On The Waterfront at Hamilton Winterfest

On The Waterfront happened and wrapped only one short day ago. Main documentation to come soon, but here are some fun snaps taken by others found on Twitter.

Winterlore on AKIMBLOG

Nice mention of last year's Hamilton Winterfest exhibition, Winterlore, on Akimblog's 2014 Critic's Picks, Hamilton edition. Thanks, Stephanie Vegh!

http://www.akimbo.ca/akimblog/?id=962

This year's exhibition is fast approaching. More info in this recent post here.

Hamilton Winterfest

There are some very exciting exhibitions on the horizon in Hamilton that I'm involved with that may be of interest to those in the area engaged in the often intersecting worlds of art and heritage. I'm putting on another outdoor exhibition as part of Hamilton Winterfest this February. On The Waterfront, as well as Things Made Here are unique shows that celebrate material culture and local history. See below, as well as Tourism Hamilton's website for more details!

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On The Waterfront
A Hamilton Winterfest Exhibition

Lesley Loksi Chan

Fwee Twade (Becky Katz and Matt McInnes)

Hopkins Duffield

Carey Jernigan and Julia Campbell-Such

Aaron Oussoren

C. Wells

To be on the waterfront is to be on the threshold of something. The waterfront is where settlers landed, and early trade took place. In the 19th Century, the area surrounding Pier 8 was home to some of the city’s first industrial sites, among them an iron works, boat works, sail loft and glass company. In On the Waterfront, industrial sites will serve as points of departure for contemporary artists from around and outside of the region. Evocative outdoor installations will draw on skills, materials and forms associated with early industry, as well as the social history of the neighbourhood. This exhibition will consider the Hamilton’s waterfront as a site of historical significance, tension and possibility, as well as a place where past stories and dreams of the future collide.

At the Hamilton Winterfest Kick-Off Event: February 7, 2015
12:00pm – 8:00pm

Pier 8, Hamilton


Things Made Here: The Collection of Glen Faulman
January 31 to March 21 2015
AGH Design Annex
118 James Street North, Hamilton

Glen Faulman (AKA The Hamilton Kid) is a 10th generation Hamiltonian and a 3rd generation steelworker. He is also part owner of This Ain’t Hollywood on James Street North—needless to say he has great pride in this city, and in particular, the things made here. Glen’s goal is to collect “an artifact from every manufacturing plant that ever operated in Hamilton,” which would be a number approaching a thousand.

On view at the AGH Design Annex are selections from his extensive collection of objects made in Hamilton. From a late 19th century sewing machine produced at a factory formerly located at James Street North and Vine Street, to a stunning Hamilton cash register made on James Street North at Colbourne, to nail samples and graphic ads for soda pop and beer, these everyday artifacts will be familiar to long-time Hamiltonians. They are a stunning introduction for those less familiar. Three types of objects are on display: graphic designs used commercially, the things themselves that were produced, and the things to make things with, such as nails and other components.

At the AGH Design Annex, we provide a platform for contemporary local designers. This exhibition will situate newer pieces in the context of historic local production, with the goal of celebrating those aspects of graphic and industrial design that have stood the test of time.

Curated by Melissa Bennett (Curator of Contemporary Art, Art Gallery of Hamilton) and Tara Bursey (Independent Curator).

Join us during Art Crawl on Friday February 13, from 7 pm to 11pm as we launch the exhibition Things Made Here: The Collection of Glen Faulman. Meet the Collector and revel in DJ Johnny Angel’s 78 Spin Out – playing all your favorite 78’s.

For more information:

http://www.tourismhamilton.com/festivals-events/winterfest-2015/art-winterfest-2

That Blue. That Red. That Yellow.

This summer, I had the pleasure of working on community art project Artasia 2014, an annual program of Culture for Kids in the Arts, which is the charitable arm of the Hamilton Conservatory for the Arts. I was technically the curator-in-residence for the project, which was a massive, intense collaboration! The collaborative nature of this project rendered anyone's title moot, basically-- we all did so much, and there was a lot of overlap! Part of this work involved working with Hamilton-based sculptor Svava Thordis Juliusson. Her work produced for Artasia 2014, That Blue. That Red. That Yellow, was a big hit at our preview exhibition and final exhibition at Supercrawl and it was a pleasure to see it unfold in her studio. Here are some shots of it from two separate studio visits, taken in July of 2014.

