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mcgiggers · 26 days

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London, Paris - March 2024

Just back from a fantastic art viewing adventure in the old world which featured stops at the Tate Modern and Goldsmiths Centre for Contemporary Art in London, and the Musée d’Orsay, the Foundation Louis Vuitton and the Bourse de Commerce in Paris. The four-day trip was on the back end of a stay in the 13th century hilltop village of Petritoli, located in Le Marche, where local churches and those in the neighboring towns displayed marvelous medieval and renaissance style treasures. In the big cities, however, the focus was more on contemporary offerings. The whole made for a fascinating journey through an exciting part of art history.

London

An attempt to see the Yoko Ono exhibit at the Tate Modern was stymied by sold out crowds. The serendipity in poor planning however resulted in an opportunistic visit to the museum’s permanent collection, more specifically the magical second floor featuring modern masters and post war stalwarts. With entire rooms dedicated to the likes of Joan Mitchell and Gerhard Richter, among others, the walk-through played out like a greatest hits tour where around every corner an even more marvelous sensory treat was served up. Highlights of the visit included: Georges Braque’s early cubist masterpiece “Clarinet and Bottle of Rum on Mantlepiece”, 1911, oil on canvas (31.9 x 23.6 in.); Giorgio Griffa’s painterly “Tre linee con arabesco n.111”, 1991, acrylic on unstretched and unbleached canvas (114.4 x 76.4 in.); and Agnes Martin’s contemplative grid patterned renderings “On a Clear Day”, 1973, thirty screenprints on paper (each 12 x 12 in.), edition 32 of 50.

On the other side of town on the campus of one of the world’s most renowned art schools, a Matt Connors exhibit, Finding Aid, opened its doors at the Goldsmiths Centre for Contemporary Art. Featuring new and older works by the American abstract artist, the expansive grouping of paintings, sculptures and drawings cleverly paired Connors’ soft geometric abstraction and minimalist marking styles. Showstoppers included: the large-scale bold vertical diptychs “Mural for a Gay Household I” and “Mural for a Gay Household II”, 2018-2020, acrylic on canvas; the vibrant “Red Top (deployed hatch)”, 2015, acrylic on canvas; and the sparse “Echo Implies Room (Orange/unprimed)”, 2012, acrylic and colored pencil on canvas.

Paris

Forty-eight hours later, the Eurostar abetted transition to Paris was speedy and eventless. Even under cloudy skies, the City of Light was totally sublime and uniquely picturesque. The art stops along the way were knockout shows in beautiful venues which in and of themselves were artistic and architectural marvels. At the Musée d’Orsay, the magnificently repurposed train station was the setting for the Paris 1874: Inventing Impressionism exhibit. The show celebrates the 150th anniversary of the inaugural exhibit of the then avant-garde movement and chronicles the transition from staid and traditional realism to hazier and freer interpretations of subject matter capturing a moment in time, an impression, so to speak. The cast of characters that led the way included MVPs in the annals of art history - Monet, Renoir, Degas and Cézanne, among others, all of whom figure prominently in the exhibit. The highlights included: Auguste Renoir’s “La Loge”, 1874, oil on canvas (31.5 x 24.8 in.); Claude Monet’s “Impression, soliel levant”, 1872, oil on canvas (19.63 x 25.63 in.); and Edgar Degas’ “Classe de danse”, circa 1870, oil on wood (7.75 x 10.63 in.).

The next visit on the journey was the futuristic Frank Gehry-designed Foundation Louis Vuitton and the Mark Rothko retrospective. The comprehensive exhibit brought together 115 or so works of the powerhouse American abstract artist and presented a chronology of the evolution of his early figurative renderings to mystical and surreal style paintings and finally, to his entrancing iconic floating forms. The highlights included: the early representational scene “Contemplation”, 1937-1938, oil on canvas; the surrealist masterpiece “Slow Swirl at the Edge of the Sea”,1944, oil on canvas; and dozens upon dozens of mesmerizing large format colour abstractions, including, “Orange and Red on Red”, 1957, oil on canvas (68.8 x 66 in.) and “No. 14”, 1960, oil on canvas (114 x 105 in.).

The last planned stop in Paris was the Pinault Collection at the impressively remodelled Bourse de Commerce. Spiralling up the majestic rotunda, works by contemporary art rockstars were prominently displayed. Among these were: Peter Doig’s haunting “Pelican (Stag)”, 2003-2004, oil on canvas; Maurizio Cattelan’s poignant “Him”, 2001, wax, human hair, suit, polyester resin and pigment; and a monumental installation by Sturtevant replicating the mythical room staged by Marcel Duchamp at the 1938 International Surrealist Exhibition in Paris.

Closing off the trip and reaching back in the art history timeline, a truly memorable work was discovered by happenstance during an unplanned visit to Eglise Saint-Séverin. Dating back to the 13th century, the gothic style place of worship housed numerous elaborate chapels which were all built around altars and adored by art of the time. A particular work stood out as it was presented alone hung high on a huge wall under a circular stained-glass window surrounded by nothing else but the serenity of the immediate environment. It totally radiated under the spotlight that illuminated a depicted religious figure sitting at a table who perhaps was Saint Séverin, a devout 6th century hermit and the church’s namesake.

Meanwhile, in the new world, there was a lot more commotion as Hogtown’s Jurassic Park was hit with an asteroid of epic proportions that essentially wiped out all remnants of a recent championship team. The Dinos were dissected and dismantled. Gone are Crazy Eyes and OG-Won Kenobi, and team leader Scottie B and the much-maligned Austrian Big succumbed to season ending injuries. All the while, the newly minted Raptors including RJ the Prodigal Son Barrett and Immanuel La Squig Quickley struggled to stay healthy and make their mark. The result has been a team that is nowhere near relevant in the standings nor the hearts of fans. With the prospect of a lengthy and bumpy rebuilding process ahead, Dino fans can perhaps take some solace in rooting for the success of Raptor expats applying their trade elsewhere or maybe even Canadian hoopsters playing for true championship contenders. It’s all a lot rosier than the current state of affairs in Jurassic Park.

For more information on any of the venues, artists or works mentioned, or the sad sack Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(Https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

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mcgiggers · 5 months

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Miami - December 2023

Just back from an action packed two and half days in Miami which featured stops at half a dozen art fairs and visits to a few private collections and a museum. With worrisome headlines front and center and a squishy economic outlook, one might have expected a more subdued reception to this year’s art week festivities in Magic City, but by all accounts, it was full steam ahead for art fans and aficionados. The fairs seemed to get super-sized, the crowds appeared to be bigger, and the city was grid locked for the better part of full days and evenings as people tried to make the most of all that was being offered. Once you eventually got to wherever you were going, it was all great. The art rose above all the noise, and a marvelous viewing experience was served up and fully appreciated.

The itinerary for the trip included: INK, Untitled and Scope fairs on arrival in South Beach; the de la Cruz and Margulies private collections, the Rubell Museum, and NADA and Art Miami fairsthe next day in and around the Miami Design District; and then Art Basel Miami Beach back on the other side of Biscayne Bay on departure day. While not all fairs are created equal, part of the thrill is the journey and finding those special works that resonate wherever they may show up. And, in that regard, there were many exciting discoveries and some magnificent reacquaintances.

The mainstay and anchor of the art festivities was Art Basel Miami Beach which celebrated its 21st edition with 277 exhibitors from 33 countries. While that was the official gallery count, multiple booths by some gallerists together with the proliferation of focus sections spread throughout the Miami Convention Center catapulted the number of exhibits to well over 300. With a view to making it more manageable for fairgoers (albeit questionably so), the fair was organized into curated groupings featuring top-of-the-line modern and contemporary galleries in the main section and then, in other dedicated spaces, diverse curatorial initiatives such as emerging artists, thematic exhibitions and large-scale projects, among others. Perhaps at the expense of a shrinking modern master presence and notwithstanding the diversity in presentation concepts, the focus of the fair was clearly tilted towards the new as established and emerging contemporary art was at the forefront. There was also noticeable excitement around Untitled in what seemed to be an invigorating revamping of that fair’s physical presence and gallery lineup. Under its fortified bright white tent situated right on the beach, Untitled lived up to its billing as the quintessential Miami art fair and delivered a strong roster of 166 North American and international exhibitors focused intensely on contemporary art. Among the other visits, the incredible collections at the de la Cruz, the Margulies and the Rubell did not disappoint, and the opportunity to enjoy beautiful paintings, sculptures and on-site installations housed in marvelous settings without the chaos of crowded fair corridors was surreal.

Across all fairs, there were many memorable pieces. At Art Basel, the showstoppers included: Rebecca Morris’ “Untitled (#14-15)”, 2015, oil and spray paint on canvas (111 x 113.5 in.); Antonio Ballester Moreno’s “Azul”, 2023, acrylic on jute (78.75 x 57 in.); Gareth Nyandoro’s “Street Canteen”, 2023, ink on cut paper mounted to canvas (57.5 x 94 in.); and Phoebe Boswell’s “A Knowledge Becoming”, 2023, pastel on paper (60.25 x 48.5 in.). At Untitled, the highlights included: Rafael Lozano-Hemmer’s “Thermal Drift Density Map”, 2022, custom software, computer, thermal camera, screen (dimensions variable), edition of 6, 1AP; and Concetto Pozzati’s “Inventario”, 1963, oil on canvas (60.63 x 75.25 in.). Other special sightings included: a pair of Esteban Vincente works, “The West”, 1980, oil on canvas (68 x 56 in.) and “Inside Red”, 1986, oil on canvas (56 x 68 in.) at Art Miami; Vanessa Gully Santiago’s “Self Portrait in a Red Dress”, 2022, acrylic on canvas (30 x 24 in) at NADA; and Peter Grippe’s “Figure”, 1950, watercolour on paper (8 x 5 in.) at INK. Special kudos to Sudanese-Canadian artist Azza El Siddique’s critically acclaimed installation, “Final Fantasy”, involving metal work scaffolding, dripping water, eroding clay-fired pots with a central four-sided monitor scrolling the English translation of Egyptian and Nubian funerary texts. Emitting a mystical transcendental vibe, the temple-like installation captivated fairgoers and was an Art Basel fan favorite.

Among the private collections, it was great to again see longstanding much admired works, including:Noah Davis’ “Painting for my Dad”, 2011, oil on canvas (76 x 91 in.) at the Rubell; an installation of familiar works at the de la Cruz by Félix González-Torres which included “Untitled” (America #3), 1992, 42 light bulbs, extension cords and porcelain light sockets (variable size), “Untitled” (Portrait of Dad), 1991, white mint candies, endless supply (ideal weight 175 lbs), and “Untitled”, 1989/1990, offset print on paper, endless copies, two stacks (56 x 23 in. each, ideal height 26 in.); and Leondro Erlich’s “Elevator Pitch” at the Margulies, 2011, automatic door operator, sliding doors, stainless steel, button panel, rear screen video projection, Mac mini-computer, 5 minutes, looped.

