle stays with us, or does it affect the spirit of the individual?”

Now it is time to rewind a few years in an attempt to describe how in awe I was sitting there listening to her descriptions of her work. All I could think of was Bernini has his hand in this somehow, that silly guy.

Gian Lorenzo Bernini
Italian, 1598-1680
Corpus, around 1650
bronze
Height: 174.0 cm (68 ")
Gift of the Murray Frum Family, 2006
Photo Copyright: Salander – O’Reilly Galleries / Maggie Nimkin.
Collection, Art Gallery of Ontario, Toronto

You see every shift I volunteered at the Art Gallery of Ontario, I would walk past Bernini’s Corpus, I would say a prayer, or sit with him for a few minutes. Just allow my mind to be open and wish wish wish. I did a lot of wishing with him. My life changed for the better, I experienced so many transformations in life, of spirit and mind that I secretly attribute to those moments with him, sharing the same air. The last time I did this was in September. Not to sound flakey I just truly believe that my meeting Lee Anne has some sort to do with how we experience Bernini’s works. She herself has had many otherworldly experiences, when researching for her thesis. Could it be that by breathing the same air, and praying with Gian Lorenzo Bernini’s works, we still are able to transcend space and time? Or could this just be a case of synchronicity? If so is there any difference if it is one or the other?


Gian Lorenzo Bernini (1598-1680),

I am elated and puzzled. I cannot wait for when two of my classes go to visit the AGO next Friday, I’m going to have a little conversation with Bernini’s corpus, I assure you. Problem is he never physically talks back.

http://www.museumsyndicate.com/artist.php?artist=296

Jennifer Lorraine Fraser

Watcha Doin' October 19 - 25 2011

2011-10-19T07:00:00.000-07:00

Artist Gathering tonight at the forest city gallery 7 - 10:30

http://www.forestcitygallery.com/

Mark Lewis Lecture, Thursday October 20 7pm as part of the Art in the Public Sphere Speaker Series at UWO.

http://www.uwo.ca/visarts/

Tim Brady's 24 Frames with the UWO Student Quartet Friday October 21st 7:30pm

http://www.londonmuseum.on.ca/news:64

Barroco Nova: Neo-Baroque Moves in Contemporary Art

2011-10-13T13:45:00.000-07:00

http://www.barroconova.ca

I had the chance to sit down with Susan Edelstein, one of the busy curators behind the "Barroco Nova: Neo-Baroque Moves in Contemporary Art" exhibition . Scheduled to open tomorrow night this multi-venued exhibit is one the largest, collaborative art exhibits ever to be shown in London, Ontario.

The Gala Opening event takes place Friday October 14, 2011; beginning at the UWO campus. Doors open at the McIntosh Gallery at 5PM, and then 6PM at the Artlab Gallery, also located at the UWO campus in the John Labatt Visual Arts Centre. There is free parking next door to the John Labatt Visual Art Centre. Speeches commence at the Artlab at 6:30PM and will include; Michael Milde (Acting Dean of Arts and Humanities), Joy James (Chair of Visual Arts Department), Ted Hewitt (VP Research) and Professor Juan Luis Suarez (Dept. Modern Languages). Starting at 7:30PM there will be free shuttle service to Museum London ( 421 Ridout Street ) where more speeches will take place with words from both curators, Patrick Mahon and Susan Edelstein. Refreshments will be served at all locations.

I spoke with Susan Edelstein in order to share with you an overall gist on what to expect with the exhibition, to relay the excitement of such a monumental event to members of London’s community. A show on such a grand level has never been experienced in London and I’m sure it may seem overwhelming, especially when you go to engage with the works on display. Hopefully what I am about to share with you ignites a similar awe and excitement that has been felt throughout the corridors and classrooms of the various departments of UWO’s Arts and Humanities faculties.

The exhibition stems out of a larger international project initiated in 2007 by Juan Luis Suarez who is responsible for spear-heading the research grant from the Social Sciences and Humanities Research Council of Canada (SSHRC) http://www.hispanicbaroque.ca/ . The Hispanic Baroque project includes a large conference (also taking place this weekend in London) and “is bringing together 35 multi-disciplinarians from throughout the world... to consider ‘baroque patterns’ that can be found in cultural systems”

In 2009, Professor Suarez thought that it would be important to include an exhibition speaking to art practices in conjunction with the conference, and so he approached Professor Patrick Mahon of the Visual Arts Department to curate an exhibit. It was Patrick Mahon who then in turn invited Susan Edelstein to join him as the co-curator of the exhibition. And that is the birth of Barroco Nova: Neo-Baroque moves in Contemporary Art.

In 2009, after the initial invitation was given Mahon and Edelstein started to review contemporary artists works in Canada, locally and nationally, and then expanded their scope to include international artists. With over 40 artists being considered Mahon and Edelstein had to put their curatorial investigation into practice, to see which works were feasible to put into the show at the various venues in London. Eventually the works and artists were narrowed down to 18. Edelstein explained that curatorial work is not always a matter of what the curators “like or not like”, but must involve realistic issues concerning cost, fragility of work, shipping details, weight of pieces and so on. "You have to think about how the works will relate to one another once they are all in the gallery together. One work that had been chosen proved to too heavy, making it impossible to be carried up the stairs inside the McIntosh Gallery. There was also concern over the extreme weight of the work damaging the floors of the heritage building where the gallery exists. The choices were also narrowed down from which pieces literally fit into the spaces available and to which fit in a theoretical framework along with other works. Questions of whether an art work actually works in the context of the exhibition, as well as which art works set up coherent dialogues with one another, in other words, which pieces make the most sense when put in close proximity to each other, are all part of curating.

The theoretical unification of the show is “how all of the artists have pushed concepts and ideas from the Everyday beyond mundane boundaries" and how they have “pushed beyond what is literally in front of the viewer, forcing them to think about how it reflects in their own lives".

This leads me to the issue of how art galleries can seem intimidating or inaccessible to patrons who are not primarily examining or involved in the art world, as perhaps an artist or person with an art historical background would. This exhibition has many levels of interpretation that it is accessible to a wide variety of interests. “The pieces are not overly simplistic... they are informed by theoretical issues ...” . Many artists have used humor to portray their overarching concepts.

So come join the excitement that we have all been feeling over the past two years, and feel the energy that comes from experiencing a very large and momentous conceptual project come into physical reality!!

YAY!!! See you all tomorrow night.

And on Saturday October 15, 2011 starting at 3:40PM at Museum London there will be a panel of speakers; our two curators Patrick Mahon and Susan Edelstein as well as a keynote address by Josee Drouin Brisebois, curator of The National Gallery of Canada.

McIntosh Gallery Art Lab Museum London

September 30 to October 14 to October 8 to

December 17, 2011 December 16 2011 January 1 2012

Site 1: The ArtLab (UWO); Site 2: The McIntosh Gallery (UWO) and Site 3: Museum London. Each site will be the focus of one or more of the specific sub-themes represented in the overall Barroco Nova: Neo-Baroque Moves in Contemporary Art exhibition.

Site 1 Urbanspace features works by Jeremy Drummond, Rhonda Weppler, Trevor Mahovsky, and Jin-me Yoon.

Site 2 Surface/Other will feature works by Brendan Fernandes, Kent Monkman.

Site 3 The Fold and Possible Worlds will feature works by David Altmejd, Shary Boyle, Allora and Calzadilla, Kathy Slade, Luanne Martineau, Brendan Tang, Bitter and Weber, Kelly Wood, and Diana Thate

For all the bio’s on the artists participating along with information on the show visit http://www.barroconova.ca/

For more information on the Visual Art Department of UWO http://www.uwo.ca/visarts/index.html

For further reading visit the website of The London Free Press http://www.lfpress.com/entertainment/2011/10/12/18816336.html to read the article written by Kathy Rumleski

Watcha Doin' October 11-18 2011

2011-10-13T08:19:00.000-07:00

www.barroconova.ca

I am not sure if you know that there is also a huge international conference, "The Neo-Baroque Revisited" taking place in London starting this Thursday October 13 and going through the weekend until Saturday October 15, 2011. http://www.hispanicbaroque.ca/ . In conjunction with the conference is one of London's largest collaborative exhibitions that has ever taken place with three major institutions. "Barroco Nova - Neo-Baroque Moves in Contemporary Art" opens tomorrow, Friday October 14th at Artlab and McIntosh Galleries, UWO and Museum London www.barroconova.ca

VASA is art crawling and you can join them, Friday October 14 5pm-1am, ending at the APKLive for a get together. http://www.facebook.com/event.php?eid=284981874853108

Knitting and Stitching @ The Forest City Gallery Wednesday the 12th 7pm-10pm http://www.facebook.com/event.php?eid=134365909994027

Thursday October 13 10-1am, So Young, Reversing Falls, Spaceslave @the black shire pub http://www.facebook.com/event.php?eid=205429159523155

In Toronto: Tatjana Hutinec Art Show Opening Reception http://www.facebook.com/event.php?eid=133914113372774

Thursday October 13 5pm-9pm

Visit her website here http://www.tatjanahutinec.com/ An incredible Canadian/Croatian artist living in Toronto since 1990.

Saturday October 15 9am - 2am CALL THE OFFICE ELLIOTT BROOD w/ ONE HUNDRED DOLLARS

Monday October 17th 3:30pm - 9:00pm Our Street Forum Committee Wolf Performance Hall, Central Library.

Do you care about our streets?
Do you think London could be more pedestrian and cycle friendly?
Are you looking for ways to get involved in Active Transportation?

On October 17th, the London community is invited to attend the Our Street Community Forum at the Wolf Performance Hall, London Public Library.

Active Transportation experts Dr. Rodney Tolley and Dr. Jason Gilliland will highlight the vital importance of people based street design and participate in a panel discussion with representatives from the City of London, community groups and concerned citizens focusing on opportunities for tangible and concrete local action.

