Tag: Paintings

MOCA

On By ResaIn Contemporary Art179 Comments

Museum Of Contemporary Art

I’d like to welcome Trent (Trent’s World the Blog) to Graffiti Lux Art & More to discuss some of the art I saw at a showing at MOCA in Toronto.

For all of the images below, Trent was sent just the images without any notes or an artist’s name.

Jes Fan

Resa – After just looking at the image, what are your first impressions?

Trent – My first thought was it looks like when sewage comes up and then recedes and leaves nasty toilet paper sticking to things.  Second thought was just garbage bags. 

Resa – Fan’s silicone, soyaderm, resin, steel and glass “express the fragility and persistence of humans and animals in ever-changing, unstable systems.”So Trent, although you put it in different words, you have captured the intent. After knowing more about it, what are your thoughts?

Trent – OK, with the description I can see wasted people/animals barely hanging on to existence, flaps of skin sticking to bare ribs.  The edge of existence . Combining the two thoughts, after all is said and done, we do persist and there is always something about life and about humans that will always hang in there, cling to those bits of stability so even a strong flush can’t get rid of us.

Oreka James

Another image sent without notes – I’m a bit taken with the fact that Trent thought of Africa right off the bat. I was feeling something Canadian aboriginal.

Tempus – Stainless steel, earth and cow horns

Trent– I instantly thought “Africa”.  Perhaps agriculture destroying the land.  The big metal thing with the waves?  Not sure, perhaps the moisture that is no longer in the parched soil?  But I really think it is man destroying the land in Africa, mostly with agriculture, though I suppose that the horns could be wild animals destroyed by man.  Hmmm, that might make more sense…

Resa – In the description it said – “The use of metal references Ògún, the god of iron for the Yoruba people of West Africa” then goes on to say “and the alchemy of changing physical substances.” Your initial thoughts are quite on.

Trent – OK, “the alchemy of changing physical substances.”  I can see that, the bare soil bringing forth the iron.  I’ll stick with my first thoughts, but add that – our technical world is built from, and often destroys, our earthly soil.

  • 360 degress on Tempus

There were 2 more pieces by Oreka James, both in oil on unstretched canvas. There were no comments on these works, other than –“Horns are a reoccurring motif within this body of the artists work, symbolizing a quest for victory, freedom and fellowship.”

Night Angel

Night Angel was one of the original pics I had sent to Trent, without any info.

Trent – There is the animals horn that the person is wrestling with and the red soil.  The figure is odd, very masculine, yet at first glance I thought it was a woman, so can be either.  And their head is almost invisible, so they is all body. 

With the scorpion, I think man against nature, and again I place it in Africa.  And with this, I take the horns as wild animals, not cattle.

I hadn’t sent the next piece to Trent, and he is seeing it in the rough draft for the first time.

Resa – So, I thought this piece was painted on a stretched hide. Canvas never crossed my mind.

Trent – Ooo, those eyes are sinister, along with that red.  And a mirrored set of eyes?  It is a demon of the night waiting to get in.

Resa – At first I saw 4 butterflies of some kind, so I took a close up of them. When I got home and looked at the pics, I saw eyes.

Trent – Hmm, I guess I can see the butterflies, but for me the eyes jumped right out.  With the odd, angular shape that looks like arms reaching out, and the red fireball giving forward momentum, I will stick with night demon coming to get you.

Resa – Yikes!

P. Mansaram

Born in India 1934 – Died in Canada 2020. A diasporic artist using multimedia, he became friends with Canadian Philosopher Marshall McLuhan, of the famous quote “The medium is the message”.

Devi – offset colour lithograph & paint on canvas

Trent – I am not sure!  Very busy and hard to see, though I do see many faces and at least one Indian god. 

Resa – Most insightful, as the artist was from India, and you didn’t know that.

Trent – My very first thought was panic, but there is something strangely sexual, but sexual in a pornographic way, not a “natural” or “sexy” way.  Maybe “dirty” more than “pornographic”. I think it is strange that a sexual nature jumps out first thing, but I think it has to do with placement of shape and color.

OK, “Devi” is a multifaceted, all powerful goddess (I used Wikipedia  )  And she does represent female sexual energy.  I caught all of that, but I am not sure why I thought of that sexual energy as “dirty” – I think it must be implied by the male artist?  But, Devi?  It is perfect.

  • Rear View Mirror#1
  • Rear View Mirror #103
  • My Gods

Resa – I mentioned Mansaram’s friendship with McLuhan, as together they had created a series of over 100 works together. The 1960’s series is titled Rearview Mirror (moving ahead while keeping an eye on the past). The first 2 in the above slideshow are from that series. Any comments on those? Anything to say on the last one My Gods?