While things were frenzied in Miami, it was probably equally so in Hogtown as Torontonian sports fans relished the very real possibility of landing Shohei Ohtani. The Dodo Birds were among the few shortlisted in the hunt for the truly generational talent, but regrettably, after all was said and done, the Dodgers signed him with the lure of perpetual sunshine and a whopping $700 million 10-year contract. Quite incredible. For a short while, the hype served as the perfect smokescreen for the plight of the woeful Dinos who continued to plod along below the 500 mark in the win/loss column. It has been reported that Coach Darko has offered to pick up the team dinner tab when the boys string together three victories. With the team on a three-game losing streak, the more relevant matter at hand is what Coach Darko is doing to stop the bleeding. Fasting, KETO, Paleo? Hunger, or lack thereof, does seem to be part of the issue as lackluster performances add up. One can only assume that Sensei Masai is gearing up for a splash at the trade deadline in February 2024. Meanwhile, Coach Darko has his hands full.

For more information on any of the artists, works or venues mentioned, or the fate of the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

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London, San Marino, Toronto - October 2023

Just back from fabulous art viewing experiences abroad and in Toronto. Stopovers included: Frieze London, Frieze Masters and the 1-54 Contemporary African Art Fair in London as well as the Philip Guston exhibit at the Tate Modern; La Galleria Nazionale in the Republic of San Marino; and Art Toronto in Hogtown. The whole, for the most part, was enjoyed in the context of a three week stay in Italy where the hilltop medieval village of Petritoli, located in Le Marche, served as home base, and offered spectacular vistas of land, sea and mountains, all longstanding muses throughout history. Without looking too hard, traces of Ellsworth Kelly’s curves, Jasper Johns’ crosshatches and Frank Stella’s grids could all be seen in the roofscapes and landscapes, providing a breathtaking backdrop to daily activities, whether art related or other.

London

The transition from bucolic and sunny Petritoli to chaotic and rainy London was drastic but exhilarating. Frieze Week in mid-October is the global launching pad for the all-important fall season in the art world. With summer days in the rear-view mirror, an intense focus radiated from the London art scene with the convergence of exhibit openings, important contemporary and modern auctions, and preeminent art fairs. While the weightiness of a challenged economy and ongoing wars was perhaps most evident in the squishy auction results, elsewhere, the mood and excitement were upbeat as fair venues and exhibits were flooded by art fans and aficionados.

Frieze London and Frieze Masters art fairs ran concurrently under the stars, so to speak, in separate tents in the wonderful greenspace of Regent’s Park. Frieze London’s defining focus is on living artists and contemporary art. This year’s edition, the 20th, included over 160 participating galleries with a strong contingent of 40 or so international exhibitors. Noteworthy was the caliber of presenting galleries and works on display. While remaining very faithful to the contemporary focus, large well-established mega galleries were ever so present along with their roster of anointed stars, perhaps at the expense of the more experimental flair historically more synonymous with Frieze. A walking distance away through a maze of outdoor sculptures, Frieze Masters hosted over 130 galleries that showcased an eclectic mix of art works ranging from archaeological finds dating to thousands of years BC to 20th century masterpieces. Fair highlights included: Tabboo!’s “Desert Moon”, 2021, acrylic on canvas (60 x 50 in.); Simone Leigh’s “Untitled”, 2022, stoneware, 25.75 x 11.75 x 16.5 in.); and Anna Mark’s “R 1002”, 1968, synthetic resin, sand, pigment on canvas, mounted on wooden frame (20 x 20.25 in.).

Elsewhere in the city at Somerset House, the 11th edition of 1-54 Contemporary African Art Fair was in full swing with a line-up of over 60 galleries showcasing more than 170 artists. There, the excitement of discovery and seeing new things being done by emerging talents was palpable. Highlights included: Godwin Champs Namuyimba’s “Fathering spirit”, 2023, acrylic on canvas (90.5 x 78.75 in.); Emmie Nume’s “When we use to”, 2021, mixed media on paper (55.5 x 41.75 in.); and a pair of works by Theresa-Anne Mackintosh, “Walking with my body conscious” and “Comfortably dazed”, 2023, oil and acrylic on canvas (each, 34.25 x 39.5 in.).

Also in London, a captivating Philip Guston retrospective was being held at the Tate Modern. Spanning a 50-year career, the comprehensive survey included everything from the artist’s more classical early works to pieces depicting his fiery brand of abstraction and, most prominently, paintings and drawings featuring his iconic comic-like figures and imagery that captured the anxious and turbulent world around him. The whole made for an intense and sometimes unsettling experience. While the museum walls were bursting with large scale masterworks that chronicled the Guston story, it was a small self-portrait that was most memorable - “Untitled”, 1968, acrylic on board. Barely noticeable behind the artist’s gaze painted in the foreground were the remnants of an earlier work of a hooded figure. The effect hauntingly captured Guston’s lifelong nightmarish preoccupation with racism.

San Marino

The next art stop was an unplanned pleasant surprise that surfaced during a day trip to San Marino. Located on the northeastern side of the Apennine Mountains and surrounded by Italy, San Marino is the fifth smallest country in the world, and it boasts a historic center high up on Monte Titano at approximately 2500 feet above sea level that features three medieval towers dating back to the 11th century. There was almost a Vegas-like surrealness to the place with throngs of tourists making the pilgrimage to take in the spectacular views and medieval setting. Nestled in one of the few quiet corners of the historic city and a bit isolated from the many churches, palazzos and eateries was La Galleria Nazionale di San Marino, the country’s center of modern and contemporary art.Housed in the renovated Logge dei Volontari, the museum is dedicated to showcasing its collection of post war art which was amassed from international art biennials held in San Marino beginning in the mid-50s. It was totally surprising to come across fantastic works by lesser-known American artists, including: James Brown’s “Opera Contro Natura”, 2003, mixed media and collage on folded linen (59 x 98.75 in.); and David Row’s “B.N.I.”, 1992, oil on canvas (in three parts, overall, 66 x 85.75 in.).

Toronto

Returning back from the old world with only one viewing day left at Art Toronto, the opportunity was seized to cap off the art adventure with a visit to Canada’s premiere contemporary and modern art fair. While the corridors were filled with rumblings of challenging times, the viewing experience was fantastic. Over 100 galleries took to the floor of the Toronto Metro Convention Center and offered up works from over 1000 artists. As a bonus, the launching of Jack Bush’s catalogue raisonné drew out many of his works that were scattered throughout the fair, including two favorites: “Untitled”, 1962, gouache on paper (35.25 x 23 in.); and “Red, Orange, Green”, 1965, serigraph, edition 67 of 100 (25.5 x 20 in.). Other fair highlights included: Emma Kohlmann’s “Tulip”, 2023, oil on linen with cherry frame (14.25 x 12.25 x 1.25); Catherine Desroches’ “Déliason du corps contre le ciel”, 2023, bronze, pine, plywood, lost wax casting dust, foundry kiln ashes, graphite powder, charcoal on newsprint and on panel (84 x 49 in.); Marcel Barbeau’s “Iris”, 1962, acrylic on canvas (76.4 x 51.2 in.); and Jean-Paul Riopelle’s “Sans titre (1958.006P)”, 1958, oil on paper (25.5 x 19.75 in.).

Meanwhile, the sports scene in North America was frenetic with activity as all major sports leagues were in some state of play. In Dinoland, emotions were cautiously optimistic following a perfect pre-season and a home opener win. After that celebratory moment, however, reality set in for rookie Head Coach Darko Rajaković. Three losses later, the new system was being questioned, and all the ghosts of last year’s disappointing season were surfacing. A win against a star-laden Bucks team provided some glimmer of hope, but that too was soon quashed with a thumping courtesy of ex-Dino Head Honcho Nick Nurse and his 76ers. Can a Fredless team be so different? It’s got to be the system. It’s early, I know, but it doesn’t bode well. Up next, Wemby-mania in the Lone Star State. Ugh.

For more information on any of the artists or works mentioned, the fairs, exhibits, Petritoli and Coach Darko’s system, “Just Google It”.

There you have it sportsfans,

MC Giggers

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mcgiggers · 8 months

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New York - September 2023

Just back from a long-anticipated return to Armory week festivities in the Big Apple. Fueled by the pent-up excitement following a self-imposed two-year hiatus and not deterred by the sweltering heat and overcrowded New York streets, the art viewing experience was over the top - fantastic fairs, surreal MoMA moments and great gallery shows. Stopovers included: The Armory Show, Independent 20th Century and Art on Paper fairs; a pilgrimage to the MoMA; and a half dozen or so gallery visits.

The Fairs

The Armory Show held court as the centerpiece of the two-day jaunt. While the fair has long been part of the city’s cultural landscape, bringing together the world’s leading contemporary and modern galleries in the revamped Javits Center elevated the fair-going experience for all stakeholders. Art fans, exhibitors and artists have all benefited from the move two years ago from Piers 92 and 94. While the art is ultimately what matters most, venue counts as well, and creating an atmosphere where art fans can best appreciate wonderful pieces and exhibitors can best showcase their artists is important. With its outstanding gallery lineup, topnotch presentation space and user-friendly layout, The Armory Show delivered on all fronts.

This year the fair assembled over 225 leading international galleries representing more than 35 countries and over 800 artists. Along with the revitalization brought about by the venue upgrade, the show’s focus has also evolved to having a more contemporary and emerging artist bias where previously older post war painters also shared the spotlight. With that change, the crowds also seemed to get younger, less staid, and more eclectic, all making for a vibrant and exciting ambiance. Some highlights included: Landon Metz’s organic flowing shapes in “Untitled”, 2023, dye and canvas, diptych (40 x 64 in.); Mario Martinez’s abstract expressionist inspired “Inside, Outside”, 2004, acrylic and charcoal on canvas (86 x 133.5 in.); and Nicole Coson’s imprinted found objects in “Untitled”, 2023, oil on linen (79 x 51 in.).

The vibe at the Independent 20th Century fair was more reflective and subdued but also enjoyable in a different sort of way. Set in the historic Battery Maritime Building, the focus of this 35-exhibitor show was to celebrate unsung artists that applied their trade between 1900 and 2000. Donning the walls were works of lesser known heroes such as Jack Tworkov, James Brooks and Midred Thompson, among others. The fair highlights included three large scale works from Paul Feeley featuring his archetypal jack-like forms set in a colour field backdrop, namely, “Vespasian” and “Germanicus”, 1960, and “Untitled”, 1961, each oil-based enamel on canvas.

Art on Paper was staged on the courts of Basketball City on Pier 36 and celebrated its ninth edition with a 100-plus gallery roster featuring top modern and contemporary paper-based art. The atmosphere was light and lively and lent itself well to the creatively used to highlight the fair’s signature medium. Highlights included: Eric Stefanski’s earnest and satirical “Im Fuckin Trying”, 2023, oil and graphite on paper affixed to panel in artist’s frame (44 x 34 in.); Gigi Mills’ “Night Sail and Shephard”, 2023, oil, paper and crayon on paper (43.5 x 38 in.); and Alyssa Salomon’s “Time & Place for Considering Optimism & Sunlight”, 2020, cyanotype on Abaca/Kozo paper (38 x 25 in.). A showstopper also included a collection of six exquisite Michael Loew cubist nudes, 1951, india ink on paper on board (each 9 x 6 in.).

