Learning from ‘the man and the beast’: amazing Picasso exhibition at the Winnipeg Art Gallery

Conversation with Picasso

“Go and do the things you can’t. That is how you get to do them.”

Things I have learned from Pablo Picasso:

– keep an open and curious mind – it will inform your creativity
– be open to change
– keep exploring and learning, don’t get stuck in your ways
– be free in your expression, don’t censure yourself
– be succinct and clear
– reduce to the max

Conversation with PICASSO

“I begin with an idea and then it becomes something else. ”

Conversation with PICASSO

“Art is the elimination of the unnecessary.”

Conversation with PICASSO

“Learn the rules like a pro, so you can break them like an artist.”

“Pablo Picasso (1881-1973) remains one of the most celebrated artists of all time. Contemporary art critic Robert Hughes wrote: “No painter or sculptor, not even Michelangelo, [was] as famous as this in his own lifetime.” Picasso was a champion of abstract art, which has come to define the avant-garde in the 20th century.

A Spanish-born artist who spent his adult life in France, Picasso’s artistic production spans over six decades, making him one of the most prolific artists of the modern era. His celebrated Blue and Rose Periods (1901-1906) marked his first decade in Paris. These early canvases are known for their deep, cool palette, often featuring people from Picasso’s circle of friends, while the Rose Period brought warmer, brighter hues of orange and pink, with figures from the theatre, ballet, and circus.

Cubism in its Analytic and Synthetic phases (1909-1919) developed when Picasso joined forces with French artist Georges Braque, and the two began experimenting with the composition of the object and picture plane. As they dismantled and re-assembled forms into various states, often with multiple perspectives and angles, Cubism was born.

While embracing elements of Classicism and Surrealism in both artistic and literary circles into the mid decades of the last century, Picasso never stopped exploring new themes and techniques in his art. His total artistic output is estimated in the thousands, including paintings, drawings, prints, sculptures, and ceramics. He married twice and had four children by three women.” (Source: WAG)

For more information about the amazing exhibition at the Winnipeg Art Gallery (WAG) – ‘Pablo Picasso, man and beast’ (May 13 until Aug 13, 2017), click here.

Seen and liked: Blue Whale exhibition and Henry Moore Sculpture Centre

 

 

Art Gallery of Ontario (AGO), Toronto

The Art Gallery of Ontario is known for its extraordinary collection of Henry Moore works. The Henry Moore Sculpture Centre opened in 1974 to house Moore’s original gift to the AGO, now totalling more than 900 sculptures and works on paper.

The collection of the AGO includes more than 80,000 works spanning the first century to the present day. The gallery has 45,000 square metres of physical space, making it one of the largest galleries in North America.

Click here to read more about the Henry Moore Sculpture Centre.

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Royal Ontario Museum (ROM), Toronto

In 2014, nine rare blue whales became trapped in ice off the coast of Newfoundland and died. Their loss represents about three percent of the Northwest Atlantic’s blue whale population. Blue whales usually sink when they die, but in an unusual occurrence two of the blue whales washed ashore in Trout River and Rocky Harbour, Newfoundland and Labrador, offering an unprecedented opportunity for research.

Working with the Department of Fisheries and Oceans, Research Casting International and the local communities, scientists of the Royal Ontario Museum de-fleshed and recovered the bones of this endangered species, transporting them to Ontario. After a two-year process where the bones were buried in manure, and de-greased, one of these awe-inspiring animals is now displayed at the ROM.

Click here to read more about the exquisite Blue Whale exhibition.

Urgent environmental issues converted into dramatic form by Thaddeus Holownia

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I am not prepared for what I am going to see when I enter the Corkin Gallery in Toronto. At first glance, I only see photographs of little strange birds facing downwards as if falling out of the sky. Some look as if they are asleep, but others are charred beyond recognition. I am starting to understand that I am looking at something very tragic, captured as a reminder or warning by photographer Thaddeus Holownia. But what exactly is it?

The Canaport bird kill exhibition shows many lingering images. ‘A fast shutter for slow violence’, journalist Geordie Miller called the art of Canadian photographer Thaddeus Holownia, who took pictures of some 200 creatures killed by human error. “Drawn to a deadly light on a foggy night, songbirds begin to fall from the sky. By evening’s end, more than 7,500 are rendered flightless, lifeless. Twenty-six species of songbirds felled by one flame, a flare from the natural gas burn-off at the Canaport Liquefied natural Gas terminal in Saint John, New Brunswick, September 13th, 2013.”

