Gastown reenacted

“Abbott & Cordova, 7 August 1971”, (2008) by Stan Douglas

Front and centre when you walk through the large doors of the inner atrium doors of the Woodward’s building you are confronted with a controversial piece of art, for which the developers should be commended.

The light box photograph taken by renowned Canadian artist Stan Douglas entitled “Abbott & Cordova, 7 August 1971”, (2008). The photograph is a cleverly designed reenactment of the Gastown Riots, also known as “the Battle of Maple Tree Square”, which occurred when city police violently broke up a peaceful, pot-smoking demonstration on Water Street.

The photograph depicts the police violently busting up a demonstration—beating protesters, charging crowds on horseback, arresting dozens of people, while others take in the scene from the sidewalk; many smaller vignettes illustrating the larger story.

This riot led city officials to rezone Gastown, which was then being overtaken by Kitsilano hippies residing in industrial spaces, to then be zoned as strictly commercial.  How very ironic as the Woodward’s building is now predominantly high-end residential condos, perhaps being sold to the very community that was once driven away.

 While many crisp new apartment lobbies are filled with paintings, prints or sculptures of safe and recognizable artwork and not something that could perhaps offend, it is a reminder to all to recognize the art that has been purposely place for our enjoyment.

Spraypaint

"I Love You" 2010, by Fiona Ackerman

Colour and composition are what generally attract me to abstract paintings; so when a recent group show was displayed at the Diane Farris Gallery showcasing artist Fiona Ackerman, I was instantly drawn to her work.

Upon moving to Vancouver from Montreal, Ackerman swore that she would never become a landscape painter; but yet her work refers to and is inspired by the natural surroundings and the many “environments” experienced by us all.

Her approach to each canvas begins loosely, by continuously building, layer by layer over many months, as if participating in a larger conversation of drips, marks, and strokes to come to a final and lasting conclusion.

“There is a transformative moment in the process of making a painting when a metaphorical horizon emerges. Suddenly the painting has direction and the mess of colours and shapes begin to function in relation to one and other.” says Ackerman

The most vibrant work entitled “I Love You”, resonated profoundly with me as I searched for the letters of the works title, but also her use of spraypaint as a medium.

More often found on the sides of buildings than on canvas, the spraypaint for me, blends what we all understand as everyday “street art” with that of “high art” that is found in art galleries and museums. A pairing which for me, is sheer brilliance.

Colour and composition are what generally attract me to abstract paintings; so when a recent group show was displayed at the Diane Farris Gallery showcasing artist Fiona Ackerman, I was instantly drawn to her work.

Upon moving to Vancouver from Montreal, Ackerman swore that she would never become a landscape painter; but yet her work refers to and is inspired by the natural surroundings and the many “environments” experienced by us all.

Her approach to each canvas begins loosely, by continuously building, layer by layer over many months, as if participating in a larger conversation of drips, marks, and strokes to come to a final and lasting conclusion.

“There is a transformative moment in the process of making a painting when a metaphorical horizon emerges. Suddenly the painting has direction and the mess of colours and shapes begin to function in relation to one and other.” says Ackerman

The most vibrant work entitled “I Love You”, resonated profoundly with me as I searched for the letters of the works title, but also her use of spraypaint as a medium.

More often found on the sides of buildings than on canvas, the spraypaint for me, blends what we all understand as everyday “street art” with that of “high art” that is found in art galleries and museums. A pairing which for me, is sheer brilliance.

Winter Pond

Winter Pond #3  (Courtesy of Equinox Gallery)

A pond with raindrops rippling means fall is here. As water descends from the sky and kids go back to school, new art shows are opening all around town.

Gordon Smith at the age of 91 is still producing magnificent and modern representations of nature as he sees it. Spending much time photographing trees, thickets and ponds he comes back to the studio to then create large works on canvas, which are now on display at Equinox Gallery on South Granville.

Included in the sold out show, were colourful spring and fall scenes, but what struck me most was a longer canvas entitled “Winter Pond #3” tucked upstairs in the gallery and how intricate the detail the effect of rippling water. Not unlike the Impressionist painters who were trying to illustrate the playfulness of light, the work instantly reminded me of Monet’s water lily paintings, which I was blessed to have seen in person on my trip to Paris last year.

In Smith’s work we can see how the light is captured when a ripple occurs with the reflection of the branches and sky above. Unfortunately a small rendition of the painting does not do it justice, but the up close it is superb.

People may look at this painting and see a very dark and dreary display of winter, but I would implore you to realize how incredibly talented an artist must be in order to create a modern work so tactile that you feel you could step into it.

Tavi

Adults just don’t understand. When the youth of the world are eager, engaged and excited to explore a subject or past time far beyond the norm of what their peers are doing, it is often met with criticism. Tavi Gevinson is one of these so-called youths.

