Sunday, August 31, 2014
Robert Bruce
On Your Own Time, c.1943

Robert Bruce

On Your Own Time, c.1943

(Source: wag.ca)

Saturday, August 30, 2014
John Sterritt
Eagle Moon Mask, n.d.

John Sterritt

Eagle Moon Mask, n.d.

(Source: spiritwrestler.com)

Friday, August 29, 2014
Frank Hans Johnston
Golden Days, n.d

Frank Hans Johnston

Golden Days, n.d

(Source: heffel.ca)

Thursday, August 28, 2014
Gary Peter Slipper
The Clairvoyant, n.d.

Gary Peter Slipper

The Clairvoyant, n.d.

(Source: canadianart.waddingtons.ca)

Dealing with my impostor syndrome by purchasing all of the blazers.

Wednesday, August 27, 2014
Christopher Walker
"Heritage" The Lancaster Bomber, 2013

Christopher Walker

"Heritage" The Lancaster Bomber, 2013

(Source: mayberryfineart.com)

theolduvaigorge:

Inuit carved figures (20th century):

  1. Top: Caribou; antler (Canada, Nunavut, Pelly Bay; 1954)
  2. Second rowSeagull with fish, Inuki; ivory  (Canada, Baffin Island, Nunavut; ca. 1951)
  3. Third row left:  Seal; ivory (United States, Alaska; 20th century)
  4. Third row right: Seal; Walrus ivory (Canada, Baffin Island, Nunavut; 18th-19th century)
  5. Fourth row: Seal; Caribou antler and ink (Canada, Baffin Island, Nunavut; ca. 1952)
  6. Fifth row left: Walrus, Annawakalook; ivory and ink (Canada, Baffin Island, Nunavut; ca. 1950)
  7. Fifth row right: Wolf; antler (Canada, Nunavut, Pelly Bay; 1954)
  8. Bottom: Bear, Marion Wenaka; ivory (United States, Alaska; 20th century)

See also:

(Source: Metropolitan Museum of Art, New York City).

Tuesday, August 26, 2014
beatonna:

The one and only Alex Colville.  An exhibit at the AGO I am sure to visit, and am proud to say my good friend Penelope Smart worked on.  He’s a legend.

beatonna:

The one and only Alex Colville.  An exhibit at the AGO I am sure to visit, and am proud to say my good friend Penelope Smart worked on.  He’s a legend.

Joseph Aglukkaq
Grandmother’s String Game, 1990

Joseph Aglukkaq

Grandmother’s String Game, 1990

(Source: wag.ca)

Monday, August 25, 2014
Wim Blom
Loaf of Bread, 2010

Wim Blom

Loaf of Bread, 2010

(Source: iantangallery.com)

Sunday, August 24, 2014
John Nobrega
Miracle (Sacred Cow), 2000

John Nobrega

Miracle (Sacred Cow), 2000

(Source: concretecontemporaryart.waddingtons.ca)

Saturday, August 23, 2014
Steve Driscoll
From the Heavens, 2009

Steve Driscoll

From the Heavens, 2009

(Source: concretecontemporaryart.waddingtons.ca)

Friday, August 22, 2014
David Pirrie
Mt Alberta, 2014
From Ian Tan Gallery:

Because of the bright, poppy monochrome colouring and use of opaque dots, our gallery coined the phrase “Pop Art Mountains”. Pop Art icon Andy Warhol would use images of celebrities and put them in a picture, idealizing, romanticizing and de-contextualizing them and their work, only leaving their larger-than life image present for the consumer to consume. Along with artists like Lichtenstein, Warhol would use bright colours, repetition and textile-like patterning. David is in a sense doing this to his mountains. By taking the mountain out of the context of landscape he is creating a monument to this specific mountain as if there were something special about it that elevates it above all the other mountains.
Pirrie further de-contextualizes the mountain by reinforcing the notion that this painting is not in any way meant to be illusory, but is meant to represent a mountain that David himself has climbed, pointing to its existence as a real mountain, not simply a picture of one. He draws attention to the point at which he cut the mountain away from its surroundings, levitating it like a 3 dimensional object in a computer program. At this hard line paint drips down the canvas, a self-reflexive technique, reminding the viewer of the hand-made aspect of representational painting. Furthermore, the drips refer back to the erosion process, the aspect of slow change over the life of the mountain. The opaque or translucent dots are applied over top of the mountains to draw attention to the picture plane, making it look like the dots are hovering over a floating mountain. By bringing the colour of the background into the immediate foreground via the dots, perspective is skewed, situating the mountains within and without the picture plane.
The paintings are a form of cataloging for David. He has conquered each of these goliaths and the simple act of painting them is a form of scientific inquiry. He is mapping these mountains for his own personal sense of understanding and as a testament to their existence in temporal space. For this latest painting David uses an opaque pink, the colour used in topographic maps to delineate mountainous and glaciated zones.

David Pirrie

Mt Alberta, 2014

From Ian Tan Gallery:

Because of the bright, poppy monochrome colouring and use of opaque dots, our gallery coined the phrase “Pop Art Mountains”. Pop Art icon Andy Warhol would use images of celebrities and put them in a picture, idealizing, romanticizing and de-contextualizing them and their work, only leaving their larger-than life image present for the consumer to consume. Along with artists like Lichtenstein, Warhol would use bright colours, repetition and textile-like patterning. David is in a sense doing this to his mountains. By taking the mountain out of the context of landscape he is creating a monument to this specific mountain as if there were something special about it that elevates it above all the other mountains.

Pirrie further de-contextualizes the mountain by reinforcing the notion that this painting is not in any way meant to be illusory, but is meant to represent a mountain that David himself has climbed, pointing to its existence as a real mountain, not simply a picture of one. He draws attention to the point at which he cut the mountain away from its surroundings, levitating it like a 3 dimensional object in a computer program. At this hard line paint drips down the canvas, a self-reflexive technique, reminding the viewer of the hand-made aspect of representational painting. Furthermore, the drips refer back to the erosion process, the aspect of slow change over the life of the mountain. The opaque or translucent dots are applied over top of the mountains to draw attention to the picture plane, making it look like the dots are hovering over a floating mountain. By bringing the colour of the background into the immediate foreground via the dots, perspective is skewed, situating the mountains within and without the picture plane.

The paintings are a form of cataloging for David. He has conquered each of these goliaths and the simple act of painting them is a form of scientific inquiry. He is mapping these mountains for his own personal sense of understanding and as a testament to their existence in temporal space. For this latest painting David uses an opaque pink, the colour used in topographic maps to delineate mountainous and glaciated zones.

(Source: iantangallery.com)

Thursday, August 21, 2014 Wednesday, August 20, 2014
Jacques Leblond de Latour
St. Michael Slaying the Dragon, c.1695-1705

Jacques Leblond de Latour

St. Michael Slaying the Dragon, c.1695-1705

(Source: mnbaq.org)