The disastrous event is represented on a 17-foot-high scroll – called Icarus, Falling of Birds (2016) – and several individual photographs. The viewer cannot help but be affected by their immediacy and immensity.  I left the gallery with a sense of sadness and discomfort, but also a genuine interest in the work of Thaddeus Holownia, who manages to artistically capture dramatic urgent issues in a very unique way.

Click here for the whole story and article by Geordie Miller (Canadian Art, Feb 2017).

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“The work of Thaddeus Holownia deals with how how humanity changes landscape,
how the forces of nature mould human structures.

His work calls attention to various ecological and political issues;
and his art practice conveys these precarious relationships.”

(Corkin Gallery, Toronto)

 

Further information:
canadianart.ca/reviews/thaddeus-holownia/
Corkin Gallery, Toronto

The need to belong

Series ‘be-longing’ by Daniela S. Herold at Cowichan Performing Arts Centre in Duncan

'Lemonisity' by D.S. Herold

‘Lemonisity’
Oil on board by D.S. Herold

In 1970, American psychologist Abraham Maslow pointed out that belonging was an essential and prerequisite human need that had to be met before one could achieve a sense of self-worth. 

I immigrated to Canada in 2004 after having lived in different countries for the last 20 years. The theme of migration and identity has concerned me for years – I know what it is like to leave ‘home’ and move to a new place, where unfamiliar people become neighbours, colleagues and friends.  However, I have always moved by choice with a job, a loving partner or a place waiting for me. I was the fortunate one – unlike hundreds of thousands of refugees who know about displacement, having moved out of their native home and country due to civil wars, persecution or natural disasters.

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‘The essence’ by D.S. Herold

Today, my friend Rosemary and I finished hanging 35 paintings from my latest series titled ‘be-longing’ at the Cowichan Performing Arts Centre in Duncan.  The show is close to my heart because it focuses on growing roots, being connected and belonging with others. The exhibition can be seen until the end of January 2016.

‘Humans have a natural need to belong with others.
To belong means to be connected.’

Why is the topic of belonging such a common theme in literature, music and the arts?

The need to belong is rooted in evolutionary history. Human beings are social animals who have always depended on having close connections in order to survive and reproduce. In our daily life, we seek out those who are most similar to us because we feel that we can relate to them and they can understand us.

As an immigrant, I wanted to belong and to grow roots here in Canada – I have been longing to be part of this culture while at the same time needing to stay close to my European roots.

Humans have a natural need to belong with others. To belong means to be connected. As for me, the word home is connected just as much to a place as it is connected to a person. In that sense I felt I could take the word ‘belonging’ apart (BE-LONGING) as in ‘I am longing’ for something that makes me whole.

'Camouflage’. Oil on board

‘Camouflage’. Oil on board by D.S. Herold

Every time you are taken out of your ‘heart community’, there is a void that yearns to be filled. For me, the alienation was caused by my move to another country. For many, the feeling can be the result of the scattering of their families, the break-down of traditional groups or the disappearance of a village familiarity where everyone knows everyone. Millions of people are taken out of their heart communities as I am writing these lines – the stories of their suffering during the current refugee and migrant crisis in Europe are enormous.

‘I am longing’ for something that makes me whole.’

A friend asked me whether ‘the artist and nationality’ are a central theme in my art. About a year ago, when I started the series ‘be-longing’, I was wondering how important nationality would (have to) be? At one point it confronted me with quite a dilemma: how could I – as a German-Canadian artist – portray ‘Germanness’ in general if all symbols of Germany are tainted by the past? The artist Anselm Kiefer already asked that existential question in the 1960s.

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‘As snug as a bug in a rug.’ Oil on board by D.S. Herold

When I was reflecting on my own sense of nationality and what it means for me as an artist, I came across a quote by Saltire Award winner Meaghan Delahunt that I really liked. She wrote in 2003: ‘It is not the responsibility of the artist to present a comfortable or ‘identifiable’ picture of the nation in which they were born or in which they live, and they should be free to write about whatever they see fit in whatever language they see fit.’  

This project left me with the interesting question: how important is my nationality in the context of belonging when I compare it to other staples of my life, e.g. my family, my friends, networks, groups, environment etc? As it turned out, nationality has been only one aspect of many.

