The Plantation, St. John's most exciting new destination

The highlight of last week was, for me, giving a tour for a small group of "culture vultures" from across Canada – an annual event lead by novelist Kevin Major.  A "culture vulture" is my affectionate term for those of us who consume culture.  We regularly look forward and eagerly ingest the creative products of writers, musicians and visual artists of all stripes.  We are not the primary creators but we are an an essential part of the food-chain, or if that makes my artists friends wince, an essential part of the equation.  This is a point I'd like to emphasize: for every musician on stage or producing a CD, for every textile artist lovingly weaving, dyeing, etc dozens and dozens of listeners, viewers, collectors, and patrons are required to fulfill their function.  It's a cultural ecology with many crucial parts or people, creators and consumers alike.  Of course, there are the many, often woefully underpaid, workers who keep the wheels of the cultural industry turning as well.

You have to visit the scenic Plantation, regardless of the weather.

Now back to the tour, our destination was St. John's Plantation, an existing new incubator site located on Quidi Vidi.  And as I was told, "if you are not sure how to pronounce Quidi Vidi you can always call it the "gut" as it feeds into the Atlantic Ocean.

The easiest way to access the Plantation on line is through one of its partners:
www.annatempletoncentre.com/
Check the right hand side of the screen under Opportunities.

The Plantation is an ideal mix of stunning landscape location, vernacularly inspired contemporary architecture, strategic funding on the part of RBC and the province, and last but certainly not least seven studios inhabited by seven talented emerging artist-craftspeople or artisans.  The mix of media represented is excellent:  Graham Blair the printmaker, Heather Mills a glass and metal artist, two potters whose work is like night and day – Laura Higenell and Stephanie Smith– Jessica Butler a jeweller and textile artists: Cathia Finkel and Morgaine Parnham.  Each artisan showed us and allowed us to handle their particular brand of media wizardry.

Everyone I have talked to who has visited the Plantation, whether they are locals, visiting craftspeople, or "civilian" tourists have commented on the "buzz" of the place.  The site has a palpable frisson of creative energy that I have never experienced in art schools, subsidized craft studios such as Harbourfront in TO, or other incubator programs in Canada.  The Plantation is a very special phenomenon.

One of Graham Blair's iconic images.  All his prints are made by hand.

The tour was supposed to last about 45 minutes and we had to work and cutting it off at two hours.  I think we all had fun.  Beforehand I handed a selection of my catalogues from media that matched up with the special interest of the craftspeople.  For example, an Audrey Feltham catalogue for Graham Blair, a Michael Massie catalogue for potter Laura Higenell because of her interest in teapots, a Peter Powning catalogue for Heather Mills because like Peter, she works in both glass and metal.

For the visit I had reviewed by notes from previous visits but I also made a short list of questions that had gone unanswered for me.  For example, it had lingered in my mind "why were Graham's prints so incredibly affordable/inexpensive?"; "when Jessica was an historically accurate metalsmith as a Viking in Gros Morne, which gender was she dressed as?".  I recalled that one of the craftspeople had described herself as an "almost Mennonite" - what was that about?  This tour was a great excuse to dig for answers.  And it took little encouragement to get our little band of "culture vultures" to ask their own.

Stephanie's Smith's smoked fired vessels are a welcome addition to the St. John's clay scene.

Next stop?  SOFA Chicago here I come!

Nicola Hawkins on the cover of Studio magazine

The Collector by Nicola Hawkins, from her Junkosphere show.

The news is a little late but it is still good news.  The Fall/Winter 2012 issue of Studio magazine is making the rounds of subscribers and newsstands and our very own Nicola Hawkins' work graces the front cover.  This was a lovely surprise.  I knew to expect that my review of her Junkosphere would be included in the issue but it was great news to hear from the editor that her work was being considered for the cover and even better news to hold the issue in my hands and see her handsome Spud bin gleaming at me in all its sunshine colours.  Hers is a case of the most inspired of recycling and certainly at the forefront of a trend in both art and craft.

This is curious.  I have always maintained that politics changes art and not vice versa and I am happy to say maybe I just might be wrong.  It is likely that with so many artists and craftspeople using repurposed materials that we can keep the issue of environment and ecology in front of the public and make them regard their personal environment as a sphere where the individual does make a difference.

I had the pleasure of having home made pizza delivered to our house by Nicola and her husband Andy Perlis recently and a chance to chat post the publication of the review.  She was a very happy camper.  What made me smile is that she thanked me for calling her a seductress in the review.  Why do I think this is important?  Nicola Hawkins has a way of making of us think about ugly truths by using beauty to tempt us to linger… The natural reaction to ugly situations is just to want to walk away, to avoid pain, to avoid conflict.  But Hawkins' giant collages drew us in with their well designed come hither.