For more information visit: http://www.facebook.com/event.php?eid=144258409004109

And please make sure to visit the blog tomorrow Wednesday and on Thursday, I'm writing two blog posts this week!!! I'm meeting with my professor and co-curator of Barroco Nova Thursday to ask her questions about the show opening on Friday!!! Very excited. If you have any questions you would like for me to ask her email me fcgintern@gmail.com or jenniferlorraine33@gmail.com.

See ya'll so soon!! Jennifer Lorraine

London's Hidden Gem

2011-10-11T22:24:00.000-07:00

I am going to be writing two blog posts this week. For the first, today I will be sharing with you one of London Ontario’s esoteric artists. This artist is also a dear friend of mine,

Colin Giffen has been a part of my heart for over 2 decades. I have lived in London on four separate occasions, when I was 10, 14/15, 20-23 and now in my 30’s. I met Colin the second time I lived here. We were among a group of very creative and inspiring souls!! Ours is a kind of friendship that doesn’t need defined boundaries of expectations, it just is. No matter where in Canada we have found ourselves, we always know that we have a friend to call whenever. When you have moved around as much as I have in my life, a friend such as this is a very rare and magnificent gem. So with putting biases aside, I am going to share with you his art. Even though he is a dear person in my heart, he is also a tremendous artist. I hope with sharing with you his work we will be able to help him to pursue more platforms on which to showcase his creations. Because frankly my dears his is a work not to be overlooked. His is an artistic practice that we need to embrace.

Bridges Shave Your Feet, 2010

Colin Giffen, working as Narcise Katriel Datura was born and raised in London, with a decade in between then and now, having lived a gypsy-like existence fluttering up and down the west coast. This magical experience helped to shape his views of the world, brought to him a beautiful daughter Rowan and allowed for him to completely embrace his creativity that many search for on a daily basis.

Narcise Katriel Datura,
Babushka's Army, 2010

Narcise’s earliest influences were teachings by his parents. His mother, who of Russian and Ukrainian descent, shared with him the family love of embroidery and textile art. His Father, famed retired stained glass artist, Scotty Giffen from London now residing in New England, also helped to shape Datura’s exploration of aesthetics. Datura first exhibited at the age of 13, a miniature fused glass Siddhartha Buddha which won him second place at the Michael Gibson Gallery.

Narcise Katriel Datura,
Princess Leia and the Slums
of Beverly Pills

With experiments in many mediums Datura currently focuses upon painting, and collage based works with an emphasis on textiles and found beads, buttons and feathers. Datura is also an avid collector, the buttons and beads he uses are those found primarily in antique shops and specialty stores.

Narcise Katriel Datura,
Totem, 2009

A lot of inspiration is drawn by his muse, a totemic animal spirit, the owl, along with great inspiration by the European tradition of paper-cut outs.

Narcise’s present goals are to try and form a studio practice that enables him to pursue the reimagining and the repurposing of household items into works of art. To up-cycle them into a new aesthete, to take discarded possessions and mold them into a valued art piece. Through his practice he wishes to focus upon contributing to a larger environmental ambition, to the reduction of waste and consumerism.

Narcise Katriel Datura,
The Owl of Oz, 2011

Datura developed his ecological awareness while on his adventure through the west coast, working for environmental and animal rights groups such as Earth First. Which leads us to his other passions in life gardening, rare native perennials and the preservation of indigenous plants from our neck of the woods. Datura is fascinating to talk to, holding such knowledge on these issues. I really hope that his dreams come to fruition in regards to plant based works.

Narcise Katriel Datura,
Lily Marlene for my J. Lorraine,
2011

Now that Datura has created a good amount of great work
he would like to emerge from the shadows and present his spirit and participate in local, national and international art ventures, especially those which help charitable organizations. His primary pursuit in life is to do and create work which gives back to the community.

To contact Narcise Katriel Datura you can email him here: narcise.by.snail@gmail.com

And I finish this post with a heartfelt Thanks to my dear friend and London’s hidden gem, Colin Giffen, thank you for being in my world these years! And here’s to 20 more. Love you!!

Jennifer Lorraine Fraser

Make sure you revisit the blog either Thursday eve or Friday morning as I will be posting the second post for the week, on the exhibit Barroco Nova. Stay tuned to Forest City Gallery’s Twitter http://twitter.com/#!/ForestCityGlry or mine http://twitter.com/#!/jenlorrainegold for info on when I will have it up!!

Spatial Concepts of Touching Sound

2011-10-05T03:23:00.000-07:00

Chris Myhr, Fence Line #1 2008

Chris Myhr

http://chrismyhr.com/

By way of Burnaby, Lethbridge, Tokyo and Halifax, Chris Myhr has found his way to London Ontario and is currently working as a professor at the University Of Western Ontario in the visual arts department teaching New Media studies as well as photography.

Two weeks ago I was fortunate to attend the Art in the Public Sphere speaker series for which he gave a quick lecture on the basis of his current inquiries into the practice of sound installations. I was so enthralled with his talk that I approached Myhr for a further comment of his work so that I may share with you, the readers of this FCGintern blog. I am not fluent on the workings of sound compositions and installations so I hope that I am able to clearly relate back to you the excitement I feel when thinking about his practice.

Chris Myhr, Oscillations-3, 2010

Myhr opened his talk with his notion of dynamics composed of three factors, sound, space and body. To show how he uses sound installations as a means of thinking about the holistic nature of sound, how sound is affected to us either by a purposeful force, like when we go to a concert or by way of being ingrained into our acoustic environment, a sound that we tend to ignore, or become so accustomed to that it is in some ways inaudible to our hearing, something like the light sockets, or generators of electricity found in a house. Actually this is where the idea for one installation came to fruition, during a power outage in Halifax Myhr experienced a shift in the atmosphere, once the power came back on, it was as though he was immersed in a multitude of sounds that until then had been so ignored or so forgotten. The lights vibrated and shook, the computer began to hum even the outside noises of street lights became a part of the symphony (or so I guess : ) ) This experience of reconnecting with the sounds in our environment paved the way for an installation entitled 60 Cycle Hum (2009/2010). Described as an acoustic “key note to the modern city”, Click Here for Video Documentation of 60 Cycle Hum

60 Cycle Hum is a performance piece utilizing a multi-channel installation score. When researching for this project, Myhr came to understand the working of electrical devices and the rooms in which they are contained. “How level continuous noise signals are transmitted, how electrical and sound waves at their basic level are one and the same; that electrical devices will resonate at a 60 cycles per second. the sound leaves the system and the environment shapes it. ” Myhr had vocalists record a hum frequency and tone at the same level to correspond to a recording of an electrical hum, and then created a closed environment in which the sound encompassed a room through discrete packaged sound sources, without allowing the recording to respond to the environment. For example when sound enters a room, along with electrical currents, say in a light fixture there is a slight vibration within the components of the fixture, this vibration say enclosed within the glass of a light bulb creates a sound that mimics the cycle of sound transmitted from the electricity all at a 60 cycles per second. In regards to the work by the vocalists and how it translates into the work Myhr told me that “ the human voice is made up of complex, composite number of frequencies, like finger prints- to create the work he wanted to portray this overlapping of voices to show how certain frequencies influence one another.” He used surface transducers in different parts of the room to generate the sound into the room. To further the concept of the piece he created a claustrophobic sound environment for the audience, by “independently looping the score content introduced to tactile surface transmitters in contact with surfaces that resonate.”

Chris Myhr, Cutting Corners, 2007

Whether it is for his initial training in photography to his sound installations, Myhr works in a very regimented and detail oriented way within the studio context. 60 Cycle Hum led to further inquiries in the studio, in which issues of dynamics are very important, as well as a concrete, fixed in space end result. The outcomes of 60 cycle hum and other previous works inspired him to look more closely into how sound is projected into an environment and how the environment contains it and shapes it. Through many experiments to discover how sound is transmitted through different mediums, created was his next installation, Oscillations (2010) (For three different behaviors of the piece view his website here.) Chris Myhr Oscillations, 2010

Chris Myhr, Oscillations, 2010

“The machine becomes the performer almost an agent – it takes the place of the artist…” “Oscillations”, is an open circuit sound installation that responds to the environment as well as to the components involved. As a musician, Myhr brought his interest in generating feedback for a live audience into a two channel audio network of components in a sustained frequency.

Chris Myhr, Oscillations-6, 2010

Two questions that arose for Myhr, were 1) How to make manageable open circuit sound installation using feedback and

2) How to create an acoustic aesthetic to generate interest? While being able to work within the dynamics and “elements of surprise and state of material in a constant flux.”

Chris Myhr, Oscillations-9, 2010

Feedback is destructive component, if not carefully regulated it can cause the system to blow up. Myhr’s main goal was to maintain a state of balance within the system, while still allowing for the piece to react to its environment on a natural level. For example the way in which bodies moved through the space affected the sound that was transmitted into the space, as did drops in temperature and air pressure. In continuing his work with discreet behaviors of sound, Myhr comments on how certain packages of sound are difficult for people to ignore.

The most fascinating information to come out of this work is that to a certain degree Myhr does not know the complete cause and effect forms the piece takes on. This highlights the notion of machine as artist, for Myhr created the machine, fiddled with all of the components to make sure it stays at a reasonable level for the human hearing apparatus to accept, yet it does things that are seemingly not understandable; Oscillations took on a life of its own, unknown to its maker. Myhr can only really theorize what is at the root of the system, enabling him to bring these questions and fold them back into his studio practice. To further study the cause and effect relationships within an open circuit of continuous sound. To develop more, the theory on the overlap of hearing and touch.

Chris Myhr & John Abram, Standing Waves, 2009

The work that has come out of the experience of the extended study on the nature of being able to step back and analyze the observations of sound further, is a collaborative work with composer John Abram Standing Waves. (Video Document)

I truly hope that we in London have an opportunity to experience Myhr’s work up close soon!