Winterlore

 TH&B Collective, Bay Man

Floyd Elzinga, Silver Cones

Jacqui Oakley and Jamie Lawson, Awakening

 Thea Haines, Blanket Fort

 Tonya Hart, Phantasmagorical Nights

 Kosa Kolektiv

Hitoko Okada, Lotus Lantern

Winterlore was an overwhelming success at the Hamilton Winterfest kick off event yesterday. Thanks to the all the amazing participating artists (Floyd Elzinga, Hitoko Okada, Jacqui Oakley and Jamie Lawson, the TH&B Collective, Thea Haines and Tonya Hart) for making the exhibition what it was. I'd also like to thank Werner Plessl, NJT Productions for the lighting, Jamie and Ryan of the Waterfront Trust, Alex (security guard extraordinaire), Ken Coit, Ben Needham and my friend and collaborator Jen Anisef, Cultural Projects Specialist at the City of Hamilton for being a huge support through the entire process.

Hamilton Winterfest is a city-wide initiative that runs until February 9th.  For more information on what's happening, look here.  Also, the Winterlore-associated exhibition Meryl McMaster: In-Between Worlds runs until the end of March at the AGH Design Annex.  Don't forget to check it out!

Winterlore at Hamilton Winterfest 2014

 Tonya Hart

 Thea Haines

Since a mere three weeks after moving to Hamilton in August, I've been working on this exhibition of outdoor art for the 36th annual Hamilton Winterfest at Pier 8.  I am proud to be a part of the first year that Winterfest has had an increased arts and culture focus, with an amazing roster of events happening from February 1st - 9th.  See below for details on Winterlore, affiliated arts programming at Lister Block and the AGH Design Annex, and the Winterfest website for more details about the events at the kick-off and the programming happening across Hamilton for nine whole days.

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Winterlore, an exciting exhibition of outdoor art, is on view for one day only as part of the Hamilton Winterfest Kick-Off event at Pier 8 (47 Discovery Drive) on February 1, 2014, from 3:00-10:00 pm.

Curated by Tara Bursey, Winterlore features the work of six artists and collectives who have drawn on winter folklore, stories and symbols from Hamilton, Ontario and around the world to create dynamic installations. In line with the Winterfest program, this exhibition serves as a celebration of the diverse cultures of Hamilton and the beauty and magic of the wintertime.

Winterlore features the work of visual artists:

Floyd Elzinga (Beamsville)
Hitoko Okada (Hamilton)
Jacqui Oakley and Jamie Lawson (Hamilton)
TH&B Collective--Simon Frank, Ivan Jurakic, Tor Lukasik-Foss and Dave Hind (Hamilton)
Thea Haines (Hamilton)
Tonya Hart (Toronto)

The Winterlore Facebook event page can be found here.

Though the Kick-Off event will feature the majority of Winterlore artists in a temporary display at Pier 8 on February 1st, there are two longer term opportunities to see winter-inspired art offsite:

Presented in association with Winterlore by the Art Gallery of Hamilton’s AGH Design Annex, Meryl McMaster: In-Between Worlds runs from February 1st to March 22nd, 2014 at 118 James Street North. In-Between Worlds is an exhibition of work by emerging Canadian photographer Meryl McMaster, curated by Melissa Bennett and Tara Bursey. The artist’s Aboriginal and Euro-Canadian heritage are explored in her works through photographs of a lone figure in the winter landscape, where identity and myth are intertwined.
http://merylmcmaster.com/home.html
http://www.artgalleryofhamilton.com/da_index.php

A whimsical winter village is on display for a month in a heritage vitrine on the 1st floor of the Lister Block as of January 10, 2014 featuring work from thread artist Amanda McCavour (courtesy of Lonsdale Gallery, Toronto) and the Beehive Craft Collective.
http://www.amandamccavour.com/
http://www.beehivecraftcollective.ca/ 

For more information, visit www.hamiltonwinterfest.ca, email jen.anisef@hamilton.ca, or call (905) 546-2424 ext. 7612.
http://www.tourismhamilton.com/festivals-events/winterfest-2014

Artscape Youngplace

 Heather Nicol

 Debbie Adams in Stairmasters

 Hanging tapestry in the SKETCH Admin Hub

 UnArchive exhibition title wall

 David Adam Brown at the Koffler Gallery

Vacant studio on the 2nd floor

Gorgeous visuals abound at the grand opening of Artscape Youngplace on Tuesday night.