Belonging has a lot to do with getting recognition and developing self-esteem. According to Maslow, we only develop self-esteem when we are anchored in community. At the end of the day it is the community that gives us the recognition for our achievements, and it is the community that respects us for our mastery in a certain field.

How we portray and express this human need of belonging, so deeply ingrained in our nature, is very individual – as is the artistic presentation of the topic around it. I want my viewers to create their very own story of my art – that is why my paintings leave a lot of room for imagination and assumptions.

Of course there is ‘my’ story behind every painting, but what would art be if it doesn’t reach out and touch your life? What makes me tick is when my paintings manage to hold your attention for a while, when they can inspire you or make you wonder.

Why art? Because.

Daniela S. Herold

 


Further information : Cowichan Performing Arts Centre

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‘In unison.’ Oil on board by D.S. Herold

 

 

Paintings/Photographs by D.S. Herold  / Copyright 2015

Vancouver Island’s premier Summer Arts event – The Sooke Fine Arts Show

'Lumens' (oil on canvas, 2014) by Daniela Herold

‘Lumens’ (oil on canvas, 2014)
by Daniela Herold

I’m happy to report that my oil painting “Lumens” was selected to be part of the Annual SOOKE FINE ARTS SHOW.

The Sooke Fine Arts Show provides the opportunity for the finest artists from Vancouver Island and BC’s coastal islands to showcase and sell their work. The Show, coming into its 29th year, is Vancouver Island’s longest-running juried fine art show and the Island’s premier summer arts event. The 11-day art show and sale draws more than 8000 art lovers from Canada, the US and abroad. More than 375 works of original island art are on display in a stunning, 17,000-square-foot gallery at the SEAPARC complex on Sooke Harbour.

As I have had the wonderful opportunity to be working with Noah Layne, the founder of the Academy for Realistic Art here in Victoria, over the course of the last 2 years, I will be holding an artist’s talk about a topic close to my heart at the Sooke Fine Arts Show on Tuesday, July 28, 1-2 pm.

“Talent vs Technique – The importance of improving your skills to enhance your natural ability” 

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Noah Layne is an amazing painter and teacher who has inspired many of his students.
Here is a glimpse of my upcoming interview with Noah Layne this Fall.

Emile Zola once said: “The artist is nothing without the gift, but the gift is nothing without work.” Would you agree?

Noah Layne: Absolutely.

In what way were you influenced by such painters as Sargent, Rembrandt or Wyeth?

Noah: I was influenced by these painters by the beauty of their work. The truthfulness of their work, both in technique and in how they followed their heart and soul in painting things that moved them.

You started painting by copying Rembrandt and Winslow Homer paintings when you are just 10 years old.  Did you get any guidance when you studied various painting techniques at such a young age and if so, by whom?

Noah: No, just looking and thinking myself.

Why do you believe in the importance of working from life?

Noah: When I am working directly from life I get to experience whatever I am painting first hand – not filtered by anything other than my eyes and brain.

For me, my art has always been focused around the ability and experience of sitting down, and drawing something and making it look like the thing I’m drawing. That magic of creating a realist image just with your hands, a pencil and your brain. I think it’s a pretty magical thing.

What is your advice to art students when it comes to practice?

Noah: My advice would be to figure out what moves you in art and then go about learning the techniques to make the art you want to make, much like playing music where to express yourself well, you have to learn to play your instrument well. In traditional art, learning technique allows you to then say what you want to say.

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About the Sooke Fine Arts Show

Show opens July 24 – Aug 3, open daily 10 am
closing time:  5pm Saturday July 25, Thursday July 30th, and Monday August 3rd. 7pm all other days

Contemporary Art from North North America – Oh Canada …

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‘Uncharted galvanized hut’ by Chris Millar, 2008.

Curiosity. Humour. Absurdity. 

An epic art exhibition is taking over Calgary: Comprised of more than 100 artworks by over 60 artists and collectives from across the country,  Oh, Canada: Contemporary Art from North North America, is vast in scope and size – so big that no one gallery space in Calgary is large enough to host the entire exhibition. The exhibition, organized by the Massachusetts Museum of Contemporary Art (MASS MoCA), is the largest survey of contemporary Canadian art ever produced outside Canada! In order to bring this ambitious survey of contemporary Canadian art to Calgary, four local art institutions have partnered to co-represent it (Esker Foundation, Glenbow, Illingworth Kerr Gallery and Nickle Galleries).