Trent – They are interesting and really juxtaposes his Indian past with the Western present.  With all three (or four if you include “Devi”) there is that idea that the final product is more than the sum of the parts – your first impression of the image without seeing any of the material it is created from is more important than any of said material. 

I have a collage in my house (my wife used to work closely with an art gallery) that took years before I realized it was made of nude photos.  A strange sensuality is present without knowing, and once I knew, it didn’t change.  Same with these – it is the overall, not the parts of them.

Resa – Honestly Trent, when I originally saw the Mansaram art, I was like – MEH! Too busy! Now, I think it’s possibly the best part of the show. I love it!

Trent –  I can understand why these grew on you – they are interesting and powerful in their way.

For anyone interested, below is link to more on P. Mansaram.

P.Mansaram (1934–2020): A Canadian Artist in, and of, the World

Jean-Paul Kelley

I asked my artist friend, who treated me to the show, what was with the penis drawings? She fluffed it off saying – Oh someone always does a penis thing at all these contemporary art shows. There was no commentary with this installation.

Resa – I had sent you only one of the drawings, which in retrospect I now think is the rudest of all the drawings. It’s is at the end of the slideshow. This way if someone doesn’t want to look, they don’t have to. I think your take on it (and in many ways the entire display) is right on.

Trent’s Take on the Rudest Pic

Trent – Strange.  He doesn’t look like he is wiping his forehead with the toilet paper, it looks like he is using it to hide in shame.  The angle is like he is half squatting, half standing, but not sitting.  And either he is in the middle of diarrhea or he has very large worms… 

Resa – LOL! Still, I’m attempting to be open minded.

Trent – The non-sexual erection may be why he is hiding his face in shame – he has been exposed, the door opened, his “shame” on public display in the now far too, public toilet. There’s not one bit of sexuality despite that his penis is erect, which may be why he is hiding his face in shame.

Resa – Any comments on the other drawings?

Trent – The first and third in the series go very well with the one you sent – the guy is in the same pose, and it is like the same image seen from three different states of mind, or in three parallel universes.  In the other two it is smoke, not toilet paper, but still…

OK, the first looks like he just dropped dead of a heart attack.  The second he is peeing on the building because he can’t get in – I guess some sort of metaphor, just don’t ask right now.  yeah, such is life, you are denying me what I need, but I will just do it anyway, and it will be you who pays.  The third, like the first, but with the idea that he may be falling drunk, not dead.  OK, puking out the window?  No thanks. 

Resa – I can’t remember where I read it, but someone said that they did not take pics because they did not want to foul their camera. What do you say to that?

Trent – Lol, I can see why. Although there may be a message and if I looked longer I could find it, I don’t want to look longer!  They seem to be provocative just to be provocative. 

As to penises, there is so much female full frontal nudity in art, why not male?  I don’t think it has to be rude or “in your face”, but there is a place for it – I have both male and female nude paintings in my house. 

Of course the art gallery my wife worked with had a lot of gay artists, and yes, a cliche, they liked drawing or painting men more than women.  But, yeah, these drawings are not my favorite – I would not want to look at them every day!

Michael Thompson

I sent Trent the first image, again with no info. The anvil is new to Trent. The paintings are oil on canvas.

Mirror Match Shine

Trent – My first thought was roadkill.  A woman in a raincoat squished/flattened into a mud puddle.  But, gloves in the background?  Hold on.  Is there a person there or is it just accessories?  Do the accessories make the person and person an illusion in that sea of gloves?  The raincoat looks like just a piece of mylar, yet you have to look at it to see that is all it is. 

But those accessories – boots, mylar rain coat and gloves, creates the illusion of the person laid out in a puddle of gloves.

Resa – Info offered is a kind of “non-place” & “perhaps even fetishizes objects and their surfaces”. This isn’t ringing any bells for me.

Trent – OK, “non-place” & “perhaps even fetishizes objects and their surfaces”. comes close to my final thought, that it isn’t about the person, it is about the objects, the surface, the image of the person.  A lot of fetishes don’t depend on the people but on what I called the accessories in my initial description.  These “accessories” are almost a cliche, what people see.

Resa – Okay the anvil has me stumped, almost annoyed. A description says “a place holder” & “present is inherently tied to the past.” Do we still use anvils?

Red Hot

Trent – I can see why you are stumped!  “A place holder” – well, something that weighty will certainly hold anything in place!  lol.  This is an anvil used for doing horseshoes, though the right side does remind me of a hole for a cylinder in an engine block – maybe?  Not sure.  Yeah, no real thoughts – well done, but “so?”

GB Jones

This is her first time showing these 3 graphite on paper drawings. I had only sent the first one to Trent.