Introducing Pulling Strings!

In the middle of the whirlwind of exhibitions happening this month, this little golden nugget is launching and I am very excited-- it's a project that has been in the works for a while.  Pulling Strings is a collective and quarterly event series organized by Jen Anisef (who I worked with on Toronto Craft Alert), Thea Haines (who's art I've always admired) and I.  The aim of Pulling Strings is to "investigate contemporary cultural themes through textile-linked lectures, panel discussions, exhibitions, workshops, and fieldtrips.  Motivated by a belief that textiles tell us a lot about our culture, and inspired by Hamilton’s creative community’s contribution to downtown renewal and civic engagement, Pulling Strings aims to create an accessible and dynamic space for people of various stripes to come together and engage in the exchange of ideas."

I'm really proud and excited to continue my critical work with textiles through this project, and to situate it in Hamilton, my new home.  Our first event is a talk and workshop with artist, educator, publications maven and crochet fiend Shannon Gerard, and it's happening this Saturday.  Don't miss out-- details about the event and pre-registration below.

AND an additional side note for Torontonians-- the Hyperbolic Crochet Coral Reef project (Shannon is a contributor) will be showing in the Gallery 1313 window box for the month of December!

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After months of coffee shop scheming and logo napkin doodles, we are pretty dang excited to be getting Pulling Strings off the ground with a talk and workshop led by Shannon Gerard! Shannon was a natural choice for a first speaker in the series – her playful approach to her practice is never stuffy or alienating but always makes you think about things not previously considered – exactly what we are trying to achieve with Pulling Strings.

Next Saturday (November 23) Shannon will give a talk and Q&A at the Hamilton Artists Inc, followed by a hands-on workshop at Needlework. We are super grateful to both spots for giving Pulling Strings, a roving series, its first home.

Recognized for her engaging teaching and speaking style, Shannon will share the evolution of her crochet practice from recognizable objects with a decorative or educational function to forms that graph concepts of hyperbolic space or chart biographical and emotional journeys.  Following the talk, anyone is invited to push the boundaries typically associated with crochet as a functional pastime in a conceptual crochet workshop - no crochet experience necessary! As spaces are limited, we'll need you to register beforehand by emailing us at pullingstringshamilton@gmail.com.

Here are the details:
Who: Shannon Gerard (http://shannongerard.tumblr.com)
When: Saturday November 23, 2013; Talk and Q&A (2:00-3:30pm); Workshop (4:00-5:30pm)
Where: Talk and Q&A – Hamilton Artists Inc. 155 James N Hamilton, ON (@ Cannon); Workshop – Needlework, 174 James St N Hamilton, ON
Cost: Talk - FREE; Workshop - $10
Registration: Talk – all are welcome, no RSVP required; Workshop – contact pullingstringshamilton@gmail.com to register.

A bit about Shannon: In addition to teaching courses in print media and nano-publishing at OCAD University in Toronto, Shannon Gerard makes artist's books about magic, hope, faith and human frailty and produces large-scale installations that incorporate stop-motion animations and digital print. Shannon spends at least 50% of her waking life crocheting soft sculptures, which include Boobs and Dinks, Plants You Can’t Kill, and contributions to the Toronto Hyperbolic Coral Reef.

Colleen McCarten and Shannon Lea Doyle at Gallery 1313

I organized the following window installation of work by OCAD's Material Art and Design 2013 medal winner, Colleen McCarten which opens tomorrow.  Pop by the gallery between 7-10 pm to check it out, as well as the other exhibitions opening in Gallery 1313's main space, cell and process galleries.  As always, I will write an exhibition text to accompany the installation, which can be scooped up at the gallery.

Colleen McCarten
FABRICATE
Gallery 1313 Window Box
September 2013

Colleen McCarten’s installation Knit Wire is part of a larger body of work titled Fabricate, a multi-media textile exploration that investigates the intersection of textiles and assumed value. Across a variety of media, this project employs a recurring technique of line and repetition to signify the basic components of textile construction. Through decontextualized representations of textiles, this exploration asks:  Does changing the material, scale, or technique alter the value of the piece?  If so, is it a sexist devaluation of a medium, or merely about the ability to understand the time and effort put into another process?