This is very strategic for a variety of reasons.  But I will elaborate on only one.

An example of Dabinett's portrayal of the undersea world and its citizens.

Diana Dabinett, whom I still think of a watercolour artist who occasionally paints on silk, taught me this.  I was in her studio and we were discussing her approach to the landscape and the glittering, multicolour undersea worlds.  I was concerned that people might dismiss her work as "pretty".  She patiently explained to me that she cared passionately about the natural environment both on land and off.  We discussed her options: paint the ugly stumps of clear cutting or paint the beauty of the forests and oceans.  Which would people fall in love with?  Which would people want to protect?  All of a sudden, I understood that beauty had a function quite apart from the visually pleasurable, the rules of harmony or composition.  It was subtle and it was political.  And I believe true.

An example of Lucky Rabbit's juicy bowls.

A final good news note:  The most recent brochure from the Mount Saint Vincent University Art Gallery (happy 40th anniversary to MSVU art gallery) announces its recent acquisitions.  And they are, drum roll please, a spectacular bowl by Lucky Rabbit Pottery (Debra Kuzyk and Ray Mackie) from their Chinese series and three of Ray Mackie's mysterious and delightful glazed porcelain rays.  Yes, these were purchases and not donations.  (Acquisitions and collections would make a good topic for another blog!)

Exploring Alexandra McCurdy's tribute to hardworking women and textile culture

Look for the issue.  Just hit the newstand.

What made you happy during the past seven days?  It is so easy to complain and just get poisoned in the process.  So, instead of fretting about things beyond my control, I will tell you about something that made me smile.

 I was really pleased that the Alexandra McCurdy retrospective that is about to open at the Beaverbrook Museum in New Brunswick got covered in the current issue of VANS or Visual Arts Nova Scotia.  The writer of the article is Matthieu Comeau and he brings a very interesting perspective to the show.  He was not familiar with her work in either clay or textiles, which also means he didn't bring any baggage of expectations when he walked into the retrospective.  Clay in Nova Scotia can be a very political arena.  So, it is great to get some fresh eyes and fresh opinions.  He carefully toured the show with Alex and also spoke with me briefly at the Halifax opening.  VANS refers to the article as a "profile" rather than a review, which think is appropriate.  It is more like an in depth interview than a critical assessment of the work.  However, he does a very good job of establishing a context for McCurdy's work in both clay and textiles and he shares his careful observations with the reader.  For example, he was drawn to my placement of McCurdy's plates with her silk-screened portraits of famous feminists on a blue piece of indigo fabric also done by McCurdy.  Here's my favourite part in the article:

This image is of the white stoneware plates by themselves.

"The pieces bear the faces of strong female artists: Judy Chicago, Barbara Hepworth, Beatrice Wood, Lucie Rie and Georgia O'Keefe.  It is clearly an homage to Judy's Chicago's The Dinner Party.  The simplicity of the work is quietly impressive, but I initially found the choice of women represented a bit puzzling–many of the women represented  produced work that seemed to me so vastly different from McCurdy's, especially those who aren't known primarily as potters.  But McCurdy reminded me that Barbara Hepworth's sculpture often incorporates tensile elements reminiscent of thread, and that Emily Carr did produce some ceramic work.  Her choice of women is determined, however, less by her affinity for their style than by her respect for their "dedication, determination and patience". 

Matthieu Comeau I think you really hit the nail on the head.  And you probably don't how well you described Alex herself for she surely is a woman who is also dedicated, determined and patient.  Personally, I am grateful that Alex allowed me to get a bit creative with my installation.  She was very open.

Arts Quests Discovers King's Point Pottery

I have often joked that the reason why there are so few craft writers is that most of us have died off (starvation) and that I am an endangered species.  The community of craft writers is relatively small and is something that has troubled me.  When I won the Critical Eye Award I offered to mentor at least one other writer serious in learning the trade.  I've been able to help out a few, for example, that was one reason why I took on the volunteer co-editing of the last issue of Cahiers métiers d'art.  It was to provide assistance to the writers involved and the publication, as it is a prime destination for serious craft writers, scholars and theorists.  But in this digital age of e-zines and website not all publications are printed on paper.

Speaking of prime destinations…I am happy to report that King's Point Pottery has earned yet another distinction (They were given a #1 destination distinction by Tourism earlier this summer).  Check out arts quest:

http://artsquest.ca/2012/09/14/kings-point-pottery/

http://artsquest.ca/2012/09/14/kings-point-pottery/

 Arts Quests entry about their on-site visit to King's Point Pottery is surprising in its depth and informed commentary on the ceramics, gallery and inspiration for both.  It combines an article, great photos and a jazzy little video of David sporting a goatee (David you are looking downright venerable).  Having been there myself I can testify that Arts Quest does a great job of giving you a feel for the place and Linda Yates and David Hayashida.