The Museum

The MoMA experience kicked off with early morning access tothe Ed Ruscha / Now Then exhibit. The show surveyed six decades of output and featured over 200 works in mediums including painting, drawing and photography. Peppered throughout were many of his easily recognizable images mined from Los Angeles iconography such as the Hollywood sign, Standard Oil stations and the Twentieth Century Fox logo. Equally impactful were the word paintings reflective of guttural utterances he came across in his day-to-day activities. Special pieces among these included: “Honk”, 1961-62, oil on canvas and “Oof”, 1962, oil on canvas.

The Ruscha exhibit then flowed into a pilgrimage to several extraordinary works in the MoMA permanent collection. These included: Andy Warhol’s “Campbell’s Soup Cans”, 1962, acrylic with metallic enamel paint on canvas, 32 panels; Jasper Johns’ “Flag”, 1954-55, encaustic, oil and collage on fabric mounted on plywood, three panels; Jackson Pollock’s “One: Number 31, 1950”, 1950, oil and enamel paint on canvas; Henri Matisse’s “The Red Studio”, 1911, oil on canvas; Pablo Picasso’s “Les Demoiselles d’Avignon”, 1907, oil on canvas; and, Vincent van Gogh’s “The Starry Night”, 1889, oil on canvas. While these works are all very familiar and are plastered on everything from mugs to T-shirts, a firsthand visual of their mastery is a magical reboot and a reminder of their greatness.

The Galleries

Memorable gallery exhibits visited outside the fair circuit included: John Zurier “On the Back of a Mirror”; Caroline Monnet “Worksite” and Ellsworth Kelly “Ellsworth Kelly at Gemini: An Exploration of Color”. Standouts among these included: John Zurier’s dreamy “Langspil(Echo)”, 2023, oil on linen (25.6 x 19.6 in.); Caroline Monnet’s biological experiment “Depredation”, 2023, mold on gypsum board, 15 parts (each 13 x 13 in.) and powerful “In Silence We Speak Volumes”, 2023, oriented strand board, acrylic (47 x 47 in.); and Ellsworth Kelly’s stunning “Red Curve (State ll)”, 1988, 1-color lithograph, edition of 15, #3 (26 x 84 in.).

While art fans were scurrying about to the various venues sharing the New York City stage with sportsfans who were in town to witness Coco Gauff’s crowning achievement, on the other side of the world in the Philippines, hoopsters were being treated to a different brand of basketball at the FIBA World Cup, the toughest albeit not glitziest of international hoops tournaments. When all was said and done, the gold medal went to Germany who outlasted Serbia in the finals while Canada upset the USA in an overtime thriller for the bronze. That was a historic finish for Canada on the FIBA world stage and a major disappointment for the USA who fielded an all-NBA team - true, maybe not the best of the lot and three players were out with an undisclosed illness (bad pancit, maybe), but still, a great victory for Canada thanks to standout performances from Shai Gilgeous-Alexander who was named to the All-Tournament team and bronze medal game MVP NBA villain par excellence Dillon Brooks. Another huge positive stemming from the tournament was the show put on by Dennis Schröder who led the German team to the top podium finish. The speedy and crafty guard was named FIBA World Cup MVP and will be bringing his talents to Toronto. Let’s hope Flash can carry over his success to the Dinos as he steps into the prime ball handler role vacated by Steady Freddie’s departure. Something to look forward to.

For more information on any of the artists or works mentioned, the MoMA, the gallery exhibits and Schröder’s transition to the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

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mcgiggers · 1 year

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Special Collectibles Edition (Bagel Dunk) - January 2023

This is not an invitation to brunch or a late-night nosh. It’s a report on the quest to buy a pair of sneakers, more specifically, the Nike Bagel Dunk Low PRM. The pursuit unfolds over a little more than 24 hours and pits physical stamina alongside virtual dexterity (or lack thereof), and features everything from weathering the elements to frozen screens, and last-minute disappointments to an unlikely surprise. All for a pair of sneakers? Yes, but sneakers with a truly unique design and steeped with a rich cultural provenance that is close to the heart.

While Nike has released many sneakers dedicated to cities around the world, there has never been one that pays homage to Montreal, until now. The city’s rich history of sports teams and celebrities, as well as important artists and iconic landmarks could have easily served as more typical inspirations for the shoe’s design. Instead, the Beaverton creative types turned to the humble bagel as their muse, the thought being that the widespread adoption of the delectable treat of immigrant origins into the city’s culture was representative of the multiculturalism that thrives in Montreal and was worth celebrating. With Montreal being my home and having a strong appreciation of the diversity the city offers as well as a huge fondness for our bagels, I was swept away by the premise and the prospects of acquiring a pair.

In designing the shoe, Nike was careful to sidestep the debate as to who the true originator of the bagel was or whether Fairmount Bagel or St. Viateur Bagel makes the better one. The focus instead was to highlight the characteristics that make the dense, chewy, doughy Montreal bagel unique and truly different from all others.

The Nike Bagel Dunk Low PRM (product code: DZ4853-200) is anchored off the familiar dunk low model and the PRM moniker indicates the use of premium materials. From there, the Montreal bagel inspirations take over and transform the shoe into a contemporary masterwork of wearable art. As per the Nike copy, it features a two-tone upper with a textured Sesame seed print that is accented by a Royal Blue swoosh representing the colours of the flag of Quebec. The creamy white set of laces and the tongue labels pay homage to the classic bagel condiment, cream cheese, while the translucent gum sole nods to the honey water Montreal-style bagels are dipped into before being traditionally wood fired, the planks of which are emblazoned on the insoles of the shoes. As a bonus exclusive to the Canadian market, the sneakers are packaged in a special Montreal Bagel Dunk box featuring the artwork of Montreal-based artist Chien Champion. I got hungrier just reading about it.

Nike’s official release date for the shoe in North America is January 17, 2023. It was a pre-release on January 13th that kicked off the odyssey. Off the Hook, a Montreal-based sneaker retailer, in partnership with Nike, were offering early access to the shoes through an old school physical store launch. Doors would open at 11 am that day, and if you wanted a pair, you had to line up. I was psyched to try my luck notwithstanding my hesitation of undertaking anything of importance on a Friday the 13th. Bad omen aside, the strategy was to make my way downtown at an early hour and queue up for the shoes. That morning Montrealers woke up to about 15 cm of snow on the ground and blistery winter conditions. The plan to get to the store before sunrise was already delayed by an hour of driveway shoveling. No problem, if I’m delayed, everyone else would be. Slightly tired, but still motivated, I was downtown by 8:00 am. There I was greeted by a queue of about 250 people in a line that wrapped around the city block. While disappointed with my prospects of getting my hands on a pair of Bagel Dunks and the sad reality of being out hustled by so many, I was impressed with the commitment and passion of all the sneakerheads and shoe aficionados that braved the conditions. Reportedly, some had been there since 10 pm the previous night. As one might expect, these were predominantly Gen Zers with some Millennials and the odd Gen Xer.

Not much went on in anticipation of the store opening. The occasional snow plough passing and watching cars navigate wintery conditions was as exciting as it got. Meanwhile, snow kept falling which didn’t seem to faze people, some of whom had set up lawn chairs to wait it out. Thankfully the temperature remained around minus 3 degrees Celsius, but after hours of standing in the same place, even that felt much colder.

By the time 11 am rolled around, people began taking down camp with the hope of quickly moving forward. Regrettably, things just inched along. The news filtered down the queue that 5 to 10 people at a time were being let in the store. I resisted doing the math and remained optimistic that the pace would pick up. At noon, I was just rounding the bend and had the OTH awning in sight, but there were still a lot of people ahead of me. At 1 pm, the good news/bad news was delivered. Sizes 8.5 through 11, and 12 were sold out, but some of those sizes would be restocked during the day or over the next few days. Basically, a raincheck was being offered. It was all bad news in my opinion. Firstly, there was no great exodus of people leaving the line, and secondly, the shortage in supply would jeopardize my ability to land a pair of size 13s as those desperate to get their hands on shoes of any size were now more likely to scoop up whatever was left. Anyways, too late to abandon ship now, even though I was frozen and very hungry. Some bagels and coffee were making their way up and down the queue, but it always seemed that supplies ran out before reaching me or started being served to the people in the long line behind me.

The big push for the door happened at 2 pm, a full six hours after getting there. The final effort was up two flights of stairs to the service counter. Once arrived, the excitement of summiting was quickly defused by the news that there were no longer any 13s available and that they would not be restocked. I was offered the opportunity to get on a waitlist for a shoe size that would be restocked, which I did (opting for a size 12). “We’ll call you.” And with those words, I was ushered out empty handed and made my way back home to a couple more hours of shoveling.

Later that afternoon, I reached out to my nephew and chided him about not seeing him in line for the drop. Sensing my disappointment, he directed me to the websites of a couple of sneaker retailers that were having online launches the next day at 10 am. I decided half-heartedly to try my luck online, but realistically had no real hope of being successful. I mean, how do you compete in an online drop? I have this notion of an algorithm scooping up all available shoes in a nanosecond. And, that’s what it felt like. Two of us at home and a daughter in Toronto were each monitoring two sites simultaneously when 10 am rolled around, and then, before you could hit the refresh button, everything was sold. More desperate attempts were made and foiled by frozen screens and 404 Page Not Found messages.

By this time, it was about 10:15 am, when my daughter offered to walk by the actual store of one of the online retailers which was having their Toronto launch at 11 am. It wasn’t far, and so I didn’t discourage her, fully expecting that she would meet up with the same crowds I had experienced the previous day in Montreal. She got to there around 10:30 am and was second in line. The store opened on time, and she walked out with a pair of size 13s shortly thereafter. It’s amazing that none of the national and local press coverage around the sneaker launch and the mayhem of the Montreal prelaunch didn’t spill over to Toronto, and even more remarkable that the big expat Montreal community didn’t rally around the homage to their former home. Well, no complaints here. While it felt totally silly to have waited in line for over six hours the previous day, perhaps it was the karma of the 24-hour effort that led to the favourable turn of events.

Now, what to do with the sneakers – wear them, store them, or sell them? Definitely not the latter. The last time I engaged with wearable art was in 2015 (https://www.nytimes.com/interactive/2015/05/18/fashion/The-Mens-Medium-Is-Fashion-at-Frieze-New-York.html). I have not since taken Pia Camil’s poncho out of the closet. Maybe the right compromise is to display them. We’ll see.

Meanwhile, there was no positive karma left for the Dinos. After putting together three wins in a row (I know, two against the Hornets), the Raptors couldn’t extend their streak against the Atlanta Hawks who find themselves just ahead of the Dinos in Eastern Conference standings and battling for a play-in spot. Perhaps it’s all for the best as the euphoria of another win against one of the league’s lesser opponents might have given a false sense of hope to a squad that’s disappointing on so many levels. Upper management, coaches and players, all have their feet to the fire as the trade deadline approaches and pressure mounts to get results or change course. Wholesale changes are a real possibility with only Crazy Eyes being immune. Like with the sneakers, we’ll see.

For more information on the Nike Bagel Dunk Low PRM and availability in local markets, or the fate of the Dinos and any pending changes, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

PS. Special thanks to Daniel, Cynthia and Ally for their help!