Colleen McCarten is a textile artist and designer based out of Toronto. She recently obtained a BDes from OCAD University, where she was awarded a medal recognizing her thesis work in Material Art and Design. Prior to attending OCAD, Colleen studied Horticulture at Niagara College and received a Diploma in Fashion Design from George Brown College.

Sadly, with all the whirlwind activity pertaining to both the Fear of Punk//Fear of Art show and our recent move, I didn't have a chance to post here about the last exhibition in Gallery 1313's vitrine.  Shannon Lea Doyle has a few things with Colleen McC-- she is also an OCAD medal winner and her work shares an interest in textile-related techniques.  Here is a photo of her ethereal installation, Somehow Connected, which came down a couple of days ago and looked incredible in the late afternoon sun.

This Week

Two shows I'm involved with in some capacity are opening this week.  On Wednesday, Ancestry and Artistry: Maya Textiles from Guatemala opens at the Textile Museum.  I've worked as Curatorial Assistant on this (amazing) project on and off since 2011, so this is huge deal.  Still more work to do before Wednesday, but the show is shaping up beautifully.

James Gardner's FRANK is a window installation at Gallery 1313 and will mark the first installation I programmed for the gallery's window box.  This one opens the next day, Thursday the 30th, from 7-10pm.  From the release:

FRANK is an ever-evolving entity of insulation foam. He has been built up, cut apart and stuffed into rooms and awkward spaces again and again, and will continue to be again and again. The sculpture in its many incarnations is an experiment in the language of abstract sculpture and undermines conceptions of a finished and static work of art.  FRANK aims to achieve a complexity of form and colour through a constant reworking of material and by visually exploiting and developing the affects of duration and exposure on an unstable medium.

James Gardner is an artist and member of VSVSVS, a collective and artist-run centre based out of a warehouse in the portlands of Toronto.


Action!

Kim Stanford at Gallery 1313

Wanted to plug my friend Kim's upcoming show at Gallery 1313 here.  I wrote an exhibition text for the window box component of her show, that will be available on G1313's website after the show opens.  Congrats, Kim!

Kim Stanford
Dirty
Process Gallery
May 15th - 26th 2013


Reception: Thursday May 16th, 7-10pm

Gallery 1313 is pleased to present a new installation exhibition by member Kim Stanford entitled Dirty.

Stanford's inspiration for this series of works developed through her frustration with picking up others' dirty socks multiple times a day, and continues her investigation into how a monumental repetition of tiny mundane moments informs relations with self and others. Through material exploration and repetition, Stanford mutates a small familiar object - used socks - into larger, absurd work that both attracts and repels, and opens a conversation about the universal dialectic between the taken-for-granted and a search for meaning.

Stanford studied visual art at the Toronto School of Art (TSA) and OCADU, as well as critical social theory in her graduate degree at the University of Toronto. This installation is generously supported by a Toronto Arts Council emerging artist grant. Writings by Stephanie D'Amico and Tara Bursey accompany the exhibit.

Advance press:  http://tinyurl.com/c53qkzr and http://tinyurl.com/cgxzg89
For more information, visit: www.kimstanford.com

Interview in Essen Magazine

An interview with me was just posted on the Italian online magazine Essen, which covers intersections of food, art and culture.  Thanks Giulia for asking me to take part!  Check it out for yourself here.

Jung Jung

Spotted these incredible lace knit veggies by Japanese artist Jung Jung on Essen Magazine's site today...how could I resist posting them.  SO amazing.

Burning Schoolhouses

Just in time for Canada Day...fireworks!  I'm happy to announce that I'll have some work up in an exhibition that will be a part of the Planet IndigenUS Festival in August.  The festival will take part mainly at Harbourfront Centre, but also at partner institution Woodland Cultural Centre in Brantford, Ontario.  The exhibition is a showcase of the work of students of the Aboriginal Visual Culture program at OCADU.  I am not in the Aboriginal Visual Culture program myself, but I'm grateful to have been invited by department head and incredible artist Bonnie Devine to take part anyway.  My piece is called Burning Schoolhouses-- more on them below.