Oh, Canada is huge in both scale and scope: 61 Artists. 4 Galleries. 1 Exhibition.

“Over 800 artists from every province and territory were initially considered for ‘Oh Canada’. Following 400 studio visits, 62 artists and collectives were selected, focusing mostly on those less known outside Canada”, says Denise Markonish, the Curator of ‘Oh Canada’. “These artists hail from as fas west as the Yukon, as north as Nunavut and as east as Newfoundland and Labrador; they cross multiple generations, and wok in all media, from painting to performance.”

The overall selection is fabulous! I particularly enjoyed Chris Millar’s work, as the natural born storyteller draws us into his ‘own private universe of wondrous tiny details’, holding our attention while unfolding his outrageous tales and phantasies. Millar’s paintings are dense mixtures of images and phrases, whereas his sculptures are sprinkled with visual clues for the viewer.

Does Oh, Canada define a country as large and intricately layered as Canada? “Not really”, says Markonish, “though it provides insight – through more than 100 artworks – into some of the country’s most noteworthy art practices and ideas, including a deep and continuing interest in the land, craft and identiy politics”.

As for me, a new Canadian since December last year,  Oh, Canada  is but one snapshot among many possibilities, intended to encourage dialogue, debate and a deeper exploration into the breadth and excellence of Canadian art today.

 

 

ABOUT the museum:
Glenbow is Western Canada’s largest museum, with over one million objects in the collection including works of art, cultural artifacts from around the world, and photographs and documents relating to the history of Western Canada. The exhibitions, programs and events are designed to create memorable experiences for all Calgarians.

About Chris Millar
Born in Claresholm, Alberta, Chris Millar grew up in Sherwood Park. He completed a fine arts diploma at Grant MacEwan Community College in 1998, and a bachelor of fine arts in painting at the Alberta College of Art+ Design in 2000.

Seen and liked – Large-scale installations by Ai WeiWei in Vancouver and Phyllida Barlow in London

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AI WeiWei, Art Gallery Vancouver, Canada, 2015

Simply fascinating! ‘Ai WeiWei’s large-scale installation BANG comprises of 886 antique stools and replicas from the Qing dynasty (1644-192) that has been installed by traditional Chinese craftsmen. Three-legged stools were often handed down through generations and could be found in nearly every Chinese home until the 1960s, when industrial manufacturing replaced carved wood with plastic. They are arranged in an expansive rhizomatic structure that suggests ‘directions in motion with no beginning or end’. Like traditional furniture, BANG is always detachable, connectable, reversible and modifiable, with multiple entrances and exits. Any one stool in BANG can be interpreted as symbolic of an individual in relationship to the rapidly developing and complex structures of contemporary society.’ (Vancouver Art Gallery, 2015)

Phyllida Barrow, Tate Britain

Phyllida Barlow, Tate Britain, London 2014

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Phyllida Barlow at the Tate Britain 

What a treat at the Tate Gallery in London – the circuit walk through British Art provides a chronological overview from the 16th century to the present day, showing famous and less famous works together. In Fall 2014, I went to see Phyllida Barlow’s large scale sculptural installations at the Tate, where the sculptor unveiled her largest and most ambitious work in London for the Tate Britain Commission 2014. The Commission invites artists to respond to Tate’s collection and to the grand spaces of the Duveen Galleries. Phyllida Barlow’s large-scale sculptural installations used inexpensive, everyday materials such as cardboard, fabric, timber and polystyrene.

More about the artists:

Ai WeiWei is one of the most prolific international artists practicing today. Performance, photography and installation  are equally associated in his visual repertoire, in addition to projects in writing, design and architecture. After returning to China from the United States in the early 1990s, Ai’s work focused on cultural traditions that had been discarded during the Cultural Revolution.  He began collecting Chinese antiques and furniture and integrating them into his artistic practice as a means of addressing historical and cultural values in the context of art. (Info: Art Gallery Vancouver, 2015)

Phyllida Barlow has been described as one of the great art teachers of her generation. Barlow, who turned 70 last year, has spent her adult life making sculpture, enjoying her greatest success by far over the last 10 years. She’s taught everyone from Martin Creed to Rachel Whiteread, but it’s only now, that Barlow is getting her dues as an artist. She creates on a massive scale, using cardboard, rags, rubber, tape, tarpaulin, paper, polystyrene.

Interview in the Guardian