Reporter’s Certification

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mcgiggers · 1 year

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Miami - December 2022

Just back from two and half days in Miami and returning fully saturated and totally satiated from an intense and marvelous art viewing experience. Art has once again become a full contact sport and long gone are the notions that hybrid formats work just as well. Instead, throngs of art fans and aficionados fearlessly braved the crowded corridors of art venues and city streets satisfying their craving for firsthand looks at everything from the bright and shiny new thing to postwar contemporary masterworks. As entertaining as the art on display, were the people doing the looking, and Miami during Art Week has a knack of drawing out the best of them ranging from the ultra-extreme eccentrics to the minimalist uber cool contemporary hipsters and everything in between. At the center of it all however was more art than the mind can reasonably process and the amazing adventure it was to attempt to do so.

The action-packed itinerary for the brief visit was staged to tackle a host of fairs, some private collections and a few museums. As always, step management, strategic ubering and timely refueling (notably an award-winning grilled octopus and a killer salmon a la plancha con coliflor) were keys to pulling it off and maintaining some semblance of sensory balance. The roadmap featured: Art Basel Miami Beach, NADA, Art Miami, Untitled and INK art fairs; the de la Cruz, Juan Carlos Maldonado and Margulies private collections; and the Institute of Contemporary Art and the Rubell Museum.

While all the stops had something to offer, a few rose above the rest. Sitting at the top in the fair category, Art Basel celebrated its 20th edition in style with 283 exhibitors from 38 countries showcasing a highly curated offering of top-end modern and contemporary art. In addition to featuring some of the world’s most renowned galleries, the fair also included 26 rookie participants. In that regard, it was great to see that certain perennial NADA and Art Miami exhibitors had graduated to the bigger stage. There was also noticeable excitement around NADA’s 146 gallery offering and a palpable feeling that the fair has reclaimed its legacy reputation for exhibiting cutting edge contemporary art and being the definitive launching pad for emerging stars. Among the other visits, the incredible viewing spaces at the de la Cruz and the Rubell housed over-the-top beautiful paintings, sculptures and on-site installations reflecting the astute collecting preferences of their founders.

There were many memorable pieces. At Art Basel, the showstoppers included: Henrik Olesen’s three-piece installation “Portrait 1, Portrait 2 and FuBleiste”, 2020, oil and mixed media on cotton and HDF (15.8 x 11.8 in.), oil and mixed media on Masonite, framed (19.7 x 17.2 in.) and one skirting board, paint (98.2 x 1.8 x 1.2 in.); Leon Polk Smith’s cascading “Constel: Blue Red straight line thru three Ovals”, 1969, paint on canvas (121 x 132 in.); Katherine Bradford’s dreamy “Quiet Beach”, 2022, acrylic on canvas (72 x 60 in.); and Martha Tuttle’s ethereal textile-based abstraction “Mystic and wonderworker”, 2022, wool, silk, pigment, steel and stones (7.9 x 10.2 in.). At NADA, the highlights included: Benjamin Echeverria’s “Nevada”, 2022, oil, acrylic, adhesives on canvas in artist’s frame (68.2 x 65.2 in.); Jay Payton’s “Biohazardous Medical Device”, 2022, mixed media on cardboard (65 x 48 in.); and Melissa Joseph’s “Sensory Deprivation”, 2022, archival print and needle felted wool on industrial felt (30 x 30 in.). Other fair highlights included: Sam Francis’ “Untitled (SF75-119)”, 1975, acrylic on paper (13.5 x 11.5 in.) at Art Miami; and Jasper Johns’ “Target, from Meyer Shapiro”, 1973, screenprint on Ohiro Mimitsuki paper (23.9 x 16.3 in.), A.P. 9/13 at INK. Among the private collections and museums, the standouts included: Laura Owens’ celestial ecosystem “Untitled”, 2016, oil flashe, screenprinting ink, charcoal and sand on linen (108 x 84 in.) at the de la Cruz; Matthew Angelo Harrison’s repurposed sculpture “Dark Silhouette: Timid Male Figure”, 2018, wooden sculpture from West Africa, polyurethane resin and anodized aluminum at the ICA; Noah Davis’ “Painting for my Dad”, 2011, oil on canvas (76 x 91 in.) at the Rubell; and Pier Paolo Calzolari’s “Haiku (Scarpetta rosa)”, 2017, salt, thick flannel, tempera, oil pastels on wood at the Margulies. One of the more interesting installations, Yayoi Kusama’s “Narcissus Garden”, was also at the Rubell. This version of the familiar Kusama work featured 700 shimmering silver spheres spread out over the length and width of the museum’s 200-foot-long main corridor providing a totally immersive experience for patrons who navigated around the beach ball size orbs while glancing at their reflections along the way. Special kudos to Essa Mohamoud and her Art Basel debut of “Ebony in Ivory, I”, 2022, shea butter, Italian black marble, wax and damar resin (60 x 30 x 30 in.), unique edition 4 of 5. This sculpture was a noted standout at Art Toronto 2022 and more than held its own among the best of the best.

While the mood was festive in Miami during the week, things in Jurassic Park were more worrisome especially after the Dinos suffered back-to-back thrashings at the hands of the Pelicans and the Nets. Thankfully, the Magic arrived in Hogtown on Saturday night and the Raptors came away with a decisive victory. It’s unclear however how much comfort fans should take in besting Orlando, the worst NBA team. Having put forward 10 different starting lineups in the last 10 games, clearly Coach Nurse still seems to have some tinkering to do before settling on a definitive starting five and a reliable second unit rotation. With Gary I Never Saw I Shot I Didn’t Like Trent Jr. moving to an off-the-bench scoring role, there’s a starting slot or two up for grabs. For sure the core unit is anchored by Crazy Eyes who has quickly regained his NBA all-Star form and the Extraterrestrial One who is a total beast, but after that, it’s less clear. Baby Face Barnes has had a good year but not a great one, and Not So Steady Freddie has yet to find his stroke. Who steps up is the question … Special K - the rookie, Deux Cuisses de Poulet - the energizer, Thad the Impaler - the wily veteran? It’s a roll of the dice for now and Coach Nurse is still searching for the winning combination.

For more information on any of the artists, works or venues mentioned, or the fate of the Dinos and any pending roster changes, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

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mcgiggers · 1 year

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Toronto- October 2022

Just back from Hogtown and a much appreciated fully immersive in-person (protocol free!) experience at Art Toronto. Transitioning from last year’s hybrid format with only 65 on site galleries, the current edition featured 90 plus exhibitors from across Canada, the US and abroad as well as a more expansive curatorial offering of project spaces and installations. Few and far between were traces of the destabilizing pandemic. Instead, there was a palpable energy in the air as art fans seemed to make the most of the opportunity to enjoy works firsthand. Perhaps the only lingering aspect of the pandemic was the relatively subdued participation of international galleries. This however was more than offset by strong showing of predominantly Canadian galleries showcasing outstanding Canadian artists, some of whom are making impressive strides on the international scene. As always, contemporary and historic art shared the stage, yet there was a notable bias towards more recent works of established and emerging contemporary players.

Works by rockstars Manuel Mathieu and Esmaa Mohamoud figured prominently among the fair standouts. Manuel Mathieu’s “Etude sur l’anonymité”, 2022, mixed media on canvas (68 x 72 in.) showcased his fluid soul mapping style, and Esmaa Mohamoud’s “Ebony in Ivory”, 2022, shea butter, beeswax on marble plinth, edition of 5 (50 x 12 x 12 in.) took her sculptural practice and strong cultural messaging to the next level. Other highlights included: Maria Hupfield’s creatively constructed and packaged chair “Aesthetics of Care”, 2022, industrial felt, framed (51.5 x 27.5 in.); Nathan Eugene Carson’s reflective “Angel Boy I”, 2022, mixed media on paper (24 x 18 in.); Oan Kyu’s resonating calligraphic renderings “Earlier than Writing”, 2022, two ink drawings on Hanji paper (each 13.4 x 47.2 in.); Davis Nash’s eye popping colour tower “Red Stack”, 2020, stencil pastel on paper (40 x 26.5 in.); K.M. Graham’s whimsical landscape snippet “Dorset Whiplash”, 1978-79, acrylic and pastel on canvas (14 x 22 in.); and Louise Nevelson’s monochromatic sculptural matte black box “Winter Chord”, 1975, painted wood, edition of 100 (14.5 x 9.8 x 1.5 in.).

Beyond the nourishing food for the soul at the fair, the gastronomical highlight of the trip was enjoyed in the north end of town and featured: an over-the-top homemade focaccia with impressive elevation; a delicious slow cooked contemporary take on beef stew; and, a tasty mystery ingredient (think Andy Warhol) cream cheese icing topped cake with seasonal spices.

The only low point of the Hogtown visit was the dismal performance by Dino’s on the second day of back-to-back games against the 76ers. With J-Biid sitting out game two and the opportunity to sweep the mini-series, the Dino’s had a classic let down and were totally dominated by their conference rivals. Scary Freddie (aka Steady Freddie) was zero for 11. Inexcusable but partly explainable by the lingering effects of his herculean effort to be named to the all-star team last season. While he won the accolade, it was at great physical cost, and he has not been the same since. As Freddie hopefully regroups, perhaps Coach Nurse should consider freeing up more minutes for his sparsely used bench. Even better, maybe Coach Nurse should push his positionless basketball experiment to the limit and start Deux Cuisses de Poulet Boucher in Freddie’s place for a game or two. That would be exciting basketball to watch, assuming they could get the ball up the court.

The line of the trip (“Cyndi – how are you?”) was delivered in the form of a warm greeting by Canadian mega businessman, philanthropist, collector and longstanding patron, supporter and hopefully saviour of Nos Amours. Regrettably there was no further news to report following the interaction on the prospects of reviving talks with the Rays or landing a franchise in Montreal.

For more information on any of the artists or works mentioned and for an update on Freddie’s woes or the mystery ingredient, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

#art beat #david nash #manuel mathieu #ESMAA MOHAMOUD #art toronto #MC Giggers #maria hupfield #nathan carson #oan kyu #k.m. graham #louise nevelson #dino's #raptors #nick nurse #fred vanvleet #chris boucher

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mcgiggers · 2 years

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New York - May 2022

Just back from a chaotic 48-hour New York City road trip that spanned four auction previews, a dozen or so gallery shows and exhibits and three art fairs. Lingering pandemic precautions were few and far between as predominantly maskless art fans and aficionados were welcomed with open arms in Manhattan where the only real self-distancing seemed to be between cordoned off masterworks and gawking admirers. With caution thrown to the wind, evidence of the strong interest in art prevailed on the heels of the upward momentum generated during the perfect storm of the last few years, and while even the physical elements conspired to make things particularly soggy and overcast this weekend, it was nothing that some fabulous viewing experiences couldn’t brighten up.