Thank you, Chris, for spending the time with me to map out your work so that I may be able to share it with others.

And too, Thanks for bringing your inspirations and aspirations to London. : )

For more on the Art in the Public Sphere Speaker series visit: http://www.uwo.ca/visarts/
---Jennifer Lorraine Fraser -- Fcg Intern

Watcha Doin'? October 5 -11 2011

2011-10-04T17:39:00.000-07:00

to-and-fro: dōblĕ vā at it - Join Jacqueline Venus and Forest City Gallery's board president Rene Vandenbrink for their opening reception this Wednesday October 5 from 6:30 - 8:30 in the Sifton Room at Masonville Library, 30 North Center Rd

http://www.facebook.com/event.php?eid=224780517571166

VOTE: October Provincial Election Day Thursday, October 6, 2011 9 am to 9 pm

Adam and the Amethysts with Pink Moth http://www.pinkmoth.net/ @ apk live Thurs 9 pm ($6 cover) http://www.facebook.com/event.php?eid=1520058248

Art in the Public Sphere Speaker series:

Sabine Bitter & Helmut Weber Visual Artists
Thursday, October 6 • 8PM
John Labatt Visual Arts Centre • VAC 100

Special Meet The Mayor Art/Poetry Project/concert with The band HOLLERADO wsg THE PACK A.D. Friday October 7th CALL THE OFFICE http://www.facebook.com/event.php?eid=110824142350390

(Borrowed from the facebook page for Call the Office)

The idea for the Meet the Mayor tour kind of started of as a joke. We were sitting around talking about how Rob Ford, The Mayor of Toronto, wanted to get rid of a bunch of bike lanes and public libraries.
We also thought it was pretty bad form that he skipped town during Pride Week. It got us thinking, there must be some cool mayors out there who care about the same things we do and, wouldn’t it be cool to meet them?
We were joking when we tweeted that we wanted to do a tour where we try and and meet the mayor of every city we play. We didn’t actually think that there were any mayors who would want to meet with us.
Within a few hours, Exclaim.ca had picked up the story and soon after Mayor Nenshi of Calgary, Mayor Robertson of Vancouver and Mayor Fiacco of Regina tweeted about wanting to come hang at one of our shows.
We quickly realized that there most definitely are some cool mayors out there, and the Meet the Mayor tour was born.
In every city we play, we will be attempting to meet the mayor. We will be blogging at Exclaim.ca about the meetings with mayors as well as our unsuccessful attempts to meet mayors.
We will be asking all the mayors these same five questions. The questions will be sent to the mayor before we get there.

1. What is the most fun thing you have ever got to do as mayor?
2. If you could have lunch with another mayor of any city in the world, living or dead, who would it be?
3. Mayor Quimby or Mayor West? why?
4. How do you get to work every day?
5. Who is your favorite local band?

We will then get to the tough questions, and ask the mayor about an local issue, specific to that city, that we feel strongly about.
We will also be asking the mayor questions on behalf of members of the community.
Please submit questions you would like us to ask your mayor.
You can submit them via twitter, facebook or emailing us at holler@hollerado.com. For every city we will choose a few to ask your mayor. Whoever submits our favorite question in each city will be invited to come meet the mayor with us and then come to the show.
We also plan to take this opportunity to ask the mayors about ways that we can give something back to the communities that have been so supportive of us over the years.
In places where the mayor can’t make it, we welcome the deputy mayor to take his place. If the deputy mayor can’t make it, we would love to meet with someone who plans on running for mayor in the next election.
Silly art project of the month:
Each city we play will be the subject of two lines of a poem about the entire tour. when we meet the mayor, they will be asked to write the two lines, when we don’t we are gonna write it. Poetry is fun!!

If in Halifax Music From the Big House By Bruce McDonald Film screening http://www.facebook.com/event.php?eid=204276306309777

As per usual if I missed any events let me know! And please come back in the morning where I will post my talk with Chris Myhr!!

Mixed Media

2011-09-28T05:32:00.000-07:00

I sure hope two of my profs are reading this week as I think I'm incorporating the teachings in a very nice and coherent manner with this weeks post. : ) The following two artists I am blogging about today, are collectors and innovators in mixed media practices. Forest City Gallery's own Arielle Kohl collects on a small ethereal level while Art Fusion's Ryan Mahy enthusiastically collects a massive array of all things art.

Arielle Kohl http://www.etsy.com/people/AHeartHandMade

Arielle Kohl,
Funky Fairy Series II, 2011

In her final year of her BFA at the University Of Western Ontario, artist and papermaker Arielle Kohl has started an etsy shop for her handmade paper cards.

“I am an artist and a papermaker. I work sculpturally with handmade paper and in my free time I love to make unique and quirky cards with my own paper and the various strange and wonderful things that come from my multiple collections.”

In her fine art practice Arielle uses handmade paper as a message instead of solely being the medium for the message. As a self-proclaimed collector of aesthetically pleasing found objects, Arielle incorporates these into her work to make a further comment on the nature of paper, and the pleasure of creating something so delicate and ephemeral.

Arielle will make custom order cards as well you can contact her at ahearthandmade@gmail.com

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I am so extremely excited and honored to be able to share with all of you an event that will help to escalate the continuance of growth for London artists and community. This new adventure will surely be key in putting London Ontario back on the map for being a culturally thriving city.

On Thursday September 29 2011 at 7pm, Community advocate, Graffiti Artist, Champion of Local artists and musicians, Creator of London’s Art Fusion events, 26 year old Ryan Mahy, will be opening the doors to a new gallery in downtown London. http://www.facebook.com/#!/event.php?eid=118007658304911

The Art Fusion Gallery will be located at 355 Wellington Road, inside Citiplaza, ( on the northeast corner of King and Wellington.) I spoke with Ryan to get a better sense of what we are to expect come Thursday.

Since graduating from Bealart, Mahy has been promoting local artists, his first large scale collaboration was to celebrate and create a mural for the Track and Field wall of his high school. By 2008, Mahy, begun an Artist in Recession event, which became to be known as Art Fusion. The first was held in Il Tenore restaurant in November of 2009 with the great support of the restaurant’s proprietors, Ricardo Lopez and Beatriz Chryssoulis. Due to the massive success of the event Mahy set up a gallery in the back of the restaurant and proceeded to hold monthly events to showcase local artists. In March of 2010 32 local artists were presented and by October the event had grown to a festival that included 70 artists and was held on a two day period behind Dundas off of Clarence.

Photo by:
http://www.flickr.com/photos/citymom/

You can still walk by and see the great murals that grew from this festival. Throughout the past couple of years Art Fusion has “displayed over 3500 pieces of original local art work, has represented 200 local visual artists and 73 musicians within the walls of 7 London businesses.”

To further promote inclusivity and growth of the arts community in London, Mahy has now set his sights on a more lucrative and accessible venture. The Art Fusion Gallery Within the gallery Mahy will put more emphasis upon showcasing individual artists separately, yet with rotating the work on a constant basis so as to avoid any stasis or inactivity.

I can relay that through his taking great pride in confusing people we should expect to witness surprise after magical surprise. The Art Fusion Gallery will be offering up a variety of momentous happenings. In keeping the spirit of fusion alive there are thoughts of lunch time concerts and collaborations with local businesses to the continuance of pop up art fusion events throughout the city. These events will stay within the same format as the previous series of shows. All different forms of art infused with all different forms of music. The Art Fusion series hold to a strict no repeat policy, you will not see the same work twice. Mahy’s, long term goals are to growing the format and including it in different cities throughout Ontario, and Canada, perhaps too internationally.

I mentioned that I would love to see collaboration with the filmmakers of London and Art Fusion, even perhaps a work with the Rainbow Theatres in Citi Plaza or The Hyland Cinema, his response is that he would seriously pursue something like this if the opportunity arises. So far Art Fusion has been focused more upon the tangible visual arts, as painting, sculpture, even design alongside music; being live music performed by a band to live dj’s and experimental sound makers, and will continue to be fixed with this formatting. That being said, Mahy is also completely open to all collaborative art movements and is definitely aware of the filmmakers in London and how incredible of an art form it is. Same too with performance art, Ryan Mahy is also interested for all types of artists to approach him to perhaps work on pushing the boundaries of what is showcased in a gallery setting. It is art fusion after all : )

Art Fusion @ Car Free Fest

On a last (not final) note, I asked Ryan what excites him about London right now. If in his eyes he sees the art community growing in positive directions?

“For every single show, the work keeps getting better and better, it is phenomenal how much talent there is in the city,” the current energy of London excites him, “it is fascinating to see how much the people of London are starting to unite and come together.”

I wish to end this post with a great big thank you to Ryan Mahy!! You are an incredible force and truly inspirational! Keep shining and doing what you do for it is remarkable, we are lucky to have you as a champion of our city and of our artists!!

To learn more about Art Fusion visit the links below. If you would like to be considered to have your work on show or talk of collaborations please email artfusiongallery@gmail.com

The website (still under construction) is here: www.artfusiongallery.ca

Art Fusion Fest Documentary: http://www.youtube.com/watch?v=1YE3fOnsjjI&feature=related

Ryan Mahy Speaking at IgniteLondon http://www.youtube.com/watch?v=vn4AzudkuAs

For more video documents on Art Fusion visit and subscribe: http://www.youtube.com/user/MrArtfusion

Art Fusion on facebook http://www.facebook.com/#!/group.php?gid=294658169285&v=wall

And in keeping with the spirit I am reposting Ryan’s thank you to all of the participants, volunteers, artists and unsung heroes of Art Fusion for the past couple of years, As well as the listing of the events themselves. It just excites me that such a list of people have supported and participated in the arts in London Ontario! http://fcgintern.blogspot.com/p/art-fusion-list-of-collaborators.html

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Watcha Doin' September 28 - October 5

September 29

Art Fusion Gallery Opening 355 Wellington Road.

