Visual Arts News from the Vancouver Art Gallery Library July 4, 2012

Vancouver

Vancouver economy suffers in wake of wet June weather. About 44,000 people took shelter from the showers and explored the Vancouver Art Gallery last month — up considerably from the 25,000 who visited in June 2011, but other businesses experienced a 15% decline last month compared to June 2011 thanks to the rain, wind and cool temperatures. 24 Hours, July 4, 2012

Elliott Louis Gallery closes retail space. “The Elliot Louis Gallery has closed its retail space in east Vancouver. Owner Ted Lederer said the gallery will remain open for business and retain all the same contact information, except for the street address.” Vancouver Sun, July 3, 2012

North Vancouver

Phantasmagoria: Images Unveiled. “Photography’s impact on our perception of the world is not news. Yet a constant stream of images flows past us with little consideration. At Presentation House Gallery curators Helga Pakasaar and Reid Shier present the work of 15 artists to explore the impact of photography and photographic techniques on visual experience.” Canadian Art (Online), June 28, 2012

Kelowna

Local youth to create mural in Kelowna City Park. “The Kelowna Art Gallery has enlisted the talent of 12 gifted local youth to create a new mural for City Park this weekend. Drawing inspiration from the Kelowna Art Gallery’s new exhibition Bearing Witness, the work will have a multicultural theme…”Kelowna Capital News, July 3, 2012

Toronto

Kitty Scott hired at the Art Gallery of Ontario as new curator of modern and contemporary art. The Art Gallery of Ontario has named Kitty Scott, 48, as its new curator of modern and contemporary art, ending a 14 month-long vacancy in one of the museum’s most vital roles. Toronto Star, July 4, 2012

Draw what you know: The Toronto Animation Arts Festival International brings Hogtown to the world. “In just 30 seconds of animation, Sam Chou and his team of artists have captured exactly what it’s like to live in Toronto. Chou is the director behind the new “bumper ad” for the inaugural Toronto Animation Arts Festival International, which runs July 6-8 at the TIFF Bell Lightbox.” National Post, July 3, 2012

“trans/FORM” at the Museum of Contemporary Canadian Art. “Director and curator David Liss groups together eight Toronto artists — the oldest among them 34, for heaven’s sake — for a tightly-focused, thoroughly engaging show that’s among the best in MOCCA’s seven-year history on Queen Street.” Toronto Star, July 3, 2012

Balint Zsako: Demons and Ecstasy. “Born in Budapest, Hungary, in 1979 and largely raised in Canada, the Brooklyn-based Balint Zsako is best known for his quirky, vaguely sinister drawings in watercolour and ink on paper, and for his collages. A small selection of his drawings are currently on view at Katharine Mulherin Contemporary Art Projects in Toronto and his collages are part of a group show at Oakville Galleries.” Canadian Art (Online), June 28, 2012

Etobicoke

60 Painters: A Class Act. “The recent monster of a show “60 Painters” was installed in the Humber Arts and Media Studios in Etobicoke, providing an unfamiliar backdrop to some heavy hitters in Canadian painting.” Canadian Art (Online), June 28, 2012

Canada

Five national museums still scraping by. Despite getting spared the axe in the last federal budget, five of Canada’s national museums say they are still scraping by, looking for money to cover costs. Ottawa Citizen, June 30, 2012

Philadelphia

Former Head of Barnes Foundation Says Its Move Was Not Forced by Bankruptcy Opponents of the relocation of the Barnes Foundation and its world-renowned art collection from a Philadelphia suburb to a downtown museum quarter have asked a Pennsylvania court to reopen the case allowing the relocation, citing a comment made by the foundation’s former director, The Philadelphia Inquirer reported. New York Times, July 4, 2012

London

After Constable sale soars to £22m, will the Baroness sell more works? Constable’s The Lock, 1824, fetched an eye-watering £22.4m (with buyer’s premium) at Christie’s in London yesterday following a media frenzy. The work was owned by Baroness Thyssen-Bornemisza who said she needs the money to care for her collection. The Art Newspaper, June 30, 2012

What’s The Problem With The Shard? It’s Too Short James S. Russell: “The surface modeling … [of] facets to catch the varying light, and carved deep vertical seams … gives the tower presence on the skyline, but its proportions, seen full height, are ruinous. It’s too thick at the bottom and looks as if it crushes its brick and stone surroundings – among the most ancient in London – rather than soars out of them.” Bloomberg Businessweek, July 2, 2012

Berlin

Biting the hand that feeds them Activists turn “human zoo” into Occupy-style working group (Activists became an exhibit at the biennial, while curators became “former curators”) What initially began as a disagreement over the curator Artur Zmijewski’s decision to put global activists on display during the 7th Berlin Biennale blossomed into an out-and-out political revolt, just before the closing of the international exhibition on 1 July. The Art Newspaper, July 4, 2012

Lebanon

Lebanon Artists Confront Rise in Censorship Four new films have been banned this year — a record for the Media and Theater Department, as the censorship bureau is formally called. New York Times, July 4, 2012

Sydney

Why Is Artspeak So Full Of Hype? (Does Anyone Believe It?) The [Biennale’s] press release is evasive, couched in vacuous language overseasoned with superlatives: the show “connects absolutely local issues, the most intimate meanings of place and time, with great currents of art and thought”. No details about what these issues or currents may be, of course; and yet this, apparently, amounts to a “groundbreaking premise”. The Australian, July 2, 2012

International

The Compelling Allure Of Lost Art “Some of the most legendary works in history are lost – and their lost-ness is part of their fascination. Lost art can never disappoint. It is beyond criticism. It can easily become a myth, tantalising those who hear or read of it, obsessing them, driving them to rediscover or somehow recreate it. Art detectives may waste their entire lives searching for absent masterpieces.” The Guardian (UK) July 1, 2012

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