In 2008 at the age of 11 from her bedroom in Chicago, she began writing a blog entitled “Style Rookie” to explore her passion and love of fashion.  It wasn’t the fabulous life of models or the glitzy parties that drew her in; it was the creativity and artistic expression created by the famous fashion houses that spurred her to create many scrapbooks and written posts.

Her voice and style are so articulate that many in the industry have accused her of having others write for her.  On the other hand, she has risen in popularity and been asked to write articles for French and Teen Vogue, as well as a guest correspondence at NY fashion week for Fashion Television.  Recently she graced the cover of POP magazine, which was designed by the infamous contemporary artist Damien Hurst.  All this before her 14^th birthday!

So what is it about this so-called “precocious” teenager that gives her validity in the cultural hotbed of fashion? I feel it is because she brings youthful, down to earth and unabashed realism to a hyper-sexualized, egocentric and plastic industry.  Her wealth of knowledge about fashion is astonishing, and not about teen-wear but about real icons such as Alexander McQueen and Vivienne Westwood just to name a few. Her own playful fashion style is also an ode to her creative nature, as seen in the pink bow she wore for a show she attended recently.

The new generation is increasingly embracing being ‘different’ without being fake. They resist the urge to be like everyone else their age, grade or community. Their need and want to share their creativity and passions with the world is something to be embraced, even if it is not fashionable.

Kooza

The lights go out and a creative and magical world is revealed, an experience only found in a tent. Where else would you be with 2500 other people but at Kooza, Cirque de Soleil’s new show? Having seen their other Vancouver show visits I was once again spellbound by the mystery and intrigue of what this masterful group of musicians, entertainers and athletes can do.

Playful and theatrical, this artistic reinterpretation of the circus invites the audience to take in the sights, sounds and movement on stage and throughout the Big Top. As my senses were heightening I realized how important they were to my enjoyment of the whole experience.   

While watching Kooza, a story based about a character named Innocent - a loner trying to find his place in the world, I found myself also feeling quite alone with my thoughts and feelings while taking in the show. My eyes kept being drawn to the beautiful set designs and exquisite costumes, let alone the sleek and chiseled bodies of the performers. What was moving still was the often-melancholy music that flowed in intervals between intense rock music and quiet vignettes with funny clowns. 

This sensual rollercoaster of the senses is the beauty of what Cirque de Soleil continues to add to the world of visual mastery and entertainment; something that all should experience at least once in a lifetime.

 

Driftwood

Beach Tangle by Gordon Smith

Driftwood has never looked so beautiful. The instillation “Beach Tangle” 2009, by Gordon Smith on display at the West Van Community Centre, highlights the beauty of collected flotsam and jetsam we take for granted along the west coast. 

I was lucky to have witnessed the work of art in progress, to which many close friends brought over found objects for him to incorporate… amongst them a bright orange tire.

In situ at West Van Community Centre

Although technically a sculpture, it reads like one of his iconic painting, incorporating many layers of colour and texture. The tactile nature of this piece makes you wish you could run up and touch it, really inspect it.

It makes you wonder from where the wood drifted; either lost logs from a boom or broken branches from windstorms. Each piece has a story of its passage from the root of the forest to a beautiful work of art that showcases the next chapter in the life of a forest.

Naked

Tagging people in photos on Facebook is risky. If it is a good photo of you, you are pleased to be recognized, and if it is a terrible photo you might consider un-tagging yourself.

Thus when I was recently tagged in a photo of the Sydney Opera House in the background, and what looked like to me an infestation of shrimp I was bemused.  Having never been to Australia, and not knowing what this photo was about, I needed to understand why this would be of interest to anyone.

What my research unearthed was that the infestation of shrimp was actually a sea of naked bodies lined up in front of the iconic Australian landmark, and was taken by New York photographer Spencer Tunick. As it turns out, this was the latest of his photos from his travels around the world, soliciting thousands of volunteers to pose nude on mass, early in the morning, in front of famous landmarks.

So is this art? Why would anyone want to see thousands of naked bodies outdoors in front of buildings or places of interest? After all it is illegal to be outdoors without clothes in many countries, and the photographer has been arrested many times for taking such photos. So why do artists continue to make art with naked bodies, and why do we continue to accept, appreciate and acknowledge them as art?

I believe it comes down to our humanistic questioning of the human form and it’s place in society. We walk around all day in our own flesh and bones and we all have flaws - things we would change about our bodies and things we hide with clothing, accessories and makeup.

What I find fascinating about these photos by Tunick, is that on mass we do not objectify or pick out the body flaws of the participants. Instead the viewer is asked to see how the colour and composition of many human forms together play with the landscape or architecture surrounding it. It shows the amazing juxtaposition between the softness of the human form against the harsh landscape. Thus the viewer can appreciate it as an art form and not feel uncomfortable with personal issues of body image.

Although I was not a willing participant in the actual photo at the Opera House, I am thankful for friends who introduce me to new images and ideas about art.