Launch of 'The 3rd Floor' at 340 Wellington Street APKLive, http://www.facebook.com/#!/event.php?eid=231111270271998

September 30

Culture Days; http://www.culturedays.ca/en/2011-activities/view/4daf35e6-3e58-425f-802b-2fbb4c4a89be
Launch at Museum London 5:15-11:55pm; 421 Ridout Street
http://www.londonmuseum.on.ca/programsevents/culturedaysatmuseumlondon/

Pupil Gauge Opening @ Parker Branch 6-9pm event info here: http://www.facebook.com/#!/event.php?eid=161378390616661

October 1

1pm @ The Forest City Gallery: Justin Langlois of Broken City Lab will be giving an artist talk. http://www.forestcitygallery.com/event/artist-talk-justin-langois-broken-city-lab

October 2

Toronto: Scotiabank Nuit Blanche @ 7pm-7am

If I have missed any events please post a comment below or email fcgintern@gmail.com

Have an amazing week all!!
Lots of loves
Your FCG Intern
Jennifer Lorraine Fraser

To be a Member

2011-09-26T05:04:00.000-07:00

Hi everyone! Was just asked about membership with the Forest City Gallery.

Just a little reminder that we are still interested in blogging about our members on this forum. If you are a member please email fcgintern@gmail.com

If you are not yet a member you can join or get involved in other ways online here http://www.forestcitygallery.com/get-involved

See you all back here on Wednesday for the weekly post : )

Beautiful week wishes!
Jen

Introducing: Watcha Doin'?

2011-09-21T10:14:00.000-07:00

http://www.jasonmclean.ca

It has been brought to my attention that work by, our dear London artist, Jason Mclean, in collaboration with Joe Grillo is on display in New York City at the Allegra LaViola Gallery http://www.allegralaviola.com/Shows.cfm until October 15 2011. If you are there (I’m jealous) please go to their show!! Let us all know how you enjoyed O-Pee-Chee Dirt Pile via Forest City Gallery blog or twitter land. (below there is room for comments)

To read and visualize about the show from various blogs click the links below!!

http://www.notaboutart.com/2011/09/o-pee-chee-dirt-pile.html http://donutchocula.blogspot.com/2011/09/joe-grillo-jason-mclean-o-pee-chee-dirt.html

http://www.openingceremony.us/entry.asp?pid=4269

Watcha Doin’?

So this will be my little “oh look! there’s a very cool event you should attend” part of the blog. If you know of any please use the comment space below to let us know, or email fcgintern@gmail.com

Tonight at the Forest City Gallery we are having our monthly Artist Gathering. 7pm-10pm

http://www.facebook.com/event.php?eid=157641334321332

Tomorrow Katie & The Lichen, KMVP & Mansion Music live at EVAC! http://www.facebook.com/event.php?eid=157641334321332#!/event.php?eid=271161146237072

Tomorrow APK Live is having three events: Ryan Avola Acoustic Showcase, Welcome Back Students party (which keeps putting the theme song for Welcome Back Kotter in my head whenever I read it) check their website here for times http://apklive.com

Tomorrow Part of Art In The Public Sphere; Speaker Series @ UWO visual arts center room 100. Chris Myhr and Sean Smith 8-9pm http://www.uwo.ca/visarts/index.html

Remember to visit the Artlab at UWO for OUT of PRACTICE MFA/PhD Student Exhibition on until September 28^th

^{The exhibit by Broken City Lab ... And Then The City still on show at The Forest City Gallery until October 21 2011 Reada review by Lauren Chan here: http://www.westerngazette.ca/2011/09/20/broken-city-lab-presents-collaborative-exhibit}

Okay I hope I haven’t missed anything incase I have please post a comment. : )

There's No Place Like Home

2011-09-21T05:45:00.000-07:00

I hope everyone is recuperating well from the fun London offered this weekend.

This past weekend will be in my memories for some time to come. Not only was I introduced to one of London’s musical jewels through the great festival that was Oh! Fest, and was able to participate and work at The Annual Traditional Native Harvest Festival and Pow Wow held this weekend at the Museum of Ontario Archaeology. I also was one of four of us who started an art party for The Forest City Gallery in celebration of Car Free Festival on the closed Dundas Street. Now that Monday night has arrived I have had the opportunity to communicate with two artists who have touched my heart through their art, and it is my great pleasure to share with you the work and spirit of two more of our great London area artists, Lido Pimienta and Jeremiah Mason.

Jeremiah Mason (October 1, 1972 -):

I first was introduced to the work by first nations artist, Jeremiah Mason through the exhibit “The Gathering of the Clans”, which was held at the Museum of Ontario Archaeology this past November. In it I see a contemporary spin on the great Canadian woodland style of art, originating by Norval Morriseau. Like Morriseau, Jeremiah works from dreams and traditional teachings passed down by his Uncles who are too, artists. Jeremiah’s main inspiration is derived from his family and uncle, Abe Kakepetum.

Jeremiah is Oji-Cree and is a member of the Kee-way-win first nation http://keewaywin.firstnation.ca/ ; a remote fly-in community in Northern Ontario. He is of the Wolf clan and comes from the Kakepetum/Mason family. Born in Kenora, Ontario he spent his childhood in Sandy Lake, and as a teenager in Winnipeg, Manitoba. The Wolf represents strength, endurance and most importantly wisdom. This energy is echoed in Jeremiah’s painting, imagery of rootedness, and powerful hints of atmospheric conditions recognize this representation in his work.

“Jeremiah is a self-taught artist who started drawing and painting at a young age. His early work mainly consisted of black acrylic ink on cold press paper and now has advanced through skill over the years.” He incorporates colour into his paintings, with each representing either, the earth, sky, sun and moon. His work is strongly influenced by nature, animals and wildlife which come to him through personal visions. These visions he recreates on the page and happily shares them with others. In 2009 Jeremiah created a commissioned piece for the Ministry of Aboriginal Affairs for a report titled “Moving Forward Together”, along with many other successes.

How do you enjoy working in this setting of the museum, as an artist in residence, while visitors are able to experience your methods?

I enjoy interacting with people, and being able to explain the meanings of each painting with them. … and with that Jeremiah and his wife April, shared with me the story of my favorite work. (see image)

One morning, Jeremiah woke up at 5am and went straight to his workspace. He was woken by a dream, and had the need to paint it, to share this dream. He had dreamt that he was walking in the forest during the evening. The imagery was so intense he painted this with his clan spirit, the wolf to represent how his own spirit was walking in the dream. To him his work is therapeutic being of a shy nature, by painting he has come out of his shell. His work is an opening of his soul on a visual level. There is a great strength of spirit in Jeremiah and he wishes to share this with others, through his work.

As the exhibit last November was the first, Jeremiah Mason is hoping to be involved in more exhibitions. To contact him: jcmason01@hotmail.com/ or like on facebook here http://www.facebook.com/#!/pages/Jeremiah-Mason-Aboriginal-Artist/233570220009236

You can also view and purchase his work at either the Inuit Gallery http://www.innuitgallery.com/ or at The Museum of Ontario Archaeology http://www.uwo.ca/museum/.

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As I walked into the APKLive last friday night for the launch of Oh! Fest,I kicked myself, HARD... that I hadn't been there for the start of the show. On stage was an incredible presence. You know when you are awe shocked by tremendous talent and your mouth slightly opens in hopes to scream "WOW!! What is this? Who is this?" and then you are left allowing the music to seep into your bones, with still a feeling of finding a long lost treasure chest at the bottom of the ocean, radiating with a multitude of colours? That is what happend to me. Lido Pimienta is a very exciting performer, a true spirit of creativity.

Lido Pimienta, Photo by
Mickey Nielson
http://www.flickr.com/photos/feel_what_you_do/

Lido Pimienta:

Have you had any musical training?

-I did briefly in south America, I had a violin teacher, before that I learned Afro Colombian percussion, an instrument called Tambora, which is kind of like a mother in the drum family, I learned singing by doing it, started doing it live in different stages, inside and outside, singing in the streets gave me a lot of range. I learned to record and make songs just a little while ago, when I met Michael Ramey, a.k.a Golden Death Music, he is my music partner. I guess my music training is half-self-thought with a little direction but mainly instinctual.

Lido Pimienta, Citizenship, 2011

I was told that you moved to London from Columbia a couple of years ago. What makes London home for you?

-I have been living here for almost 6 years now. London is my home because my family is here and my closest friends I met in London, I started an art collective called The Tiny Box collective with my close friends Toni Darling and Kyle Mowat and became pretty much a colorful force in London´s art scene. My son was born in London, I went to a great school (BEALART) in London...I am a Londoner I guess. It is where I learned how to be my own person and because it is not huge I have been able to learn how to establish myself and work with the community to create big things. I still feel we need to do it more; we are getting there, slowly.

Lido by Lido

On your bio it states that you are pursuing new ways of approaching sound, what types of new media are you interested in?

-I think everything can be music, and all sorts of art can be integrated in a musical performance. I have yet to make what I have in my mind in terms of a live show mixing media, like video for example, I don’t like using other peoples images, I am currently working on a series of images which I will later animate to include that in my shows. I don’t have a band so I pretty much rely on my computer, my next step is to make live music with my computer, just like I do it at home, but instead of me only listening it via my headphones, I would amp it so that people can experience it as well. I see my laptop as an instrument, I would like to play around with toys and tweak them as a sort of distortion for future live events, I mean there is a lot I want to do, but I need to practice and figure out a way of doing it alone, get really good at it so that I can finally play a show I am completely happy with. Right now I use my body as an instrument; I dance and sort of take control of the stage by moving a lot, like a bee or something. I am changing and growing up, so I still need to figure out a lot of things and feel comfortable doing them by myself, let alone doing it in front of other people.