Burning Schoolhouses, 2012
Fireworks, Japanese Kozo paper and adhesive
Installation dimensions variable
Each unit approximately 15cm X 14cm X 6cm

Burning Schoolhouses is a series of sculptural multiples inspired by the essay Confessions of a Born Again Pagan by Fred Kelly.  The multiples employ the use of the classic firework, The Burning Schoolhouse, to explore the explosive issue of residential schools just over fifteen years after the last residential school in Canada was closed in 1996.  The objects simultaneously connote a sense of celebration, violence and catharsis while embodying the complex and painful process of reconciliation for both aboriginal and non-aboriginal Canadians.

Under 30 at 30 at The Japanese Paper Place

My recent piece, A History of Hunger, will be shown at the Japanese Paper Place's upcoming exhibition Under 30 At 30, which will open during the first week of June.  The exhibition is a small part of the JPP's 30th anniversary festivities, which will include a paper sale, workshops, an open house and more.  They are such a unique local institution and I rely on them for project supplies frequently--I'm so glad they exist!

For more info on the JPP's 30th anniversary, look here.

A History of Hunger

Here a is new-ish project I completed recently called A History of Hunger consisting of one dozen mini-scroll "books" made of a dozen white eggs.  Admittedly, this was a project for school.  Here's a statement about it...sorry if it comes across as a little clinical sounding.

A History of Hunger
Eggshells, Japanese paper, adhesive, egg carton
Edition of 12 unique objects

A History of Hunger is a series of 12 miniature objects inspired by books.  Using the phrase “break in case of emergency” as a starting point and combining creative writing with research and sculptural processes, I used broken, empty eggs to frame an exploration of hunger and famine across time and space.  Through online research, I learned about both contemporary and historical examples of famine and food insecurity such as the Irish potato famine as well as periods of hunger during communist rule in China, WWII and the Great Depression.  Each of the twelve book-objects represents a year when a famine or food shortage existed somewhere in the world, and contains a short poetic response to a condition or situation that I read about.  A guiding idea in the series is that in opening each egg and finding it empty aside from a short piece of text reflecting an experience of hunger or famine, one might learn not only how widespread hunger is, but how people have coped with food shortages, as well as how they come to exist.

This project is in keeping with the guiding principle of our class publication-- playing with time by imagining the present through the lens of the future, and guessing what aspects of our contemporary cultural/societal condition will carry over to become major issues in subsequent decades.  Food security is an issue worldwide that will likely only get worse with increasing climate change.  The series of multiples resists providing a linear narrative or definitive history of hunger, and the inclusion of a multiple marked with the year 2042 alludes to the fact that hunger will likely be a continuous problem in a rapidly growing and warming world.

Many of the material/formal decisions I made in the execution of A History of Hunger grew out of my initial decision to use a carton of broken eggs as a starting point.  While the content of the multiples is historical, the use of a contemporary carton of eggs marked with nutritional information at a recent date stamp root the work in the present.  The multiples play with the scroll-- a historical format that is echoed in word processing applications, web browsers and film credits.  Typing directly onto the narrow scrolls required the use of short words in my poetic responses to each historical example of hunger, making them resemble Haikus and giving them a quiet quality that softens the tragic imagery contained in some of the text.  The long scrolls made out of Japanese Kozo paper were designed to mimic the look of egg yolks and whites pouring out of their shells.  Finally, the fragility of the eggshells fits with the precariousness of food security across time, as well as the increasing instability of our environment.

First Art Purchase

I am unbelievably excited to announce that I've made my first major art purchase! It's a 'Putz' bag of chips sculpture by the artist STO, inspired by the regional chip brand Utz from Pennsylvania. Utz chips were a staple in Baltimore-- they were everywhere there, and we ate a boatload of them. So this is a super cool joint Valentine's gift for us, financed mainly with my own art sales at Katherine Mulherin's new-ish Queen West art shop, No Show Exhibits.

The chip bag was originally included in a New York exhibition called My Slow Called Life in NYC at Mulherin Pollard Gallery. For the show, STO recreated his entire apartment in paper mache. Photographs of the installation can be found here on STO's blog.

 

Here is Ben wishing these were a real life bag of Utz' Crab flavoured chips, a Baltimore favourite of ours...either that or Carolina-Style BBQ...