The Auction Previews

The previews for the prominent spring edition of modern and contemporary art auctions were all in full swing. As a prelude to the sales that are scheduled over the next couple of weeks, Christie’s, Sotheby’s, Phillips and Bonhams presented magnificently staged viewings of the works up for grabs. Highlights from the prestigious evening sales lineups included: a pair of Rothko’s from the Collection of Anne H. Bass “Untitled (Shades of Red)”, 1961, oil on canvas (69 x 56 in.) and “No.1”, 1962 , oil on canvas (69 x 60 in.), estimated at $100 to $150 million for the pair ; a collaboration by Andy Warhol and Jean-Michel Basquiat from the Collection of Thomas and Doris Ammann “GE/Skull”, circa 1984-85, acrylic and silkscreen ink on canvas (72 x 92 in.), estimated to sell for $2 to $3 million ($4.6 million realized); Alberto Giacometti’s “Femme de Venise ll”, conceived in 1956 and cast in 1976 (48 in. height), estimated at $8 to $12 million; and Andy Warhol’s “Shot Sage Blue Marilyn” also from the Amman collection, 1964, acrylic and silkscreen ink on linen (40 x 40 in.), estimated at approximately $200 million ($195 million realized). Among the more “modest” pieces destined for the daytime sales, highlights included: Glenn Ligon’s “No Room (Gold) #47”, 2007, oil and acrylic on canvas (32 x 32 in.); Katherine Bradford’s “White Wave”, 2017, acrylic on canvas (48 x 36 in.); and George Condo’s “Untitled”, 1987, oil, wax crayon, charcoal, graphite and paper collage on cardboard (96 x 48 in.).

Gallery Shows and Exhibits

The gallery show journey started in the sun late Thursday afternoon and continued in non-stop rain on Friday and Saturday. While concentrated in the Chelsea district, the weaving to and from various exhibitions around town necessitated some adroit umbrella manipulation skills and a good pair of rain boots. The shows ranged from great to over the top and figuring prominently among the visited exhibits were several that were just coincidentally discovered on the path to others. The itinerary along with lasting impressions included: “Oscar Murillo: Ourself behind ourself concealed”, powerful large scale abstracted works; “Richard Nonas: As Light Through Fog”, minimalist salvaged wood wall sculptures; Richard Serra’s “Sculpture and Drawings”, familiar sculpture and oil stick renderings; “Matthew Wong: The New World Paintings from Los Angeles 2016”, sumptuous suite of works on paper; Ray Parker’s “Paintings from the 1970s”, whimsical free floating forms on canvas; “Jean-Michel Basquiat: King Pleasure”, a comprehensive compilation of canvases, drawings and artifacts; Carmen Herrera’s “The 1970s: Part 1”, beautiful hard edge masterpieces; “Ellsworth Kelly: Blue Green Black and Red”, bold and imposing monochrome shapes; “Robert Mangold: Plane Structures”, mesmerizing irregular shaped canvases; Benjamin Klein’s “The Mouse who Saved the World”, richly depicted ecosystems on canvas; and Esmaa Mohamoud’s “It Cannot Always Be Night”, a field of metal flower sculptures set in a warm sunset glow. Among these, standout works included: Robert Mangold’s “Plane Structure 1”, 2019, acrylic and black pencil on canvas (42 x 85.63 in.); Carmen Herrera’s “Diptych”, 1978, acrylic on canvas (each 50.25 x 50 x 2 in.); and Matthew Wong’s “Untitled”, 2016, acrylic on paper (12.25 x 9.13 in.).

The Fairs

The fair circuit began at the independent Art Fair which featured 67 international presentations by over 200 contemporary artists; continued at NADA New York which hosted over 120 galleries and art spaces promoting a strong contemporary platform; and concluded at TEFAF New York with 90 or so marquee exhibitors successfully staging a stunning marriage of historic, modern master and contemporary offerings. The showstoppers included: Pier Paolo Calzolari’s “Haiku”, 2017, salt, thick flannel (mollettone), milk tempera, brass wire and rose petals stabilized on paper (12.13 x 16 x 5.75 in.); Ian L.C. Swordy’s “Shell Flower”, 2022, mixed marbles and wood sculpture (60 x 12 x 12 in.); Ferrari Sheppard’s “Spread Love (It’s the Brooklyn Way)”, 2022, acrylic, charcoal and 24k gold on canvas (84 x 70 x 2 in.); and Jean Dubuffet’s “Le nez tombant (5696)”, 1959, papier mâché sculpture (12.13 x 4.75 x 4.13 in.).

A fitting epilogue to a remarkable Dino season and heroic post-season effort materialized in the form of an unexpected encounter in the main lobby of Christie’s luxurious head office at Rockefeller Plaza. There standing a little over five feet tall and exuding an air of scrappiness and aggressiveness was “The Raptor”, more formerly known as “Deinonychus Antirrhopus”, approximately 126 fossil bones (circa 115-108 million years ago) with remaining cast elements on custom frame (119.67 x 62.25 x 26 in.). Regrettably, Masai Ujiri was not spotted scouting out the skeletal remains of the pack hunting predator being auctioned off later this week. Estimated to sell between $4 into $6 million, this ultimate mascot and original Dino would have slotted nicely between Scottie Barnes and Precious Ashiuwa within the team’s 2022-23 salary cap limit and could have inspired some tenaciousness from the sidelines. But then again, money would probably be better spent on a more traditional big.

For more information on the upcoming auctions, any of the artists mentioned and the fate of The Raptor, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com) Reporter’s Certification

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mcgiggers · 2 years

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La Belle Province - December 2021 (Winter Road Trip)

Just back from a day trip to la Capitale-Nationale to take in the impressive Serge Lemoyne retrospective, “Lemoyne. Offside”, at the Musée national des beaux-arts du Québec and a fantastic Marc Séguin exhibit, “Sublime noirceur”, at the Centre d’exposition Raymond-Lasnier in Trois-Rivières. The Lemoyne exhibit was bursting with colour and eccentricity while the Séguin show featured his ethereal touch and edgy realism. The outing was well worth the drive, and the exhibits provided great overviews into the works of two contemporary powerhouse artists.

Lemoyne’s most iconic body of work consisted of his hockey-inspired blue-blanc-rouge series, and it was prominently on display. Having spent ten years of his life using the emblematic uniform colours of his beloved Montreal Canadiens as his go-to palette, Lemoyne paid homage to players through partial depictions of their uniforms, body parts and equipment, and he also painted more abstracted renderings using the same colours. Throughout it all, he achieved a marvelous fusion of POP and abstraction which blurred the boundaries between popular culture and fine art. Standouts from this period included: “Dryden”, 1976, acrylic on canvas, a close-up rendition of the legendary goaltender’s iconic mask; “Lafleur Stardust”, 1975, acrylic on canvas, a part of the Flower’s uniform featuring the familiar number 10; and “Untitled”,1978, acrylic on shaped canvas, from the “Pointes d’étoiles” series. The exhibit also showcased other bodies of work from the artist’s 40-year career which contributed to his established avant-gardist legacy, including, among others, his tributes to the living and dead artists that inspired his practice and a series which featured painted building parts (doors, windows, walls, etc) from his actual Acton Vale home which itself was declared a “work of art”. Highlights among these included: “Atelier Rouge”, 1996-97, an 80-piece installation of small format works (acrylic on panels) from the “Prelude no. 1, Tribute to Matisse” series; “Untitled”, 1997-98, 15 irregularly sized works (acrylic on panels) from the “Trous noirs” series; and “Untitled”, 1991, acrylic and bottle on wood from the “Assemblage” series. The Lemoyne exhibit is on view until January 9, 2022.

Séguin’s style is quite different from Lemoyne’s, yet marvelously compelling. In large part, Séguin’s works consist of subdued renditions of a subject matter using charcoal on canvas which then are brought to life through a splash of colour and sometimes more unconventional accents like tar, feathers and embalmed animals. It’s all in keeping with the multidisciplinary facets of the artist and person who is also a farmer, hunter, filmmaker and novelist. The “Sublime noirceur” exhibit is a random walk through (as opposed to time-sequenced chronicling of) Séguin’s career to date, introducing fresh studio works like “Ange no.1”, 2021, oil and charcoal on canvas, an imposing cathedral-worthy painting of an angel, and reaching back to early career works like “Camé no. 19”, 2000, oil, varnish and tar on canvas. Apparent throughout the exhibit is the artist’s ability to successfully apply his talent to a broad spectrum of renderings, be it his signature-style portraits, interpretations of natural and made-made landscapes or storytelling narratives. Highlights of the exhibit included: “Autoportrait”, 2019-20, oil and charcoal on canvas; “Urban Landscape – Astronaute sur Meserole no.2”, 2011-12, oil and charcoal on canvas; and “Passage près de Zaldivar”, 2006, oil and charcoal on canvas. The Séguin exhibit is on view until January 16, 2022.

Shifting to local sports, Lemoyne would have been disheartened to witness the ongoing woes of his beloved Canadiens. From Stanley Cup finalists to cellar dwellers with a dismantled front office in less than six months, the bleu-blanc-rouge are looking more black-and-blue than anything else these days. Desperately searching for a fix, Geoff Molson reached south of the border for a solution and recruited seasoned hockey executive Jeff Gorton who will most probably be teamed up with a newbie bilingual GM to attempt to return the organization to its former glory. Meanwhile coaches and players are all skating on thin ice as the moves at the top of the organization trickle down through the ranks. Regrettably however, there is not much Lafleur Stardust to sprinkle around, and the rebuild will likely be a long and arduous one for fans.

For more information on Lemoyne and Séguin, the exhibits, or the fate of the hapless Habs, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

#MCGiggers #art beat #lemoyne #Marc Seguin #dryden #lafleur #sublime noirceur #habs

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Toronto - November 2021

Just back from Hogtown and a much anticipated in-person return to the art fair circuit. While it was a bit different and there was some lingering uneasiness in the air, it was all good and a welcomed homecoming for all involved. At its peak, Art Toronto hosted over 100 galleries. Transitioning from a completely online edition last year to a hybrid format this year, the fair presented an inspiring and energetic lineup of 65 predominantly Canadian galleries showcasing the works of contemporary artists with a splash of historic and international pieces. Another 20 or so galleries participated exclusively via the fair’s online platform. As such, the on-site event was considerably more streamlined than in pre-pandemic days which wasn’t such a bad thing. That, together with the safeguarded environment of timed access, wider aisles and larger open spaces as well as the double vax entry requirement for all, made for an enjoyable and less stressful fair going experience. Even with all the protocols in place, there was a palpable feel of art fans relishing the face-to face or rather mask-to-mask opportunity to reconnect with the art community and view art firsthand once again.

One of the casualties of these uncertain times was the conspicuous absence of what previously was a growing international gallery presence at the fair. Canadian galleries and artists however more than held their own. Highlights of exhibited works included: Shaan Syed’s nuanced “Boustrophedon 5”, 2021, oil on linen, (54 x 40 in.); Adam David Brown’s creatively executed “I’m Not There …”, 2019, pink pearl eraser on paper (34.5 x 53 in.); and Jutai Toonoo’s engaging “Composition (Portrait)”, 2010, acrylic on canvas (17.63 a 13.38 in.). Other standouts were thoughtful and slightly whimsical landscapes by Mike Gough “The World You See is True”, acrylic on panel, 2021 (36 x 36 in.) and Michael Dumontier & Neil Farber “Thought Landscape”, 2021, acrylic and ink on MDF (40 x 40 in.). William Perehudoff’s Stella-inspired “AC-63-007”, 1963, acrylic on canvas (69 x 68.5 in.) was a showstopper among the more historical works on view.