In your fine art practice what makes you excited right now? http://www.flickr.com/photos/little_lido/

-Right now I am returning to Printmaking. I love the possibility of repeating an image over and over again. I am excited about printing on fabric and making books. I make a lot of books. I am going to be teaching people how to make their own books at Museum London this fall/winter, a skill I learned at Beal actually. I am working on a series of illustrations in which I group people or display them in situations where they are forced to be together in a large group, so for example I will draw a moment in time of a group of people waiting to cross the street, or waiting for the bus, or waiting to enter a venue, waiting in line...I like the idea of creating a look for each character and imagining a story for each little character, make them interact. I love people, I don’t do landscape or abstract expressionism that much, I am not a fan or placing a rock in the middle of a room and say to people the rock is supposed to make them feel like they are inside in their mother’s womb, you know...I just draw compulsively. I am learning a lot about how museums and galleries work, so that is very very exciting.

Why are you studying curatorial practice? Which artists are you interested in?

-I feel curating is a wise career choice for me, I see it as a real investment in my future, I waited a bit before I went to University, mainly because there are so many things that interest me in the art world, the main one being show-casing artists and mixing different cultures and points of view. I want to be able to bring crazy artists from South America to Canada and vice-versa and I think with Curating I can get there closer.

-I am interested in artists like Matthew Barney, Kara Walker, Richard Serra, I love lot of fashion designers who use fabric as canvas like House of Holland and Jeremy Scott-Those on a Major level. I am also discovering tons of artists online like Gemma Correll and Michael Hseung. I mean, the list can be super long, but those are the fisrt to pop, I like a lot of bands too, and film-makers, I am discovering the work of Vincent Moon. I dunno, I live a lot of stuff and I am very much interested in London´s art scene, I think its small but very solid, I am a fan of my peers like Toni Darling, Mickey Nielsen, Kyle Mowat, Lena Suksi and Dylan Macaulay, to name a few.

Listen to Lido Pimienta's music visit her soundcloud here: http://soundcloud.com/lido-pimienta

Forest City Gallery @ Car free Festival Photolog. http://www.facebook.com/photo.php?fbid=10150268159319343&set=t.657519342&type=1#!/media/set/?set=a.201661989900456.47315.151970078202981&type=1

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So as my computer has a mind of its own right now, I will be posting up the events a little later today. As well as some info on Jason Mclean's show being held in New York City.

Hope to see you all soon!!

Lots of loves, Jen

Windsor to London

2011-09-14T10:41:00.000-07:00

Broken City Lab http://www.brokencitylab.org/about/ … And then the city… September 9 2011 – October 21 2011

For my very first ever, interview style anything : ) I have the honor of sharing with you the some of the ideas behind our latest installation here at The Forest City Gallery. And then the city… interventionist re-imagining of London Ontario, through local narratives passed along to the collective from Windsor, Ontario, Broken City Lab inspired by their ongoing project Save The City. They in turn have compiled the research and have created for us (London residents) this incredible, and thought provoking work. This week I was able to ask Justin Langlois, Research Director with the Broken City Lab, a series of questions and this is what he has shared with us.

Why London? What excites you about how London presents its community? or does it? Perhaps it is a silent appreciation that the residents of London have for their city and with your show you are helping to open up the communication?

We're always interested to work with communities and cities beyond Windsor, as it provides new context for the things we're looking at here. London, in particular, was of interest because of its proximity to Windsor. While being just up the 401, London has always felt a lot more Canadian than Windsor, and the politics within the city, the issues that the community has are also nuanced in a different way than Windsor and because of that, doing this exhibition really gave us a lot of material to work with. The community response that we received online was really encouraging -- really more than we've received elsewhere -- and because of that, I think it was all the more complex and challenging to try to decipher what narratives are being spun around the city and how those in turn inform the other narratives. …and then the city is really about trying to unfold, connect, and then open up the narratives that are sometimes unheard but really felt in a place, and all the while, creating a space to perhaps challenge or reinforce those narratives through conversation.

I saw that the colours are very important, why is it that you chose the colours you did?

A lot of our work is informed by design -- that is, the languages and grammars that are used across a variety of sectors to display and persuade information. The colours are meant to cue a certain sensibility around the texts, without being overtly didactic about it. In the video and the wall works, we tried to use fairly unambiguous colours to try to setup a logic -- what are the similarities between the statements on the video over the red background and the red backgrounded wall work? In the past, we've done a publication of similar statements where we've left an open-ended legend in the front of the book so readers could describe and attribute their own definitions to the colours and I suppose we're interested in how this happens in an exhibition format as well.

What is that catch phrase think globally act locally, or is it reversed? Does this have anything to do with your intention?

Trying to explore locality is really at the heart of our work anywhere we do it. All of our projects are situated in a specific geography and ensuing complexities, but are also setup to be accessible from a range of political viewpoints. Certainly, the ways in which community members enact values and actions at a local level is a powerful way to chart a direction forward, but there's a tension there between the local sensibilities and the seemingly endless effort of a city to locate itself on a global stage that's really interesting.

Would you ever consider doing something like this on a provincial or even national level? or Is it a project that requires it to be focused solely on a local city level? Why is this?

The idea of cyclical narratives aren't specific to a city or town -- it's kind of the framework for contemporary political, economic, and social realities. Messages, fronts, stories, and communications are repeated over and over, sometimes with days between and other times decades. Working at a provincial or national level could be interesting, but the project would have to be different. …and then the city is localized and because of that, there's a bit more to grab onto. Somehow the locality of a city seems to produce stronger and more nuanced narratives and experiences than the organization of a provincial or federal jurisdiction.

I find that the exhibit is very positive, what kinds of positive outcomes say in six months are you hoping for? Are there any expectations?

The idea of expectations is always difficult to address because it locates our work in a different context than we're interested in operating. That is to say, positive outcomes are a possible result of viewing the exhibition, but we don't view the work as succeeding or failing based on that. I think that our work creates a space for dialogue, for conversation around a set of ideas that can be really deeply embedded in the viewer and for us, it's about opening up that space to start to think about all of the things that are taken for granted in a given locality. A lot of our work is, at least in the most immediate reading, positive, but we try to layer a critical lens in there as well. If our work becomes the starting point for a larger conversation about where London is headed and how a lot of great people might come together and steer the city, then that's great, but I'm also okay if the work just raises a brief conversation about London because sometimes, we should all just spend some more time together talking.

So come in and visit the lab, and please comment on your experience with the installation either here or by email fcgintern@gmail.com It will be so great and interesting to see how the work inspires creative participation in realizing new goals for London as a city.

For installation shots view: http://www.brokencitylab.org/blog/installing-at-forest-city-gallery/

For further reading check out Beth Stewart’s review in The Beat http://www.thebeatmagazine.ca/PDFs/currentissue/TheBeat_currentissue.pdf

To view the photos from the opening Friday September 9
visit our facebook page or
flickr

Broken City Lab is also in Kitchener this coming weekend for the Contemporary Art Forum in Kitchener and area visit http://www.cafka.org/exhibitions/cafka11-0?page=1 for more info.

What I Did On My Summer Vacation: (or give a girl a blog and she will blog)

2011-09-11T23:36:00.000-07:00

As a child I dreaded the first written assignment in school. More often than not it was to write a page or so-on the topic of “How I spent my summer vacation”. Not that I did not love my summers, travelling throughout the western provinces to different folk festivals, or playing and making up group games with the other children in the complex I lived in. My favorite game was called mannequin, upon reflection, it was a game of tag that enabled us to be living sculptures.

I dreaded this assignment because it reminded me that the fun of summer had now past and I had a whole year to wait for the next one to come around.

This year, the only thing I can think about is how much I loved this summer, how it has actually made me so excited to see what the rest of the year is going to give. It has probably been one of the best summers I have lived through since the times of playing kick-the-can. So for my second blog posting I am going to revisit the curriculum of elementary school and tell you about the highlights of my summer vacation --- 2011.

The first notable experience I had this summer was to be enrolled in my very first ever art class. Taught by non-other than the fantastic Anna Madelska http://annamadelska.ca/home.html Each and every fellow student was by far a kindred spirit. I was super excited to spend 6 hours a day with each one, which is a feat in itself. I was so worried about whether or not my artistic skills would hold up. With much surprise they did, and I had such a wonderful time creating objects from an ink drawing zine, and photograms to a Pop Art inspired self-image. From this class I have made such interesting friends, (I would love to put a blurb of each one in this post… perhaps that will be the content of postings to come… the different projects my fellow classmates are working on now that fall has begun).

Rob Doelle, Presence Of Mind, 2011

One friend I have made this summer is Rob Doelle. Rob Doelle was born on February 6th, 1980, near Montreal, Quebec. He is a painter in London, Ontario, currently working on his Bachelor of Fine Arts degree at The University of Western Ontario and intends to pursue his Masters degree once graduated. He attended the Bealart program as a high school student and spent a year studying at NSCAD in Halifax. He has been showing and selling his paintings in London frequently since 2006, as part of both solo and group shows. Rob has been painting out of Wortley Village since 2009. Rob was just involved in a group show held at the Arts Project, ended September 10^th. Apart of the new collective the London 8 http://www.facebook.com/#!/pages/THE-LONDON-8/235162676521645,"The LONDON 8 is a collaboration of eight painters from London, Ontario. This multi-generational group of experienced artists is coming together to create an artistic force and a new vision for the local, national and international art scene." Rob has been one of the many exciting artists I have had the pleasure of meeting while in London. I was so touched by his work, and really blown away. I got to see his incredible technical skill while attending the same class. I even experienced a slight flicker of his conceptual process. Yet, with this past London 8 show, I was able to really see the depth of his ideas and how they are portrayed.