Here's an excerpt from Arts Quests discussion of the sea and its inspiration to potters Linda Yates and David Hayashida:

Linda and David’s passionate connection to the sea and it’s inhabitants are well represented in their work. For instance, Capelin, a small fish in the smelt family, is an essential part of the food chain for cod and other marine life. It has also been used for human consumption, pet food, bait and garden fertilizer. Over a ten-year span Linda and David worked on a cast and carved mold of these little guys and now represent these important fish in their collection in the form of plates, dishes, platters and bowls. The next two photos below show some of their capelin mold creations:

Instead of including a second shot of the capelin inspired work I wanted to include the shot of their new gallery for those you who haven't had the opportunity to visit in person.  Love that blue floor, it's an eye-popper and a great backdrop for the work by more than 150 artists that King's Point Pottery is now able to show and sell.

Now, for those you who still not have not voted for Jason Holley in the RBC, Gardiner Ceramic Emerging Artist award, it is not too late:

http://www.gardinermuseum.on.ca/exhibitions/rbc-emerging-artist-2012

It's a People's Choice Award and you are people aren't you?

Vote for Jason Holley

Jason Holley's Shelter (2012) Stoneware, Cone 6, Raku Glaze, Newsprint Reduction, Acrylic

In case you haven't heard the exciting news, our very own Jason Holley has made the semi-finals in Toronto as part of the RBC Emerging Artist competition for the most popular ceramic artist in Canada!

Presented by the Gardiner Museum, the 2nd Annual RBC Emerging Artist People’s Choice Award recognizes the artist whose work receives the most votes from the participating public with a $10,000 cash prize. This year’s nominees are Jason Holley (Newfoundland), Sarah Lawless (British Columbia), Janet MacPherson (Ontario), Julie Moon (Ontario), and Brendan Tang (British Columbia). See the artists’ work on view at the Gardiner and cast your vote from September 4 – 30 at the exhibition or online at gardinermuseum.com.

By the way, it's only one vote per person.

NOTE: Voting will close September 30th although the artists' work will remain on view until October 7.

Jason faces some stiff competition from his fellow ceramic artists.  Sarah Lawless makes lovely organic forms and like Jason she also evokes place - in her case the beautiful B.C. coast- in her video.  Janet MacPherson, Julie Moon and Brendan Tang take a very different approach in their videos.  It more of what I call the "talking head" style and by that I mean it is where they just look at the camera and without any distracting visuals tell you about their piece in the competition.  All the works are currently on view at the Gardiner Museum, which is across the street from the Royal Ontario Museum in case you are in TO, or the big onion as I affectionately call it.  (NY being the big apple.)  I was struck that Brendan Tang was the only competitor with the balls to actually ask the viewers to vote for him.  Frankly, I was not surprised.  I said to myself, "no wonder you've been covered in Canadian Art already."  Frankly, Tang is lucky his work photographs so well.  I know when I've seen it "in the flesh" I was disappointed by how clunky it looked.  But that's just my not-so-humble opinion.

Check out Jason's video, on the Gardiner/RBC website and let me know which approach you prefer.

I was really intrigued by Jason's piece in the competition as it incorporates colour for what I believe is the first time.  His piece is a typical coil composition but this time the broken coils that are spilling out of its core are blood red.  My first reaction when I saw the image was, "this is darker than the new Batman movie".  It represents a new level of vulnerability, of rawness from Jason Holley and I'd like to applaud his bravery.

Our lad wearing one of his very own signature chainmaille motif T-shirts.

I have put a "Vote Jason Holley" tag line on my e-mail messages today with a link to the Gardiner's competition website.  I urge you to do the same.  Come on people, let's kick some butt and help our home-boy win that $10,000 prize.

http://www.gardinermuseum.on.ca/exhibitions/rbc-emerging-artist-2012

It's finally out!

  I am referring to the newest issue of Cahiers métiers d'art ::: Craft Journal Vol. 5 No 2 Printemps Spring 2012.  Now, I always look forward to getting my copy in the mail but this time I had a little more invested.  You see, Elaine Cheasley Paterson and I are the guest editors of this issue.  The theme is stated in the subtitle:  "Economy, community and self-expression–Craft and Social Development".

