dArtles: Weekly on the Arts

by Steve Rockwell

Weekly on the Arts hosts Irina De Vilhina and Kyle Shields at Pie in the Sky Studios
Weekly on the Arts hosts Irina De Vilhena and Kyle Shields at Pie in the Sky Studios

In Toronto’s cultural kitchen, a dish named Weekly on the Arts has begun to bubble. Hosts for this upcoming weekly TV show are Irina De Vilhena and Kyle Shields. Featured segments cover visual artists, collectors, curators, museum directors, art magazines, auction houses, art galleries and art dealers. Shooting began this spring at Pie in the Sky Studios, with rushes from the first batch of digital reels already in post production.  

While neither hosts are visual arts specialists, they bring their own unique areas of experience to bear on the subjects covered. From Angola-Luanda in Africa originally, Irina De Vilhena speaks Spanish and Portuguese, is at work on her second children’s book, and has worked in health care for the past seven years. Actor Kyle Shields is excited to be involved with this project, aware that his skills can be of use as host: “The most rewarding work I’ve had the chance to do has been in the creation of new Canadian plays, from workshop to stage. At the core, it’s always about compelling storytelling.”

Irina De Vilhina and Kyle Shields photographed in one of the many graffiti-laden laneways in Toronto
Irina De Vilhena and Kyle Shields photographed in one of the many graffiti-laden laneways in Toronto

Host Irina has already a tale to tell worthy of Mary Shelley: “I had the privilege to go to the studio of John Scott. It was amazing. His work was all over the place, piled on top of each other, yet organized in its own way.” She tells of John being hit by lightning twice in his life – once as a kid playing on a beach, where its charge burned little holes in his feet from the heated metal eyelets of his runners. More recently it occurred on the roof top of his studio building during the memorial for the tragic passing of an artist friend. A thunderstorm had come up as he was about to pour out a libation on the ground for those who had gone before. Perhaps he had it coming, the artist had felt, surrounded as he was by broken antennas and metal things. It was at that moment that lightning struck, knocking him out temporarily. For Irina, Weekly on the Arts has kindled a love affair with the arts, its artists and their history.

Artist John Scott with an image of his studio imposed on green screen background
Artist John Scott with an image of his studio imposed on green screen background

The visit that Kyle Shields paid to Alex Cameron in his studio was memorable. Alex’s wife Lorna Hawrysh recounted that, “for Alex, it’s always been about the art. It’s always been about painting, despite the ups and downs of the art industry.” Kyle saw that the studio itself of an artist tells its own story. “I’m sure this can make it challenging for living artists to sell their work for livable sums of money. So to see Alex’s studio, modest in size (he’s been at the same one for decades), filled with bright canvases, tables full of paint tubes, impasto practice swatches laid about, and what seems like a floor entirely covered in thick, multicolour, smatterings of paint from years of effort. It was a very vivid experience.“ From 1972 to 1976, Alex worked as a studio assistant to Jack Bush, who influenced the artist’s own painting style towards a lyrical semi-abstraction. Through the association with Bush, Alex developed a close friendship with critic Clement Greenberg and members of the Painters Eleven group such as William Ronald.

Alex Cameron in his studio
Alex Cameron in his studio

For several years now, Alex has been grappling with the lingering effects of a stroke. Though ambidextrous, he has painted with his right hand for the course of his life. Before leaving the hospital he had turned to Lorna to say that he thought that he had figured out how to paint with his left hand. She recalled often seeing him paint in his head, practicing before committing to canvas. Now he paints just as prolifically as before. Lorna said “painting for Alex is physical.” This accounts for the sculptural quality of his work. He primes his canvases with red rather than white. To Alex, it’s the red that makes him feel right. 

Lydia Abbott and Rob Cowley and the Lawren Harris, Algoma, (Algoma Sketch 48), which sold for $977,500
Lydia Abbott and Rob Cowley and the Lawren Harris, Algoma, (Algoma Sketch 48), which sold for $977,500

A December 2020 web article from auction house Cowley Abbott spoke of continued strong results for Canadian historical and contemporary art at auction. Solely online at first, Rob Cowley and Lydia Abbott only started doing live auctions because of demand. Online focus had prepared them for the age of COVID. “Finding a rare Lawren Harris painting in Australia and getting the chance to bring it home for auction was exciting – the delightful confluences of a storied artist, a pristine specimen, and a great anecdote to accompany the sale. Exciting also was to have broken records in the past year, particularly for the Jack Bush Column on Browns (1965), which sold for $870,000, a record for any work by him.”