Hello Sunfest!! Wow, did any of you get to experience the awesomeness that was Sunfest this year? Every day of the festival found me dancing up a storm. I know this blog is supposed to be about the visual arts, in London, Ontario even Canada. Regardless, I cannot pass up the opportunity to quickly talk about one of my new favorite bands that I sweated to and I even had to buy a new sundress after one of their sets (do not wear a silk blend dress to sunfest especially if you dance like I do : ) ) http://www.redbaraat.com/ Red Baraat originating from New York City, fronted by Sunny Jain blew my mind!!! They even give Indian dance lessons during the show.

AA. Bronson with
Toronto photographer
Ana Cop

Another highlight of my summer vacation was being able to go to the opening of Haute Culture a large retrospective on the work of General Idea held at the AGO in Toronto until January 1 2012. If you can, go see this show. The show is on both the fourth and fifth floors of the Contemporary galleries. It is a celebration of tremendous art work by three of Canada’s most prolific and important artists. I do not use these terms lightly, inspiring a slew of young people throughout the world, General Idea really presented our community with such a vision. “The group’s keen understanding of how wit and irony can be used to create powerful cultural critique ensures their work remains relevant today.” http://www.ago.net/haute-culture-general-idea

So now that summer has come and gone, fall is promising to be even more, full to the brim of art and related activities for all here in London. London is the place to be. : ) Especially this week WOW!!

Tuesday The first evening meeting for the New Canadian Embroiders Guild http://www.ceglondon.com/

Forest City Gallery's first Knitting and Stitching Wednesday 7-9 pm

Openings Friday night at the Artlab and McIntosh

Friday night The Museum Of Ontario Archaeology begins its Annual Harvest Festival and Pow Wow (helped by yours truly) with a concert by Juno Award winning first nations artists Derik Miller http://www.museumpowwow.ca/

Car Free Day Saturday http://www.facebook.com/#!/CarFreeFest

Really Really Free Market at the Met Saturday http://www.facebook.com/#!/MetropolitanMarket

Doors Open all weekend http://www.doorsopenlondon.ca/home/

Oh! Fest http://www.facebook.com/#!/pages/Oh-Fest/134203333334668

And remember to visit the Forest City Gallery to share your London with the exhibit by Broken City Lab http://www.brokencitylab.org/blog/a-set-of-informal-questions-about-london-ontario . Whose opening was held this past Friday. Of which will be the topic of the second part of my blog on Wednesday.

My first day

2011-09-07T09:40:00.000-07:00

Today I will be starting a new and exciting adventure, being Forest City Gallery’s intern for a brief few months. I was asked to write a short summary about me. Introducing you to who I am and to how I have come to this position. As I am 34, slightly older than most undergrad students, the word count will be a little bit larger than anticipated. I will try to summarize in as few words as possible : )

In the fall of 1999 I became a mature student of UWO, with the hope to complete a degree in philosophy and film studies. Within a year and a half, the mystery of life happened, I fell in love moved to Toronto and begun a new and exciting life full to the brim of music, culture, creativity and imagination. During this time I attempted to continue to pursue my studies at UofT unfortunately or more realistically now I can say fortunately that did not turn out to be the case. What did happen paved the way for where I am today, beginning my internship with the FCG.

One summer afternoon, as I was sitting in Yorkville sipping my coffee, a fashionably dressed woman sat down next to me. I looked down to her feet and gasped…. could not hold back my comment of “I Love your shoes!!!” (my first Prada experience outside of daydreaming in Holt Renfrew—where I had just started to work in their now defunct high-end cafeteria) Immediately I was propositioned to have an interview and I began to work at Wenches and Rogues, one of Canada’s first independent retailers to champion Canadian designers. Fast forward a few years later, after the economy had a blow due to the SARS outbreak and it was the straw that forced the business to close. I was left to wonder what it was I should do next. And boy (or girl) did I do stuff. I began to work five nights a week at the Horseshoe Tavern, one of Canada’s best live music venues, I co-coordinated Whipped Sundaes, a monthly artists evening held at the Rivoli showcasing the work in progress of some of Canada’s great musicians, painters, artists and creative small business vendors, took professional singing lessons with Orville Hyen http://www.orvilleheyn.com, and through these lessons something magical happened. I began to paint.

This opened up for me a whole new love, a love of all things art. By 2008, I was given the opportunity of a lifetime; to learn about and discuss art as a gallery guide for the newly transformed Art Gallery of Ontario. My scholastic dreams reemerged and last summer I found myself back in London, enrolled into the program that started it all. My idea was to finish my degree in Philosophy (film studies fell away) hopefully with a focus upon philosophy of art, aesthetics and beauty and then to pursue post-graduate work in museum and curatorial studies. Once enrolled and back in the swing of things academically I found out that the types of courses I wanted to take were not offered, and by a stroke of luck someone mentioned that Western offers an undergraduate degree in my dream course of study, museum and curatorial studies. I quickly set things into motion and I was able to glide seamlessly into this program. So with a minor in philosophy under my belt, this last year of my under grad studies I am to complete a major in such said program. Which includes this amazing opportunity to intern at one of Canada’s first and best artist run centers, the Forest City Gallery! Thank you. Hope to meet you all and to be a welcoming new face here. Let’s talk art : )

One Month Later...this is goodbye!

2011-08-15T06:51:00.000-07:00

Well Dear Readers,

This will be my last post for FCG.
After a long summer of preparation (which actually felt quite short) I am off to Thunder Bay to pursue bigger & hopefully better things.
As far as happenings at the FCG go - The gallery is closed until Sept. 9th when regular hours will resume.
But there are some events still going on:
Wed. Aug. 24th at 7pm - Artist Gathering
Work on, talk about, discuss ideas regarding your work, your process, etc. Get some feedback! It's definitely an artistic aid to expanding thought process, approach and final product.

Sept.9th at 7pm - "...and then the city"

The first opening upon the FCG's return to regular hours - this is work specific to London, ON and features large scale text, text based video and interactive fill in the blank story & short publication.

(This actually sounds amazing and I wish I was going to be in town for it - so check it out and think of me, haha)

As a side note - according to facebook, today is artist Jason Mclean's birthday; happy birthday Jason! I previously featured Jason in a blog post (M.O.)- re-read it and familiarize yourself with an artist you will be seeing more of in London, ON.

I would like to extend a thank you to Julia Beltrano our admin. director at FCG, the FCG and the board of directors for giving me the opportunity to intern at the gallery and in turn to start up this blog. Additionally, the artists who have shown at FCG, the gallery goers & blog readers - I appreciate the conversation, interest & support (we've got 7 followers! woohoo!). I will be back in London at Christmas..and probably next summer but it's up in the air, for the first time I have no idea what I am doing next year (and i feel like it's about time). Also, it's important to mention that the FCG will be having a new intern come the fall! So I hope that one of their jobs will be to continue posting in the blog & keep all you wonderful people entertained at the very least (good luck to you, new intern).

Upon my leave I am reminding everyone to

a) keep FCG busy & events packed with visitors!

b)email fcgintern@gmail.com to be a featured artist for this very blog.

c) keep yourselves informed

I will miss the blog however I don't think this is the last blogging I will ever do...but who knows.

P.s.

I found a video from 1983 on youtube (quality not great) but I thought it was cool

A taste of what FCG maybe looked like 28 years ago... also, City Lights Bookshop has a youtube channel with some FCG stuff on it - NSB, Shin Sakai, noise concerts from a few years ago...Check it out, its quite interesting: City Lights Youtube Channel

Peace&love! We'll meet again.

Dear Everybody:

2011-07-14T07:56:00.000-07:00

I want to do something new with the blog! Posting event after event is cool but we all need some variety, right? If you are a member of FCG, send your name, information and say 5-10 photos of your artwork (just a small taste so I can see what you're about) to fcgintern@gmail.com

I want to write about you! I'll be in touch with you, ask a few questions, perhaps ask for more photos.. It's some great exposure for artists and I love to meet new people and talk about art.

I hope submissions start pouring in, so someone get the ball rollin' and send me your stuff!

Additionally - these artist workshops FCG is doing, starting this weekend sound fantastic and will be a HUGE help to those of you just getting started (including myself). It'd be nice not to blindly find your way through these things, wouldn't it?

SATURDAY JULY 16TH:

Social Media & Online Presence for Artists - 1pm

with Thomas Cermak, Project Coordinator, LondonFuse.ca

Documenting your Artwork - 2 30pm

with Patrick Kaipainen (works at UWO, he ran a media art class I took in undergrad and trust me he knows what he's doing), Artist & Preparator, ArtLab Gallery (on UWO campus)

July 21st 2011 - 7pm

Grant Writing for Artists

with Rebekah Morrison-Wize, Programs & Service Coordinator, London Arts Council

July 28th 2011 - 7pm

Preparing a Strong Gallery Submission Package

with Kevin Rodgers - Artist & PhD Candidate, UWO Fine Arts

I am officially over my allotted time for break at work soo I gotta go!

don't forget - SEND ME YOUR WORK! fcgintern@gmail.com

Hopefully I will talk to some of you soon and until next time, enjoy the sun.

Greg Curnoe's London, Bike Tour Presented by Paul Butler NEXT SATURDAY

2011-07-13T12:52:00.000-07:00

Written by Jenna Faye Powell

Greetings again!
So if you haven't already received the email, or heard the buzz around this event, then it's time to get on the band-wagon. Next Saturday, July 23rd, Paul Butler and special guest, bike/art enthusiast Jason McLean, will be biking around London, Ontario to commemorate, and research the life of London regionalist/pop artist Greg Curnoe. Interested? Read ahead to the official blurb:

Paul Butler Presents:  

Greg Curnoe's London - A Community Bike Tour with special guest Jason McLean

Bike Tour: Saturday, July 23, 1:00pm

-1:00pm, Community Bike Tour, Bring your bike to Watson St. Park, at Wellington Rd and Front St 

-3:00pm, Barbecue, Belvedere Park, on Victor St west of Wortley Rd

Winnipeg artist Paul Butler would like to invite you to join in a community bicycle tour of Greg Curnoe’s London. Butler has worked with Mike Barry of Mariposa Cycle to rebuild Curnoe’s favourite bicycle Close The 49th Parallel ETC. Using the bike as a research vehicle, Butler will ride through London with members of the local community, stopping at sites significant to Curnoe and asking participants to share stories around his life and legacy. The tour, led by Butler and special guest artist Jason McLean, is an effort to engage in a discussion about the role of artists in their communities today, inspiring the current generation through the spirit and drive of Curnoe’s generation. The bike tour will be followed by a barbecue at Belvedere Park, with food provided by Julia Kennedy.