Here's the line up of the contents:

Volume 5 number 2

Volume 5 numéro 2

Printemps Spring 2012

Craft and Resilience: Northern Ontario's Emerging Cultural Identity

Métiers d’art et résilience : Identité culturelle émergente du nord de l’Ontario

Jude Ortiz

Hansen-Ross Pottery: Tourist Ware or Something Else?

Les poteries Hansen-Ross : plus qu’un produit touristique? 

Julia Krueger

Atelier Le Cep-Grés: A Case Study

Atelier Le Cep-Grés: une étude de cas

Mireille Perron

Craft Off: Performance, Competition and Anti-Social Crafting

Craft off : Performance, Compétition et Métiers d’art asociaux

Nicole Burisch

Here Comes the Knitting Men: Knitting and Masculinity in the early twenty-first century

Monsieur tricote : tricot et masculinité au XXI^e siècle

Alla Myzelev

Comptes rendus ::: Reviews

Prairie Excellence

Mary Reid

(c) 2012 Cahiers métiers d’art : Craft Journal

ISSN 1718-9802

I am going to quote from our editors' foreword to give you a taste of the issue:

From the socialism of the Arts and Crafts Movement to the radical interventions proposed by "craftivists", the material, makers and processes of craft have been mobilized for social change.  Based on this insight a call for papers went out for the 2010 Universities Art Association of Canada conference, craft session.  The papers presented, selected, expanded and revised, discuss the communities created through craft –whether on a local, global or virtual level.

Craft production is embedded in living culture and heritage and is seen as expressing cultural identity.  For better or for worse, it gets pressed into social service because craft is perceived as accessible and useful.  Historically, this has taken the form of job and revenue creation through the sale of products based on traditional skills like weaving, rug hooking and knitting.  Communities created through craft in this way range in time and space from the Grenfell Mission in Labrador and the Home Arts Association in Great Britain to more recent initiatives like the Navajo Crownpoint Rug Auction.

Examples of craft and micro-economies persist today and are linked with contemporary lifestyle issues of creating, buying and consuming "local"…

And then we go on to comment how this is borne out in the particular papers.

Like Cmagazine I consider the Cahiers to be one of those publications that is under-read and I sincerely recommend it to anyone and everyone.  Happy reading!

Oh and before I forget here's a link to their website in case you want to check it out:

http://www.craftjournal.ca/

Walter Dexter by Jonathon Bancroft-Snell

One of Walter Dexter's amazing torso pots.  The author focuses on the emergence of them in Dexter's work.

You know how you put a book aside for a treat?  That's what I did with what I believe is Jonathon Bancroft-Snell's first book.  I saved this volume about ceramic artist Walter Dexter for my summer vacation when I would hopefully be relaxing and could absorb it with out too many distractions.  And I am happy to announce that it was the treat I was hoping for.  I won't be lending my copy anytime soon because I am afraid I would not get it back.  And I can't afford to pay $65 twice, which is the cover price.

But believe me it is worth every cent.  You know that expression "richly illustrated"?  This book has it in spades.  Luscious, luscious images, very sexy detail shots…I confess I stroked the pages.  The pots are done a tremendous service by both the photography and the book design.  Well-done lads!

A very happy Walter Dexter.  I believe this shot was taken just after he'd won the Bronfman.

The writing is very genuine too.  I could hear Jonathon's voice in my head the whole time I was reading the book.  He clearly loves his subject matter and knows his details.  I was curious to read the book because I'd had the honour of interviewing Walter after he had won the Bronfman award.  At the time I was struck by how modest a man he was.  His work in clay is so masterful but he had no ego about him, which was refreshing.  (Believe me, I've met my share of talented jerks over the years.)  Walter Dexter struck me as a genuinely nice guy who just happened to make great pots. 

The impression of Dexter the man and ceramic artist that comes across in the book could be summarized thusly:  as bold and confident the work was so is Dexter a quiet and gentle man.  It's almost like a study in opposites.  Bancroft-Snell also does a good job tying together abstract expressionist painting in Canada with Dexter's work in ceramics.  And for the record, I agree with that interpretation.  It's great that this has been published while Walter Dexter is still alive.

Jonathon is his gallery with its signature black walls.  Black sure makes the colours pop.

Walter Dexter's career is an interesting one filled with unlikely twists and turns.  Jonathon navigates them well and makes good sense of how Dexter got from one point to the other.  I think a lot of us in the Canadian ceramic crowd will learn from both the story of Walter Dexter as told by JB-S as well as the dynamite images of the pots.  I liked it when on page 38 Bancrof-Snell writes, "This is the story of Walter Dexter dictated to me through his vases."  I don't doubt it.  And it's nice to know that vases talk to him too.

My final verdict?  This book is worth your time and somebody's money.  Put it on your wish list.