Jack Bush, Column on Browns (1965) – selling price $870,000
Jack Bush, Column on Browns (1965) – selling price $870,000

What remains now is the stitching together of its parts and the release date of Weekly on the Arts.

Liz Larner: As Stars and Seas Entwine

Regen Projects in Los AngelesMarch 27 – May 22, 2021

Detail of Liz Larner work combining plastic refuse with acrylic paint.

“Plastics…were used in furniture, clothing, containers, appliances, just about everything. Sometimes the poisons leached into food or water and caused cancer, and sometimes there was a fire and plastics burned and gassed people to death…. The only place that has enough of it to be a real danger is right here.” — Octavia E. Butler, Adulthood Rites, 1988

Excerpted from the Regen Projects press release: The works on view reveal Larner’s acceptance of Posthumanist thought that the Anthropocene induces as the world becomes beleaguered by rapidly depleting resources and the massive waste that accompanies our extractive industries. The large low floor sculpture, a sea foam/meerschaum drift, seems to billow and surge through the space. The undulating form constructed of conjoined plastic refuse was collected by Larner over the course of three years. Serving as a meditation on the pervasive and exponential presence of plastic in the world, the sculpture is at once beautiful and horrible, a complex combination that evokes the pathos of its material. This Meerschaum Drift’s materiality belies its intricate form and supposes a transformation of crude material into an art object. Plastic-derived acrylic paint applied to its surface gives the sculpture the overall sense of movement in color from deep blue to green to white, evoking the ephemeral quality of sea foam for which it is named.

Liz Larner’s As Stars and Seas Entwine exhibition at Regen Projects in Los Angeles presented itself as an opportunity to revisit her much earlier exhibition at Regen Projects, one that I wrote about almost 24 years ago. There was a need, I felt, to “correct” my earlier impressions of her work. Admittedly, my reading had been a limited take – the siphoned sliver of an aspect of the work of a seriously-minded artist. It seemed incongruous for an artist undergirded by a weighty philosophical base to produce something so light and fun.

Scanned page from the Fall 1998 print edition of dArt International featuring reviews of Kenny Scharf at the Kantor Gallery and Liz Larner at Regen Projects in Los Angeles.
Scanned page from the Fall 1998 print edition of dArt International featuring reviews of Kenny Scharf at the Kantor Gallery and Liz Larner at Regen Projects in Los Angeles.

Beverly Buchanan: Shacks and Legends, 1985-2011

Opening at Andrew Edlin Gallery in New York, curated by Aurélie Bernard Wortsman https://www.edlingallery.com
March 20 – May 1, 2021 

An excerpt from the gallery press release: “A storyteller, Buchanan often attached to her sculptures handwritten or typed narratives, which she referred to as “legends,” that gave voice to a cast of characters, some remembered and others imagined. Sometimes she stapled them to the underside of a piece. In one of her favorite works, Orangeburg County Family House, 1993, Buchanan wrote in Sharpie on the outer sides of the structure the names of families from her hometown which she took from her high school yearbook and a calendar from her local church.”

Most likely it was the summer of 1989 that I took in the Beverly Buchanan exhibit at the Steinbaum Krauss Gallery in New York City’s Soho district. At that point in time, dArt International magazine had barely rounded out its first six months of publishing life. What had impressed me about the work was Buchanan’s “gift of transporting herself to the place where the haziness of time generalizes events.” We believe Buchanan because “…she is her own truth, an embodiment and fruit of the soil that she portrays. The shacks of wood, tar paper, tin, and oil pastel serve as proof of the passage and are convenient emblems of her journey.”

The Spring 1998 edition of dArt, highlighting page 36 with reviews on Beverly Buchanan and Vito Acconci.
The Spring 1998 edition of dArt, highlighting page 36 with reviews on Beverly Buchanan and Vito Acconci.