Beyond the fair and out and about town, in-gallery presentations and museum shows abounded. Figuring prominently among these was Leopold Plotek’s “What does the song hope for?” featuring large scale works produced over the last decade and highlighting his powerful modern master approach. Highlights included: “Max Beckmann in California (Strange Fire)”, 2013, oil on canvas (65 x 48 in.); and “Tashkent”, 2016, oil on canvas (65 x 60 in.). At the AGO, in addition to the “Picasso: Painting the Blue Period” exhibit, Mathew Wong’s “Mathew Wong: Blue View” show continued the colour thematic with the presentation of over 40 works focusing primarily on imagined nocturnal landscapes painted in the last few years of the artist’s short life. A highlight among these was his take on a Vincent Van Gogh classic “Starry Night”, 2019, oil on canvas. Elsewhere at the AGO, Robert Houle’s impressive seven circular vibrant abstract paintings resembling ceremonial drums “Seven Grandfathers”, 2014, mixed media, featured prominently up high in Walker Court.

The return to in-person experiences was not only greatly appreciated by art aficionados milling about the Hog but also by Raptor fans who nervously welcomed their team back last month from a nearly two season pandemic-related exile south of the border. During that time, the roster turned over considerably, and with Kyle heating it up in South Beach, leadership of the new look Dinos has fallen on the shoulders of Steady Freddie and OG Wan-Anunoby. The character of the young team was tested right out of the gates as they were trounced in their home opener. Since then, however, the boys have regrouped and even surpassed expectations, pleasantly surprising fans with their play and even chalking up some wins. One can only hope that the chemistry between some of the newbies like Baby Face Barnes and Bam Bam Achiuwa and the rest of the squad further develops and that learning on the fly makes for an exciting season.

For more information on any of the artists or works mentioned and for an update on the fate of the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

#art toronto #MCGiggers #Shaan Syed #adam david brown #mike gough #michael dumontier #neil farber #jutai toonoo #perehudoff #leopold plotek #mathew wong #robert houle #raptors #Scottie barnes #precious achiuwa

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Miami - December 2019

Just back from Miami and a dizzying art viewing adventure that featured works by contemporary art rockstars, modern masters and the anointed next generation of art world influencers. The two-and-a-half-day trek included visiting seven art fairs, two foundations, two museums and a handful of other pop-up venues. While the itinerary on paper was ambitious but manageable, everything this year seemed to be larger, from the size of the venues, to the number of exhibiting galleries and works on display, to the crowds of art fans and aficionados negotiating the corridors. Considering only the art fairs, the odyssey amounted to over 1000 gallery visits with each displaying 10 to 20 works at a time. Fully appreciating it all in the moment was sometimes a challenge, but thankfully moving from venue to venue allowed some time to recalibrate the senses and prepare to appreciate what was up next.

The journey unfolded with INK, Untitled and Scope art fairs on the day of arrival; the de la Cruz and Juan Carlos Maldonado foundations, the Rubell Museum and Institute of Contemporary Art Miami, the Gagosian and Jeffrey Deitch exhibit, and NADA and Art Miami fairs on the next day; and Pulse and Art Basel on the last day. Among the stops, the art fairs were more frenetic, overcrowded and most challenging to process in real-time while the other venues, notably the museums and foundations, were a welcomed oasis offering a more highly curated presentation in an environment more conducive to better appreciating the great works on display.

Each fair attempted to cater to a niche in the marketplace by recruiting the exhibitors that sponsored the artists whose works were consistent with the fair’s mission and appealed to their targeted audience. Art Basel stood out among all fairs on delivering quality works and superior presentation. Set in the city’s sprawling convention center, it is the anchor of the art week festivities and remains the premier show. Featuring leading modern and contemporary art, 270 or so exhibitors put forward a highly curated offering of 20th and 21st century works. This year, in addition to maximizing the use of the 500,000 square feet of ground floor exhibition space, the fair organizers expanded upwards to include an additional 60,000 square feet of space with a 26-foot-high ceiling and tasked 34 galleries to display large scale works. This new Merdians section of Art Basel was a monumental hit and featured fantastic paintings, sculptures and video installations, among other alternative medium offerings. Hosting approximately 180 galleries, Art Miami, the next largest fair in size, focused primarily on presenting the works of post-war contemporary artists with an emphasis on glitzier pop offerings. As for the other fairs, Untitled’s lineup of 125 galleries had a more international flavor; NADA delivered on championing new voices in contemporary art; Scope presented largely commercial offerings; Pulse was a mixed bag; and INK presented exclusively works on paper.

While not all fairs hit the mark, there were highlights throughout. At Art Basel, the showstoppers included: Jenny Holzer’s “Red X”, 2016, redacted US government document, oil on linen (80 x 62 x 1.5 in.); Christopher Wool’s “Untitled”, 2018, oil and etching on paper (23.5 x 18.75 in.); Elliott Puckette’s “Untitled”, 2019, gesso, kaolin and ink on board (50 x 42 in.); Leon Polk Smith’s “Constellation Six Circles”, 1969, acrylic on canvas (72 x 64 x 1 in.); and Martha Tuttle’s “Arrangement 6”, 2019, wool, linen and pigment (32 x 25 in.). Highlights at the other fairs included: Richard Gorman’s “Big Red”, 2005, woodblock print, edition of 40 (59 x 42 in.) at INK; Michael Berryhill’s “Wedge”, 2017, oil on linen (20 x 17 in.) and Megan Rooney’s “Flowing in silk flowers bought for someone else”, 2016, pencil, ink, pastel and acrylic paint on magazine pages (24.5 x 31.5 in.) at NADA; Mr. Brainwash’s “Pop Scene (PS19060)”, 2019, silkscreen on paper (36 x 36 in.) at Art Miami; and Zuzanna Kozlowska’s “Beauty is a state of mind”, 2019, iron (8 x 10 x 14 ft) at Pulse.

Beyond the fairs, the de la Cruz collection, the Rubell Museum and the ICA Miami featured top-notch contemporary offerings staged in fabulous venues. Notable works included: Nate Lowman’s “Mellow Yellow”, oil, dirt and dental floss on canvas (57 x 28 in.) and Gregg Ligon’s “Masquerade #4”, 2006, silkscreen and coal dust on canvas (78 x 52 in.) at the de la Cruz Collection; and Jeff Koons’ “Three Ball 50/50 Tank (Dr. J Silver Series)”, 1985, glass, steel distilled water and three basketballs, ed.1/2 (60.75 x 48.75 x 13.25 in.) at the Rubell Museum; and many fantastic works making up the Sterling Ruby retrospective at the ICA Miami.

With all that was on display at the fairs, foundations and museums, one of the works that garnered the most attention (and press) was Maurizio Cattelan’s “Comedian”. On view at Art Basel, it consisted of a banana duct-taped to a gallery wall. It was a limited-edition work that came with a certificate of authenticity by the artist and instructions on how to replace the banana once it over ripened. At least three sold for between US$120,000 and US$150,000 each and one was eaten for fame.

The banana on the wall at Art Basel was not the only thing that was slowly rotting. In Dinoland, the euphoria of a surprisingly strong start was dissipating. After surviving and succeeding despite numerous injuries, most notedly to Kyle Lowry and Serge Ibaka, the Raptors went on an Art Miami week three-game skid, their longest since November 2018, and were a Zach LaVine runner shy of dropping a fourth. The question remains as to whether this is a speed bump or reality setting in. Can Crazy Eyes really carry the team? Is the Extraterrestrial One a good enough sidekick? Can Steady Freddie stay healthy? Meanwhile, Kyle is a bull in a china shop with the most argued calls per second of play in the league and the G-Man flirts in and out of consciousness. With K’Why returning to face the Raptors in Hogtown on Wednesday, team chemistry will again be put to the test. Depending on how the wind blows after that, things may get shaken up before the next major art fair.

For more information on any of the artists, works or venues mentioned, or the fate of the Dinos and pending changes, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

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mcgiggers · 5 years

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Toronto - October 2019

Just back from Hogtown and a very energizing and engaging art viewing experience at Art Toronto. Turning 20 this year, the fair has smartly grown from its beginnings as an exhibitor trade show to a premiere gallery platform showcasing the works of primarily established and emerging Canadian artists. This year’s edition featured just over 100 galleries with strong coast to coast artist representation as well as a sprinkling of international participants. Fair attendance (on the weekend at least) seemed to be strong and crescendoed over the course of the days as art fans and aficionados got their late morning/early afternoon brunch out of the way and committed to actively navigating the fair corridors to enjoy the strong offering on display. Discoveries and visual treats were abundant, and red dots were plentiful - all of which translated into a great experience for all.

The exhibitors presented a well-balanced mix of contemporary and modern art. The highlights by the more well-established historical Canadian artists included: Jack Bush’s “Suite of Five Prints”, 1965, serigraphs on woven paper (each, 26 x 20.5 in.), featuring the iconic imagery of “Red Sash”, “Red Stripes”, “Red Orange Green”, “Nice Pink” and “Stripes to the Right”; William Paterson Ewen’s heavily worked “Full Moon”, 1987, mixed media on gouged plywood (96 x 90 in.); and William Perehudoff’s elegant “Nanai #13”, 1969, acrylic on canvas (64 x 77 in.). More contemporary standouts included: Julia Dault’s multi-layered “Double Double Land”, 2018, leather, silver leaf, printed paper and oil on canvas (24 x 18 in.); Manuel Mathieu’s swirling “Study on a Movement”, 2019, mixed media (24 x 24 in.); Shaan Syed’s “Double Minaret (Pink and Green)”, 2017 (83.3 x 71.8 in.); Ron Terada’s satirical wordplay wall installation of 26 paintings “IL: DR 2”, 2017-2018, acrylic on canvas (120 x 408 in.); and Tammi Campbell’s ode to Ellsworth Kelly “Green Curve with bubble wrap and packing tape”, 2019, acrylic on canvas (51 x 40 x 2 in.).

In addition to the conversation around medium, technique and influences, sports talk was also prevalent with all the major professional leagues in various stages of full swing. At the top of the headlines was the World Series showdown between the Houston Astros and the Washington Nationals (provenance … the Montreal Expos a.k.a. Nos Amours). With the Astros leading the series 3 games to 2, it’s mixed emotions for anyone living in La Belle Province. Other newsworthy tidbits included: the feats of the ‘defense-powerhouse’ 8-0 Patriots; the Sabres playing like a top tier team; TFC’s run into the Eastern finals of the MLS Cup playoffs; and then there’s the Dinos. With the pervasive feeling of having been left “Hung Out to Dry” still lingering in the air, the Raptors are searching desperately for an identity and more depth beyond the eight-man rotation they’ve been running with in the early going of the post-K’Why era. Coach Nurse has a huge challenge ahead in guiding the defending champs back into the post-season. As a minimum, the core must stay healthy, the newbies need to step up and someone needs to tell Gasol that the season has started.

For more information on any of the artists or works mentioned and for an update on the fate of transplanted ‘Spos’ or the Dinos and the G-man’s state of consciousness, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

#art beat #mcgiggers #toronto art #tiaf #jack bush #paterson ewen #perehudoff #Ron terada #manuel mathieu #julia dault #Shaan Syed #Tammi Campbell #Raptors #nationals #astros #spos #nos amours #TFC

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mcgiggers · 5 years

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Venice, Italy - July 2019

Just back from Venice which served as a surreal backdrop to the 58th edition of the Venice Art Biennale. The picturesque Floating City radiated with its abundance of stunning architecture and colours and offered mesmerizing panoramas and vistas. It’s only fitting that it hosts the Olympics of the art world and has been doing so every two years since 1895. Over time, this large-scale international gathering of contemporary art has served as a launching pad to greatness for many artists and that rich history contributed to the buzz in the air. In addition to the Biennale, numerous other exhibits were staged concurrently throughout the city and visiting many of these in the three days at hand was a memorable art viewing adventure.