Trent – Nothing jumps out.  It is a pretty good print, but not special.  The building does look almost ghostly, but no huge first impression – I’ve seen better likenesses and I’ve seen much worse!  Will have to wait for more on this one.

Resa – Here are the other 2 from the series.You said, “almost ghostly”? Uncanny!

GB says they are “… studies of haunted buildings” & “critiques social conditions through horror and the grotesque.”

Trent – lol, OK, so “ghostly” it is!  I do like the one you sent the best, but I think the train station is cool. 

Trent – The prints are well done, but there was nothing until I had that hint that they are haunted, and, yes, they are!  I like them better knowing that – it does bring something out, doesn’t it? 

Resa – I completely agree with you!

Trent – Strange that these pieces of art are so much better knowing what they are than not.

Catherine Telford Keogh

Following is another image (plus pics of 2 of the plastic boxes) I sent Trent, with no explanation.

Carriers

Trent – Hmm, very few thoughts.  A conveyor in a factory, but what are in those containers?  Random letters frozen in plastic or mud?  Life keeps coming at us on that conveyor, but what does it contain, what is frozen in the instances? 

Resa – Yes, your comment “Life keeps coming at us on that conveyor,” is relevant to what the artist says – “This new work mines the relationship between environmental histories and capitalist industry.”

Trent – OK, I get it.  If you haven’t seen it, go watch the video for the newer version by Yusuf of his former-self’s (Cat Stephens) song “Where do the children play”. Similar message, different medium.  Though the medium is the message, isn’t it?  In the case of the conveyor belt, yes, the medium really is the message!

The Medium’s Message

Where do the Children Play – at the beginning the 1970s Cat Stevens is playing guitar, at the end it is the modern Yusuf playing guitar in that band. 

Now for some MOCA Music, by Trent

I really could not decide on which I like better for the post. The first is a contemporary classic, the second a full MOCA blow out.

Resa – Trent, thank you so much for joining me in this journey of discovery through some contemporary art!

Greater Toronto Art 2024

Making Her Mark – Self Portraits VI

On By ResaIn Making Her Mark204 Comments

Welcome to the final instalment of Making Her Mark – Self Portraits. I’m here with Rebecca Budd, curator of Chasing Art. 

Resa – So, Rebecca, in this last Self Portraits post, we are headed to the Netherlands, 17th century, to visit another artist that I had never heard of. Had you heard of Judith Leyster before this post?

Rebecca – Yes – just recently. I discovered her when I travelled virtually to the Rijksmuseum. Judith Leyster was featured in their Women of the Rijksmuseum exhibit two years ago. It was an eye-opening experience to discover her work.

Resa – Very Cool, I’m excited to se what you’ve dug up!

Once Forgotten Dutch Master

Judith Leyster, the once-forgotten Dutch master, has experienced a resurgence in recognition. She was commemorated in a  Google Doodle, her artwork achieved higher- than-expected prices at auction, and she was featured in the most prestigious chamber of the Rijksmuseum.

Who Was Judith Leyster

A remarkable Dutch painter of the 17th century, Judith Leyster was born 1609, in Haarlem, Netherlands. The daughter of a brewer, she displayed a precocious talent for painting from a young age.

By the age of 24, Leyster had achieved the remarkable feat of becoming a member of the Haarlem painters’ guild, marking her official recognition as a masterful artist. She was one of the rare professional women painters of her time, being one of only two women accepted as a master in Haarlem’s painters’ guild during the entire 17th century Netherlands.

Leyster’s artistic talent quickly gained recognition, and she became known for her lively and expressive compositions, often depicting genre scenes, portraits, and still life paintings. Her work radiated a sense of spontaneity and skillful use of light and shadow, showcasing her technical prowess and innovative approach to painting.

Leyster’s artistic pursuits defied conventions, as she ventured beyond the typical subject matter embraced by Dutch painters of her time. Her work encompassed a diverse range, and she was among the pioneering artists who explored and popularized the domestic genre scene, portraying everyday life with a fresh perspective.

In the early 1630s, before her marriage to the lesser-known artist Jan Miense Moleanaer, Leyster produced some of her most significant works. However, despite her talent and dedication to her craft, her contributions to art history remained largely unrecognized until the late 19th century.

Judith Leyster Rediscovered

The rediscovery of Leyster’s significance in the art world came about during a lawsuit between an art dealer and his vendor.

It was revealed that many works attributed to her contemporary and rumoured rival, the great Dutch painter Frans Hals, were, in fact, Leyster’s creations that had been incorrectly credited. This significant discovery brought long-overdue attention to Leyster’s remarkable talent and her influential role in shaping the Dutch Golden Age of art.