Since 1998 Paul Butler has hosted the internationally renowned Collage Party, a traveling experimental studio engaged in community building among a range of participants in museums, galleries, schools and non-profit art centres, and has also directed The Other Gallery, a nomadic commercial gallery focused on overlooked artists’ practices. Through these experimental projects Butler has come to realize that Curnoe’s initiatives have served as an important precedent to his own works. Through Greg Curnoe’s London Butler seeks to research Curnoe’s practice and ongoing influence on artists and artist-run culture across Canada.

... So everyone strap on a helmut, and make it out next Saturday.
Maybe you are thinking you don't have any stories or anecdotes surrounding Greg Curnoe? Maybe you are like me, a London Ontario visual artist, who knows who Greg Curnoe was, but who is too young to have known any personal information or trivia.

Well in my research today, I stumbled upon an article entitled, "The Moustache: Memories of Greg Curnoe," written in 1993, by George Bowering. This article is made up of several accounts of "I remember" stories of Curnoe; some include:

-- I remember that Greg Curnoe never went to university. In fact, he used to claim that he flunked out of the Ontario College of Art with a 5% average. But a lot of his friends were university types. He never held it against them. Sometimes writers who didnt go to university make a big thing out of it. They brag about it to cover up their embarrassment. Greg never seemed embarrassed. He just made a point of knowing at least as much as anyone else.

--I remember Greg Curnoe's signature. It's funny how you recognize someone's familiar neat signature, especially when your own is so scrabbly. In recent times he signed his art just the way he signed his very rare letters. I think this putting his name on his paintings was kind of a wry joke. He liked to write with pencil or ink on his prints and paintings anyway. He could not resist words. They were his art. Maybe that is why he didnt write many letters.

--I remember that Greg Curnoe was always all spluttery when I told him that London, Ont. was the most USAmericanized Canadian city I had ever lived in.

I am sure that Paul Butler's bike ride won't be quite as nostalgic as these accounts of Curnoe, but I thought these stories were quite telling and simply, pretty awesome.

Check out the rest at: http://www.ccca.ca/c/writing/b/bowering/bow001t.html

On another note: this Saturday is the first Activation Workshop at the Forest City Gallery. This Saturday, July 16th at 1:00 pm, Thomas Cermak will be lecturing on "Social Media and Online Presence for Artists". And, as the founder/project coordinator of Londonfuse.ca, he is most-certainly an expert. AND, at 2:00 pm, Patrick Kaipainen, Preparator at the ArtLab Gallery, will be lecturing on the how to's of "Documenting Artwork".

Come check it out-- all workshops are FREE, but of course, donations are welcome and appreciated.

And one, yet another note:

The FCG has officially issued a CALL FOR SUBMISSION for any FCG member that would like their art featured on this blog. Maybe I could even interview you? Doesn't that sound wonderful! A whole blog about you, your artwork, and hopes and dreams! Email me at fcgintern@gmail.com, if you are interested or have any questions or concerns.

And finally:

It wouldn't be a blog post without some shameless self-promotion. The Candied Uncanny, a collaborative painting exhibition, by myself, Jenna Faye Powell, and artist Laura Payne is CURRENTLY being exhibited at the Gladstone Gallery in Toronto. It runs from July 13-18th, 12:00- 5:00 pm. BUT... if you are really looking for a good time, the opening reception is this Friday, from 7:00- 10:00-- complete with live music and candied-theme hor d'oeurves. Admission is free, donations are certainly welcome. All work and prints are for sale.

Come say hi and check out our work.

That is all for me today. 'Till next Wednesday!

Jenna

Confessions of a MFA Student, "I've never been to New York".

2011-06-29T12:12:00.000-07:00

Written by Jenna Faye Powell

I have never been to New York City. I've never seen any art in New York.

I recently said this out loud during a discussion in an undergraduate colour seminar class at NSCADU.

Oh boy, was that a mistake. It appears that "visiting the MOMA" should be a prerequisite to get into any Masters program, because if you haven't you will be cast aside like a leper. Okay, I am being a TAD dramatic.

It's not like I don't want to go to New York; that simply is not the case. I just can't afford the trip. But, ALAS! it seems that myself and my wonderful Mom and Dad might make the venture in early August. Due to the this upcoming trip I've found myself researching the art-goings-on in one of the world's largest art hubs.

So, this post is dedicated to all of those who haven't been, and still want to be able to participate in New York art banter.

Here are a few places/exhibitions that I would scamper to first:

1. MOMA, MOMA, MOMA:

I am going to be like... an art student... in an art museum (the ol' kid in a candy shop metaphor didn't pack enough punch).

Take a peak at what's going on for the summer at the MOMA: http://www.moma.org/explore/exhibitions/

Honestly, out of the dozens of exhibitions that are currently on at the MOMA, I would run to the Cy Twombly sculptural exhibition and Contemporary Art from the Collection. I have always been a fan of Cy Twombly, specifically his monochromatic, calligraphic- large scale paintings, BUT, have you seen his sculptures? Working with bronze casting, and then layering the sculpture with white gesso, Twombly's work first appears to be old relics. Most of Twombly's 3-dimensional pieces incorporate found organic objects. He simply states that "I really enjoy doing sculpture," Twombly expresses, "maybe it’s because of the construction thing." That's enough justification for this girl.

As for the Contemporary Art from the Collection Exhibition, I have three words for you:

Kerry James Marshall.

One of my top ten favourite painters ever, American artist Kerry James Marshall investigates the invisibility of “blackness” in the history of Western art. Inserting the black figure into historical narratives, Marshall's work is provocative and satirical, and still shockingly light-hearted.

I feel as if I could write forever about Marshall's work, but I'm terrified I wouldn't do it the justice it deserves.

2. THE WHITNEY:

Check out the The Whitney's current exhibition schedule @ http://whitney.org/Exhibitions/Current

Boosting names such as AA Bronson, Georgia O’Keeffe, and James Rosenquist, exhibition "Singular Vision" appears to be an-art-tourist's-dream-come-true. This exhibition presents, "twelve postwar highlights from the museum’s holdings, each in its own space, in order to create intimate and compelling encounters with a single work of art. Each piece was chosen to convey a distinct impression and a specific sense of its maker’s vision, whether somber or celebratory, figurative or abstract, quiet or bold. Some of the works on view require their own spaces because they are large or comprise many parts, while others explore difficult topics or emotions that one might wish to consider in relative isolation. Through their variety of mediums, sizes, styles, and subjects, the works in Singular Visions encourage a range of powerful experiences and reveal how contemporary artists have stretched the very boundaries of what an artwork can be."

Sounds like a wonderful overview of some amazing contemporary artists.

3. THE GUGGENHEIM:

Not like you would ever need a reason to go the Guggenheim, other then to marvel at its infamous architecture, but "The Chronology: The Guggenheim Collection, 1909–1979" exhibition will also be up all summer. (I personally would just go to reminisce about Cremaster Cycle).

So not only will I be able to visit this wonderful museum, but I can also be educated on it's 70 year old history and reputation. On the same route, a small overview of Kandinksy's work is also on exhibition. This work is taken specifically from when Kandinsky was teaching at the Bauhaus, and examines how geometric shapes came into his work due to the influence of Supremacist artist, Kazimir Malevich.

Well, it seems that I have bitten off more than I can chew with this blog. I've named three of the heavy-hitting museums in New York but haven't yet researched some of the other gems located in the big apple, museums such as: The New Museum, The Metropolitan, and the American Folk Art Museum (which sounds so cool!).

I believe that is all for me today. Come stop in your local FCG and check out the new exhibition that is currently up-- Activation with Christine Negus, Jamie Q, and Sarah Scope, and Lorraine Thomson. I plan on spending the majority of the day pouring myself over the loads of new work to look at-- come join me!

JFP

June 21st -

2011-06-21T07:24:00.000-07:00

First day of summer!
National Aboriginal Day!
Sure it's a bit of a smoggy day but it's a good one nonetheless.

Today, across Canada there are lots of events celebrating National Aboriginal Day so it doesn't matter where you are you can find some events to attend. The site linked above gives some information regarding the day along with some links worth checking out.
Fun facts to appreciate on such a day - the importance of Summer Solstice is why today was chosen to be National Aboriginal Day, "Ontario" is an Iroquoian word meaning beautiful lake or water and was used for Lake Ontario before naming the province, 21% of Canada's Aboriginal population live in Ontario (as of 2009 apx. 296,500 people) and speaking of population, the Aboriginal population in Ontario grew 28.7% between 2001 and 2006, over 4 times the growth rate of the general population (take that Clifford Sifton..edward sheriff curtis etc). 1982 the National Indian Brotherhood (now the Assembly of First Nations) calls for the creation of June 21st as National Aboriginal Solidarity Day.

Check out this video made by some young people from Richmond, BC. Youth projects are always inspiring:

Additionally, August 9th is International Day of the World's Indigenous People. Here in London (or just outside) there are some things going on as well - June 24th to 26th Chippewa of the Thames First Nation are having the 10th annual "Awakening the Next Generation" Gathering and TODAY in Victoria Park there is the event celebrating National Aboriginal Day and I'm told will include music, arts, oral history and traditional games. So as I always like to remind you, dear readers - get involved with some culture! Embrace it if its your own, experience it if its new to you but most importantly get out and connect with culture, people and your city.