This year’s Biennale featured 79 artists from all over the globe and 55 national pavilions where the works of select artists representing their host nations were displayed. The principal venues were the Arsenale, a former Venetian military dockyard, which housed some of the themed exhibits and temporary national pavilions, and the Giardini, a lush garden area that is home to 30 permanent national pavilions. The theme of the exhibition was “May You Live in Interesting Times”, and the work product tackled topical issues such as politics, human rights, sexuality and climate change, among others. Also prevalent was the creative use of less than conventional mediums such as sound, AI, robotics and light mixed in with a rogue painting here and there. Not all of it on an individual basis was easily digestible and understandable, but as a whole, the grander and creativity of the visual presentation was mind-bending. Highlights among the themed exhibits included: Zanele Muholi’s “Sifikile, Nuoro, Italy ”, 2015, and “Phaphama, at Cassilhaus, North Carolina”, 2016, larger than life self-portraits derived from photographs and presented as wallpaper featuring the artist’s intense stare; Carol Bove’s “Bather”, stainless steel and urethane paint, a spectacular sculpture showcasing the artist’s mastery over bends, dents, torque and colour; and Sun Yuan and Peng Yu’s “Can’t Help Myself”, 2016, a Kuka industrial robot (resembling a gigantic mechanical arm with a squeegee hand) that moved relentlessly to contain and sweep a bloodlike liquid all while spattering it on the inside of the glass walls that contained the room-size installation. A standout among the national pavilions was Great Britain’s which featured the work of Cathy Wilkes. The exhibit presented a series of sculptures, paintings and prints as well as a collection of staged stray objects including glassware, a dragonfly, a coin and a toilet paper roll, among others. With a theme of maternity and childlike figures interspersed throughout, it was a bit melancholic but so serene and beautiful.

In addition to the Biennale, other art pilgrimages included: the Peggy Guggenheim museum which featured its permanent collection of 20th century masterworks by leading European and American artists, as well as a temporary exhibit, “The Nature of Arp”, showcasing the accomplishments of Jean (Hans) Arp; “La Pelle”, major exhibit of Luc Tuymans’ paintings at the Palazzo Grassi; “Förg in Venice”, a selective presentation of the works of Günther Förg at the Palazzo Contarini Polignac; and “Jean Dubuffet and Venice”, an expansive retake of Dubuffet’s previous exhibits in the city in 1964 and 1984 at the Palazzo Franchetti. Highlights among these included: Alberto Giacometti’s “Femme debout (Leoni)”, 1947, cast bronze; Jean Arp’s “Torso”, 1931, bronze; Luc Tuymans’ “Twenty Seventeen”, 2017, oil on canvas (37.3 x 24.7 in.); Günther Förg’s “Untitled”, 2008, acrylic and oil on canvas (78.7 x 94.5 x 1.2 in.); and Jean Dubuffet’s “Pince bec”, 1960, papier-mâché (37.4 x 11.8 x 11.8 in.) and “Mire G 108 (Boléro)”, 1983, acrylic on canvas-backed paper (131.9 x 39.4 in.). While these and other works of art stood on their own, the magnificent staging of the exhibits, be it in private gardens or grandiose palazzos of another era, further enhanced the viewing experience.

Soaking in artistry of a different kind around town, some noteworthy random happenings included being immersed in an impressive multimedia presentation promoting the new Spider-Man movie which was projected on the walls of buildings in Piazza San Marco, and witnessing the standout performance piece involving the preparation of Osteria Ai Do Farai’s sea bass carpaccio and then partaking in the raw fish delicacy that was topped with lemon juice, oil and prosecco. Awesome stuff.

Meanwhile back in new world, the tectonic plates in NBA-land literally and figurately shifted, reverberating through Jurassic Park all the way to Southern California. While still savoring the sweet feeling of claiming the NBA championship, the Dinos were dealt a disappointing blow with K’Why’s decision to join Ballmer’s Clippers. Perhaps it was just wishful thinking that he would stay. That’s neither here nor there at this point. So now what? While the Klaw was integral to delivering the ultimate prize to a championship-starved city, it came at a hefty price. The Bulldog, Big Shot Freddie, Crazy Eyes, the Extraterrestrial One and Mafuzzy Chef are a nucleus of sorts to build around, but the Dinos will need help to compete in a stronger Eastern Conference. The ball is back in Masai Ujiri’s court who will likely shuffle the deck and hopefully deliver to Coach Nurse a line-up that can continue to be competitive into the post season.

The Biennale runs through November 2019 with the next edition debuting in two years. It would great if the Dinos were on the same timetable to repeat as champions. For more information on the Biennale, the other exhibits and a likely Raptor reset, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

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mcgiggers · 5 years

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Québec City - January 2019 (Winter Road Trip)

Just back from a day trip to the province’s capital to take in the Marcel Barbeau exhibit, “Marcel Barbeau: in Motion”, at the Musée national des beaux-arts du Québec. The spontaneous outing was well worth the three-hour drive back and forth. The beautiful venue, great works and captivating story behind Barbeau all contributed to making the show a top-tier art viewing experience and a fantastic tribute to the artist, one of the signatories of the Refus Global, the manifesto that launched the abstract movement in Québec and across Canada in the late 40’s.

Notwithstanding Barbeau’s contribution to the art scene, the exhibit was his first major retrospective, and although long overdue, it magnificently put into perspective a career that spanned seventy years and one that featured leading edge experimentation and discovery in non-figurative art. In applying his craft, Barbeau used a broad array of techniques (staining, soaking, sprinkling, rubbing, scraping, cutting and pasting), materials (oil, ink, enamel, felt pen) and support mediums (paper, canvas, jute, wood panels). More importantly, however, and following his strong artistic intuition, Barbeau continuously pushed boundaries by pursuing various abstract styles that yielded his own brand of Automatism, tachiste works, minimalist drawings, collages, kinetic paintings, shaped canvases, sculptures and even transdisciplinary performance paintings. As such, there was great variety in Barbeau’s creative output over the course of his career and the exhibit showcased many representative period pieces. The highlights included: “Rosier-feuilles”, 1946, oil on wood panel (19.3 x 29.7 in.), an early abstract gestural work that preceded the formation of the Automatist movement; “Natashkouan”, 1956, oil on canvas (71.7 x 83.9 in.), an all-over tachiste painting; “Régates”, 1964, acrylic on canvas (79.9 x 60.0 in.), an op art interpretation of surface patterns seen on the St. Lawrence River; “Aie aie aie Wawaska”, 1968, acrylic on canvas (80.7 x 66.3 in.), two minimalist canvases positioned to simulate moving shapes in space; “Le Mouvement du soir”, 1980, acrylic on paper glued on canvas (107.1 x 215.9 in.), a lyrical performance piece painted as part of a dance seminar at Bishop’s University; and, “Chanson de salomandre”, 2013, acrylic on canvas (53.9 x 53.9 in.), a pairing of previously explored styles - a curved line and random paint drippings on a monochrome base. Beyond these and numerous other specific works, the expansive views afforded by the fabulous exhibit space provided amazing vistas and the special opportunity to appreciate groupings of works.

Barbeau passed away in 2016 at the age of 90. Unfortunately, the exhibit concluded its run on Sunday and will not be travelling to other cities (at least not yet) where it could easily stand up to the best of the best, including in Paris and New York where Barbeau spent considerable time and produced great works. As a small consolation, an exhibit catalog was published and is available.

From the Plains of Abraham to Jurassic Park … after being humbled by Double-D and his Spurs (somehow that just doesn’t ring right), the Dinos bounced back with impressive back-to-back wins over the weekend. With K’Why at the helm (and no Lowry), the Raptors beat the Bucks for the first time this season, and then behind Lowry’s leadership in his highly anticipated return to the line-up (and no K’Why), they took care of the Pacers. At some point hopefully, these guys will be on the court at the same time for a few games in a row. As it stands, K’Why and Lowry have only played 21 of 42 games together. Developing a genuine comradery over the second half of the season will dictate how far this team goes beyond that. In the interim, the Dinos retain Eastern Conference bragging rights which is something fans can nervously continue to appreciate.

For more information on Barbeau, the exhibit, or the fate of the Dinos as the second half of the season unfolds, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

#art beat #mcgiggers #marcel barbeau #musee national des beaux-arts du quebec #automatist #refus global #regates #natashkouan #rosier-feuilles #aie aie aie wawaska #le mouvement du soir #chanson de salomandre #kyle lowry #kawhi leonard #raptors #spurs #DeMar DeRozan

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mcgiggers · 5 years

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Miami - December 2018

Just back from 60 hours on the ground in Miami and a fully immersive art viewing experience which spanned fairs, foundations, museums and pop-up shows. Fueled by some tasty grilled octopus, a killer cacio e pepe and a reserve of M&M’s chocolate covered almonds, the journey unfolded as follows: ocean-side stops at INK, Pulse, Untitled and Scope art fairs on the day of arrival; the de la Cruz and Juan Carlos Maldonado collections, the Institute of Contemporary Art, the Gagosian and Jeffrey Deitch Pop Minimalism exhibit, and NADA, Art Miami and CONTEXT fairs on the next day; and Art Basel Miami Beach on the day of departure. Enthusiasm and attendance throughout were crazy. Aficionados and fans did not seem to be deterred by the unsettling backdrop of a recent 5 % market correction, escalating trade wars and volatile oil prices nor did the always challenging local logistics of navigating to and from venues detract participants too much from enjoying and fully appreciating the diverse and visually appetizing offerings scattered throughout the city.

Each event played to its strengths in catering to its target audience. Set in the recently upgraded Miami Beach Convention Center, Art Basel remains the anchor of the art week festivities. Showcasing leading modern and contemporary art, over 275 exhibitors put forward a highly curated offering of 20th and 21st century works. This year, premiere contemporary works continued to hold center court attention, and there also appeared to be a renewed focus on modern masters. Art Miami to some extent filled a bit of a gap in presenting the works of some post-war contemporary artists which were interspersed amid a predominantly broader range of glitzier offerings; Untitled and NADA aimed at delivering cutting edge contemporary art; Scope and CONTEXT presented flashier more commercial creations; Pulse remained a bit in limbo; and inconspicuous INK presented some upscale high quality works on paper. Among the other stopovers, the de la Cruz Collection retained its status as a perennial favorite and epicenter of beautiful contemporary art set in an incredible venue.