It is remarkable how the true authorship of artworks can be uncovered through careful examination and historical investigation. The discovery of Leyster’s initials hidden beneath a faked signature of Frans Hals in “The Happy Couple” (aka The Carousing Couple) serves as a testament to her enduring impact on art history and the need for ongoing reassessment of attributions.

This revelation not only sheds light on Leyster’s artistic contribution but also prompts a re-evaluation of artworks attributed to her contemporaries. It further underscores the significance of ongoing research in uncovering the often overlooked achievements of pioneering artists.

Resa – When searching for other female artists from the past whose art has been misattributed, I found an intriguing article (July/2024) in  Daily Art Magazine. The article cites 5 female artists.

“This systematic misattribution essentially meant the erasure of women from the art historical canon, which eventually resulted in their erasure from history itself.”

Rebecca, do you think it’s possible that as art experts and historians uncover yet more misattributed art that we could see some famous paintings by famous artists, the Rembrandts, Da Vincis, et al being reattributed to women?

Rebecca – You have asked a very insightful question, Resa! It’s certainly possible. As more art is studied works that have been misattributed may be finally recognized as contributions of women artists. It would be a significant shift in how we view art history. I truly believe that we are now embarking on an extraordinary exploration of art history. It gives me great comfort that we are seeking to foster a richer and more equitable understanding of the artistic legacy we inherit. I am glad that you mentioned the Daily Art Magazine. It is one of my go-to places to learn about art.

Judith Leyster’s Self Portrait: A Glimpse into the Artist’s World

Judith Leyster’s self-portrait offers a glimpse into her life and artistry. Created before her admission to the guild in 1633, the portrait encapsulates a moment of confident creativity and engagement. Leyster’s self-assured expression, characterized by a confident smile and parted lips as if to speak, exudes a sense of self-assurance and mastery. The casual pose, with one arm nonchalantly resting on the back of her chair, hints at the artist’s ease and comfort in her own studio.

It is difficult to photograph art. I captured many works beautifully. However, this painting was the finale of the show, and was heavily lit with warm light. 

Shot on an angle, the lighting was evaded, and it seems to be closer to many photos of it. Still, it seems no 2 photos are the same.
Photos in this post © Resa McConaghy

The liveliness and freedom evident in Leyster’s brushwork mirror her spirited approach to art, capturing a fleeting pause in her work as she glances toward a potential visitor. This subtle interaction suggests a moment of connection with a viewer, possibly a patron, inviting them to share in the experience of a work in progress.

In this self-portrait, Judith Leyster not only presents herself as a skilled artist but also provides a glimpse into the vibrant and dynamic world of creativity that she inhabited.

Today, Judith Leyster is celebrated for her creative spirit, artistic innovation, and lasting impact on the history of art. Her legacy continues to inspire and engage art enthusiasts and scholars around the world.

Resa – Well, Rebecca, so ends our series on Self Portraits. It’s been a pleasure and an honour having you here with me. Thank You!

I look forward to your return, to discuss some engravings on paper by Catherine Brandinn and Geertruydt Roghman. These are of utmost interest as the images depict the working poor, not a big subject of artists in those times.

Rebecca – Thank you, Resa! It has truly been a privilege to explore these amazing women through “Making her Mark” with you. Your photographs allowed me to virtually experience the joy of viewing these paintings. Thank you for celebrating and honouring these artists. Their resilience and creativity continue to inspire and empower us today, even as they provide a vital legacy for future generations of women in the arts.

I’m eagerly anticipating our next discussion on the engravings by Catherine Brandinn and Geertruydt Roghman, as the portrayal of the working poor offers a unique and important perspective that, I believe, deserves more attention in the art world.

As you say so eloquently, “Art Remembers Us.”

Click on X to see research links & a fabulous video on her

Famous Artists and Their Models

On By ResaIn Famous Artists and Their Models121 Comments

In the March 23, 1962 issue of Life magazine was an article titled “Famous Artists and Their Models”.

In getting rid of stuff, old magazines used for research are going. I bought them in the early 2000’s when I was working for Showtime.

In going through the magazines, I found this article. It is so fascinating, I have to share.

Nick of time, the magazine crumbled as I held it. I did my best taking pics.

The articles are photographed and presented in a way to see and read best.

I adore all of the anecdotal editorial that came with these fabulous images.

Click on the cover of the issue, and it will take you to a PDF of the article as presented in the magazine, as opposed to how I have presented. It is downloadable.

I can’t think of a more fitting work of music than “Frozen” by MK-O, featuring our dear dahling Marina on vocals ( & more). After all, the models are gone, but the images that came from their poses are frozen in time.