Eozen Agopian at the Greek Consulate (New York)

by Jonathan Goodman

Eozen Agopian, Nicholas Space, 2018
Eozen Agopian, Nicholas Space, 2018, acrylic, thread and fabric on canvas,
100 X 90 cm (39.37 X 35.4”)

Of Armenian descent but born in Greece, where she now lives (with regular visits to New York), Eozen Agopian was educated in the United States – at Pratt Institute for her master’s degree and at Hunter College for her bachelor’s of fine arts. Her recent show, expertly curated by the art historian Thalia Vrachopoulos, The Fabric of Space, at the Greek consulate in New York City, enabled visitors to experience her highly worked art, dependent on cloth and thread, nearly as luminous as a Russian icon but also dedicated to the complex vectors and planes of modernist painting. Continue reading “Eozen Agopian at the Greek Consulate (New York)”

The Cove Pop-Up Exhibition

by D. Dominick Lombardi

Untitled, Raymond J.
Untitled, Raymond J., color pencil on paper

Once in a while I stumble upon an exhibition that really opens my eyes and reorients my thinking and understanding of the creative process. The Cove Pop Up exhibition here in Providence, RI, which includes paintings, drawings, sculptures, ceramics and utilitarian objects, offers a great number of art works by talented individuals who are dealing with varying degrees of debilitating issues. Continue reading “The Cove Pop-Up Exhibition”

The Rich Imagination of Jacques Roch: Sensuousness and Impertinent Play

by Dominique Nahas

Jacques Roch, The Kiss Of The Jellyfish, 1986
Jacques Roch, The Kiss Of The Jellyfish, 1986, acrylic on canvas, 54 x 66 inches

The current exhibition at Kim Foster Gallery in New York City allows us to experience the states-of-mind that pre-occupied, and occupied the late, remarkable artist Jacques Roch (1934-2015). In his notes Roch writes: “… I was born with the condition of the wide-awake dreamer…. The drawn line, clear on a colored ground, held the systems of shapes like a luminous net. The slapstick mood and lushness of color rendered less threatening my private bestiary of violent instincts, bawdy manners, diffuse fears, contagious glee, and even, sometimes, serenity…Continue reading “The Rich Imagination of Jacques Roch: Sensuousness and Impertinent Play”

Photo-A-GoGo

Don Doe, Fille Sans Dot, Fille Avec Dot (2017)
Don Doe, Fille Sans Dot, Fille Avec Dot (2017), giclee, 22 x 15 inches

by Dominick Lombardi

Photo-A-GoGo presents art that has photography as an element, whether it is predominant or used as a minor accent, to show how the creative process now parallels or responds to the ubiquitous social digital/exchange mentality. We have the MIME, Instagram, Snapchat, all the ways we express or project our ideas or self-image – so the photograph, instead of being “worth a thousand words” is now as common as a mosquito in July. However, that does not mean that art or the intention behind it or the imagery utilized is, in the end, benign. Continue reading “Photo-A-GoGo”

Where to Draw the Line at OneWay Gallery

by D. Dominick Lombardi

Stephen Cook, My Disease My Infection (2017)
Stephen Cook, My Disease My Infection (2017), charcoal, oil stick and aluminum paint on paper, 77 ¾ x 61 ½ inches

It was one year ago that I first became acquainted with the work of Stephen Cook and OneWay Gallery. Being in Narragansett, I was not expecting to see much beyond the stereotypical sails and sunsets in any ‘art gallery’, so I was completely taken aback by Cook’s versatility and vigor as a contemporary painter.
Continue reading “Where to Draw the Line at OneWay Gallery”

The Tale of Auguste’s Brain

Pierre-Auguste Renoir, After the Bath (1888)
Pierre-Auguste Renoir, After the Bath (1888), oil on canvas, 25 ½ x 21 ¼ inches, Wikipedia images

by D. Dominick Lombardi

It was probably somewhere around 1987 when I read a quote attributed to Auguste Renoir in an art magazine. I don’t recall the exact passage, but he likened his paintbrush to his penis when discussing why he so obsessed over capturing the erotic aspects of a woman’s flesh. A month or so later I made a drawing, I was in my pseudo Post Modern stage making sculptures that looked like they could have been executed in the nineteen teens, twenties or thirties, and the subject was my interpretation of Renoir’s sensual sentiment about his female nudes. Continue reading “The Tale of Auguste’s Brain”