Sifting through it all, there were memorable pieces throughout. At Art Basel, the showstoppers included: Giorgio Griffa’s free-hanging “Canone aureo 798”, 2015, acrylic on canvas (78.7 x 47.2 in.), featuring Griffa’s typical iconography of symbols, numbers and canvas creases; and Jean Dubuffet’s gritty “La vie à la campagne”, 1949, oil on canvas (45.7 x 35 in.). Other fair highlights included: Carl Andre’s “De Kooning Gorky Pollack”, 1962, carbon copy on paper mounted on board (6 x 6.1 in.) at Art Miami; Jim Lee’s “DD CutEdgeCream”, 2018, oil enamel on linen with staples and wood (42 x 24 in.) and Rindon Johnson’s “I’ve had to accustom my temperament to that. Instead of wasting my strength and worrying about tomorrow, I put everything into the present, like a fighter and I’m tired”, 2018, indigo and leather (14 x 11 in.) at NADA; Tae Hong Park’s “Learn in Silence”, 2017, mixed media on panel (18 x 18 in.) at Scope; Louise Blyton’s “Sweet Love”, 2018, acrylic on linen (10 x 12 x 2 in.) at Pulse; and Amy Kaufman’s floating forms in “4 Rex 1”, 2016, pastel on paper (26 x 22”) at Untitled. Lucy Sparrow’s “Triple Art Bypass” installation at CONTEXT was a special treat. It featured an operating theatre and a floor to ceiling medicine cabinet, the whole made of felt including the hundreds of packaged medicines and pharmaceuticals that stocked the pharmacy shelves. As a bonus, the high energy Queen of Felt was holding court on sight to the delight of fairgoers. Notable works at the other venues included: Paul Feeley’s signature patterned “Arcturus”, 1963, oil-based enamel on canvas (60 x 60 in.) at the Gagosian/Deitch pop-up show; Sterling Ruby’s monumental “SP175”, 2011, spray paint on canvas (160 x 160 in.) at the de la Cruz Collection; and Walter Darby Bannard’s minimalist “Baffin”, 1961, alkyd resin on canvas at the Institute of Contemporary Art.

It is quite fitting that as the art week festivities drew to a close, the Dino’s and the Bucks squared off in Hogtown for Eastern Conference bragging rights and potentially home court advantage in the post season. The Dino’s struggled all game but worked their way into a lead in the dying minutes only to see the Greek Freak and his crew snap it away. The more troubling news for Raptors fans was that the Ever-So-Grumpy Lowry continued to struggle offensively and was held off the scoresheet. Also worrisome was K’Why’s inability to seal the deal in crunch time. Notwithstanding some key plays down the stretch, in four of the Dino’s seven losses this season (this game included), K’Why has had the ball in his hands and opportunity to win the game and has come up short every time. Up next are four away games against strong Western Conference teams. Coach Nurse has lots of work ahead of him to get the Dino’s back on track.

For more information on any of the artists, works or venues mentioned, or the fate of the Dino’s as they head west, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

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mcgiggers · 5 years

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Toronto - October 2018

Just back from Hogtown and a great all-round art viewing experience which included a couple of stopovers at Art Toronto as well as an offsite gallery visit and an artist studio drop-in. The anchor of the trip was the fair which was celebrating its 19th anniversary as Canada’s most important gallery gathering. True to form, Art Toronto smartly curated its line-up of 100 or so exhibitors to offer art enthusiasts a mix of historical and contemporary works created primarily by established and emerging Canadian artists and to a lesser extent, international players as represented by about 25 galleries that spanned seven countries. Another feature at Art Toronto was the showcasing of works by the finalists of RBC’s Canadian Painting Competition, a longstanding tradition at the fair which has served to launch many careers. In addition to navigating the fair corridors, visits to a pop-up gallery featuring new works by Kim Dorland and Esmaa Mohamoud’s studio contributed immensely to enhancing the weekend adventure.

While there were grumblings of smaller crowds in attendance on VIP and opening nights at Art Toronto, art fans seemed to make up for it on Saturday and Sunday as gallerists scrambled to accommodate the curiosity and inquiries of aficionados and fairgoers of all kinds. The result seemed to translate into lots of red dots which was a great outcome for all involved. Even though there was a certain amount of predictability around what to expect at the fair given its tenure in the marketplace and relatively familiar exhibitor roster, Art Toronto participants served up a great offering of the old and the new. Among the standouts created by more established artists in the Canadian art scene were: Jack Bush’s “Red Window”, 1964, oil on canvas (48 x 56 in.); Kazuo Nakamura’s “Inner Structure No. 3”, 1959, oil on canvas (48 x 36 in.); and Claude Tousignant’s chrome series diptych “Untitled”, 1983, acrylic on canvas (each, 20.75 x 34 in.). More recent highlights included: Cristine Yunyk’s playful abstraction “Two Suns”, 2018, oil on canvas (50 x 40 in.); painting competition finalist Joy Wong’s hanging soft sculpture “Cotton and Cheese 1”, 2018, oil on rubber latex (37 x 17 in.); and Jacob Robert Whibley’s “Opaque Operations”, 2018, laser etching on archival water colour paper (42.75 x 31 in.).

Away from the fairgrounds, a temporary gallery space housed Kim Dorland’s solo exhibition “Kim Dorland: Analogue Paintings”. The 25 or so new works depicted scenes from everyday life as inspired from the artist’s recollection of ordinary objects and familiar places and were executed in Dorland’s recognizable painterly style. The modest size of the works (mostly, 24 x 30 in. or vice-versa), the gallery setting and the subject matter made for a very engaging and serene viewing experience. Highlights included: “GRRRZ!”, 2018, Oil on aluminum (24 x 30 in.); “Landscape Painting”, 2018, oil on aluminum (30 x 24 in.); and “Halo”, 2018, oil on aluminum (30 x 24 in.).

While the main draw of the weekend was Art Toronto and the Dorland solo exhibit was fantastic, meeting Esmaa Mohamoud was the real highlight of the trip. Mohamoud is a 25-year-old African-Canadian multi-disciplinary artist who has used her art and the backdrop of athletics and sports, specifically basketball and football, to tackle issues relating to race, culture and society. She speaks her mind through a broad variety of mediums and creative processes which recently have included cement castings (“Heavy Heavy (Hoop Dreams)” project), photography and dress design (“One of the Boys” project) and repurposed athletic wear (“Glorious Bones” and “Untitled (No Fields)” projects). Hosting a few art fans at her studio and surrounded by some of her works, the young artist totally captivated her small audience with her intensity, passion and vision and exuded a wisdom and understanding well beyond her years.

With all the major professional sports leagues in various states of full swing, there was also plenty of excitement and stimuli in the air in addition to the buzz created by great art. Leading the headlines was the conclusion to the MLB season with the crowning of the Red Sox as champs and the unlikely emergence of David Price as the newly minted Mr. October. Across the leagues, noteworthy events also included: the other Price posting his first shutout in 11 months and the Habs’ totally unexpected strongish start to the season; Johnny Snowball’s first victory; and the Dino’s kicking things off with a franchise record of six wins (before falling to the Bucks on Monday night) and K’Why’s strong contribution in the process. While there continues to be some speculation as to whether Price and K’Why have fully regained their old form and their ability to continue to perform at high levels, it’s alright to ride some early season euphoria and hope for the best in the long run.

For more information on any of the artists or works mentioned and for an update on the Dino’s and Habs as the season progresses, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

#art #art beat #mcgiggers #Art Toronto #Red Willow #jack Bush #Kazuo nakamura #claude tousignant #Kim Dorland #Cristine yunyk #Joy Wong #Jacob Robert Whibley #esmaa mohamoud #glorious bones #hoop dreams #one of the boys #raptors #habs

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mcgiggers · 6 years

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Chicago - September 2018

Just back from the Windy City and a fantastic fair going experience at the seventh edition of EXPO CHICAGO. Operating since 2011 under the banner of The International Exposition of Contemporary and Modern Art, the fair at times has struggled to deliver on its broad scoping and aspirational billing. This year, however, EXPO CHICAGO found solid footing as an exciting and focused contemporary art platform. With modern art no longer really sharing the stage, over 150 exhibitors from 30 or so countries showcased works of emerging and established contemporary artists which spanned traditional and creative mediums and reflected broad international diversity. While the huge construction project at the Navy Pier created some initial trepidation among fair goers, the chaos outside did not detract from the well organized and beautifully executed gallery presentations set up inside the exhibition hall. All-in-all, this year’s edition was a great leap in crystallizing the fair’s identity as a top-notch contemporary marketplace in the crowded global art circuit.

Fair highlights among the younger generation of artists included: Johnny Abrahams’ “Untitled (JA.02.18)”, 2018, oil on canvas (72 x 48 in.) which featured four imposing vertical black forms set against a white background with slight points of contact between each that dynamically accentuated the positive and negative spaces; Rebecca Ward’s “petiole”, 2018, acrylic on stitched canvas (64 x 48 in.), a minimalist hard-edge inspired work built from hand sewn and deconstructed canvases; and Jim Verburg’s “Untitled (other than what is known #4, from the series A Certain Silence)”, 2018, two layers, oil-based paint, graphite and charcoal on tarlatan, depicting exquisite semi-translucent grey forms floating in space achieved through an off-rolling paint transference technique and the layering of thin open-weave fabric. Other highlights included a pair of Israel Lund works displayed side-by-side, “Untitled (Rob e rt s&T ilt on 16)” and “Untitled (Rob e rt s&T ilt on 19)”, 2013, acrylic on raw canvas (each, 44 x 34 in.), and John Henderson’s “Untitled Painting”, 2017, oil on canvas (30 x 24 in.).

Among the works of the more established contemporary artists, the standouts included: Joe Overstreet’s “Eclipse”, 2002, acrylic on stainless steel wire cloth and artist frame (49.6 x 43.8 x 3.0 in.) which featured the artist’s creative experimentation in achieving a next-level transparency and depth by integrating foreground imagery with the shadowing effect of the painted surface as seen through the mesh medium; Larry Poons’ “Cherry Smash”, 1963, oil on canvas (55.9 x 55.9 in.) which offered an intense visual op art experience through the interplay of a bright red all-over composition and a set circular pattern of eight turquoise dots that each seemed to take on a life of their own when viewed for a few minutes; and Kim Yong-lk’s “Untitled”, 1991, mixed media on canvas (39.4 x 31.7 in.) which served up a prime example of the Korean master’s polka-dot paintings series featuring a dozen uniform vinyl discs set on an elegant expressionistic background.

The Cubs followed EXPO CHICAGO’s lead and also delivered in a big way (although not all the way) as they earned a spot in the post-season but lost the National League Central title to the the Brewers in a tiebreaker on Monday, leaving them to make the most of their wild-card berth. North of the border, the weekend was less kind to Montreal sports franchises as both the Habs and Impact failed to score a goal and lost their respective games, and Johnny Snowball came up short, again. In Hogtown, die hard Raptor fans were still trying to process the unsettling press conference that finally introduced Kawhi Leonard to Dino Nation earlier in the week. While there were a few chuckles (ok, maybe just one), he’s a man of few words with a distant Mona Lisa look, all of which did not go a long way towards demystifying the person and rallying the troops behind GM Ujiri‘s decision to trade away the lovable Double D. A ray of hope, however, was provided in the form of a highlight reel cross-over step-back jumper during his first outing as a Dino on Saturday night in preseason play against the Trail Blazers. As for the rest, we’ll have to wait and see, and hopefully eventually stop asking K’Why.

For more information on any of the artists or works mentioned, the post-season fate of the Cubs, Montreal’s sports woes and the endearment of K’Why, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

#art beat #MCGiggers #expo chicago #johnny abrahams #rebecca ward #jim verburg #israel lund #john henderson #joe overstreet #larry poons #kim yong-lk #masai ujiri #cubs #kawhi

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