Peaceout

Alex

Short & Sweet

2011-06-14T12:59:00.000-07:00

Hey readers,
I'm on a break at work so I can't go on and on as I like to do but I bet later in the week I will find the time to do so.
Thursday! Matthew Teigen's MFA show in the ArtLab

There will be cupcakes; you must eat them.

There will also be art; you must phenomenologically apprehend it.
Thursday, June 16th at 7pm in the artLAB
The University of Western Ontario, John Labatt Visual Arts Centre
Like I said,
Short and Sweet but I'll check in again later!
peaceout

Supporting Emerging Artists is A. O.K with FCG

2011-06-08T12:58:00.000-07:00

Jenna Faye Powell writes:

I've recently become aware that there are more "followers" of this blog than I had previously aware. For some reason, this makes me nervous. I know that blogs are, more or less, electronic journal entries regarding whatever the author wants, but still, I'm feeling some pressure. Luckily I have the attention span of a flea, so moving on.

I'd like to first address the next exhibition that will be showing at the Forest City Gallery, from June 24th to July 23rd. This show is the London emerging artists show, titled, Activation. This year a jury has selected, artists, Christine Negus, Jamie Q, and Sarah Scope. What a great, up-beat show this will be. I, personally, thoroughly enjoy emerging artists shows; this is for two main reasons:

1. I am an emerging artist. I work my tail-off everyday of the week to pay off rent and student loans, while still finding time to produce work and research for my thesis. So any gallery (or whatever, or whomever) that supports emerging artists are tops in my book! It is not, by any means, the "easy" route.

2. And, simply, I find emerging artists work to be, for lack of a better, or less obvious word, fresh. I specifically find the work of these three young female artists to be exceptionally 'fresh', humorous, and uber-exciting.

But, I digress... I am truly looking forward to this cleverly-curated exhibition when it opens. I recall when I was a University of Western Undergraduate student, admiring Jamie Q's thought-provoking and hilarious sculptures from a far.

Also, during the Activation show, UWO BFA student, Lorraine Thomson, will also be showing at the FCG. With a title like, Entanglement you can only dream of the amount of stringy-goodness that will be present at this show. Check out the kitschy-spriographic-neatness of the beside image for a taste of what the show will include.

Unfortunately, I think that is it for me for the day. I have found myself in a Buckley's induced haze for the last week due to a pesky cold that I cannot seem to shake. But, on a final note, the FCG has a NEW and IMPROVED website. And, oh boy, is it nice.

Thanks to the creativity and generosity of

@echidnasol and @oac_cao Arts Investment Fund.

Please check it out and support your friendly, local, artist run centre!

www.forestcitygallery.com

Cheers friends,
Jenna Faye Powell

Sorry Y'all, but check this out!

2011-06-07T12:43:00.000-07:00

Okay okay okay, I've been neglecting the blog - my apologies.
I lose track of time..you would'nt believe the hoops you have to jump through to prep for teachers college..what with the police checks and TB tests and blah blah blah blah blah blah blah....
But whatever, I'll live.
Anyway, though I've been slacking with the online art community, the creative community itself has not stopped. It never stops and fortunately it never will.
What have we got on the agenda this month?
Well in two days - June the 9th at 6pm you should check out the Archeology museum here in London. It has this cool event going on giving you the chance to check out the museum & grounds PLUS it's featuring Naahii, a First Nations drum group. There will also be some food and 1 complimentary cocktail per person. I have seen ticket price set at $15 but also $10...so I'm not positive which is correct but regardless, it'll be cool.
Tomorrow June 8th EVAC is hosting Le Cyc Film Screening..this is like a graphic novel bike opera about a future bicycle powered dystopia. And in the spirit of biking, why not bike down to EVAC on Dundas. Like I've mentioned before - EVAC is one of those places you gotta keep an eye on because they are constantly hosting events - add them to your facebook and you will hear about all the amazing things they're doing!

Hmm what else..the London Fringe festival is gearing up for the end of June, the UWO MFA shows, Michael Gibson Gallery, Nuit Blanche...

Oh oh ohhhhhhhh! Another EVAC event that I'm super stoked for - L A F I D K I - Saphy Vong is performing on June 16th! $5 - $10 or pay what you can (PWYC - in case you've ever seen this and didn't understand what it stood for). Super cool and an experience you won't ever get again because when playing live he is experimenting with spontaneity and decision-making through the energy of people & space. To my media art students if you happen to be reading this - you ALL should go! Get a chance to actually EXPERIENCE the art outside the classroom!
I just love sound art, everyone reading this should give it a chance and hopefully you'll appreciate it as much as I do.

Okay - another thing that I think everyone should actually look into and attend rather than me just mentioning it in passing is the London Petite Nuit Blanche. 9pm June 18th until 3am June 19th THE ALL NIGHT ART PARTY. What could be better?
Seriously.
Between Wellington & Ridout and Queens & Kings, additionally - Dundas will be closed and Museum London is involved as well. And perhaps FCG? I don't even know but I should ask our wonderful administrative director, Julia before I even say that...Julia, do you have an answer for that?
I've only been to the one in Toronto, but I know the last one in London was a success, so it should be even better this year. Personally, I ran around the entirety of downtown Toronto from like 7pm until 6am or something..I was way too excited and I had to see everything including my favourite installation and an artist I'm in love with - Michel de Broin... So what I'm trying to say is you'll have fun, trust me! Grab your friends and hit up some art in the core!

Okay, as usual - there are a million and one other things going on in cultural production and I don't have the time to talk about them all (though right now, I feel like I have the energy to)..
FCG still has Stephanie Cormier's work up, there is an artist talk..TONIGHT actually, so check that out toooo!! and after that June 24 is the Activation 2011 emerging artist series at FCG (check out the facebook event and website for more details, I will plug it again later)

Get out there and check out your art community!
Until next time,
peeeeeace!

Day Trip Excitement!

2011-05-25T12:11:00.000-07:00

And, thus commences my official second blog post.
On this rainy Wednesday in London, Ontario, I can't help but dream of sunny-skies and better days to come.

But, today I've found myself circling the Forest City Gallery several of times, relishing in, and investigating Stephaine Cormier's "The Reconceptualized Universe of the Anti-Logo League Girls" show, that is currently on display at the FCG. With such a complex, and loaded title, you can imagine the research, and detail, put into the work. For the last hour and a half, I have been thoroughly enjoying the sweet and glossy intelligence, and aesthetic, that Stephaine has packed into this show. If you haven't checked it out, you really should; it is on until June 10th, 2011. But maybe today is a good day to come down to your friendly FCG?

Aside from having a few moments with the Anti-Logo League Girls, I have found my mind wandering into tomorrow. Tomorrow, myself and collaborator, Laura Payne are making our way to Toronto to meet with the Gladstone Gallery to discuss our up-coming painting exhibition, The Candied Uncanny, which will take place from July 13- July 18th, on the 2nd floor of the Gladstone. Now, excuse my shameless self-promoting, but I am excited okay? Not only am I just-riveted about showing at the one of the coolest (and Victorian) venues in Toronto, but I am also organizing this show with dear friend, and amazing artist, Laura Payne. If you want to make a night of it, come down for the opening (July 15th, from 7:00- 10:00). Not only will we be dishing out massive amounts of painting, but there will also be candy-theme hor d'ourves, and live music from the London-based band, Wild Domestic. It is going be a blast.

And, this is only the beginning. To add to my excitement, myself and Laura have decided to check out what is going on at the Habourfront Centre, Toronto, while we are in the neighborhood.
Never heard of it? Well, you are in for a treat.

The Habourfront Centre is a self proclaimed: "innovative non-profit cultural organization which creates events and activities of excellence that enliven, educate and entertain a diverse public."

Their mission: "To nurture the growth of new cultural expression, stimulate Canadian and international interchange and provide a dynamic, accessible environment for the public to experience the marvels of the creative imagination."

Luckily for us, the HFC has a wonderful Spring 2011 exhibition schedule. Even better, Alex McLeod, who is currently one of my top ten favorite artists will be displaying until June 12th. Alex is currently working, and exhibiting in Toronto.

(Right, Alex McLeod, White Woods)

Check out his artist statement:

Alex McLeod constructs hyperrealistic 3D environments filled with crystalline mountains, fiery lakes, and rotund clouds, all rendered in a sickly sweet and gooey candy-colored palette. Recalling the wide-open vistas of Romantic landscape painting while at the same time staging otherworldly dystopias, McLeods CGI prints act as hybrid spaces that imply an almost infinite recombination of the past and present, the real and virtual. Beneath their seductively polished surfaces, of glimmering fortresses and floating geometric abstractions, lies a haunting stillness that comes forth in the aftermath of cataclysmic events. The cause of destruction remains unknown in these depopulated spaces -there are no people in these images, however much human traces remain in the rickety railways and empty fortresses. And yet, from the twilight of devastation shown in these strange dioramas lies possibilities for hope and rebirth in our own digital milieu through the artists new approaches to concepts as varied as ecological responsibility and the shared intersections between photography and painting.

If you want more, check out this website: http://www.alxclub.com/
I must admit, his website is one of strangest and quirkiest, I have ever stumbled upon; one that could make Warhol blush. From tweeter posts re: Kayne West, to the "wallpaper" downloads of his work, this website screams anything but pretentiousness.

So needless to say, it's going to be wonderful to see his work in person tomorrow.

Check out the Habourfront Centre's entire programming at: http://www.harbourfrontcentre.com/visualarts/yorkquaycentreYQC11_2.cfm#E

Welp, I think that is it for me today. Everyone have a wonderful Wednesday.
Oh, and don't forget to put on your dancing shoes this weekend- Camping at the Forest City Gallery is on Saturday night.