Visual Arts News from the Vancouver Art Gallery Library November 27, 2012

Today is Canadian Museums Day!


A photo of James Hart carving a dance screen at the Vancouver Art Gallery. Globe & Mail, November 27, 2012, p.S3 (no link)


Flying car makes comeback in Edmonton courtesy Evann Siebens & Keith Doyle

Vancouver artists Evan Siebens and Keith Doyle‘s exhibition “IcarusCar,” on view through this Saturday at Harcourt House in Edmonton, offers a fascinating case in point. The duo’s installation—presented here as a four-channel video work and photographs (previous installations have included sculptural elements)—is a cautionary tale of ambition and failure based on the obscure history of a flying car built in 1949 by American aeronautical engineer Molt Taylor. Initially received with curious publicity and then slated for mass-production, Taylor’s custom-modified Aerocar One, complete with portable wings and tail section (it could actually fly), was mothballed for safety concerns and mechanical impracticality—at which point Taylor and his car/plane slipped into relative obscurity. Canadian Art, November 27, 2012


Robin Anthony Offers Perspective on Art-Judging Tactics, Public-Voted Prizes, Life-Changing Paintings & More

Over the course of her career, RBC curator Robin Anthony has seen a lot of paintings—and that may well be an understatement. The RBC Canadian Painting Competition, now in its 14th year, gets more than 500 submissions annually. Now, as RBC and the Canadian Art Foundation get ready to announce the 2012 winner at the Power Plant on Thursday, Anthony talks with Leah Sandals about the challenges of judging art, the emergence of public-voted prizes, and the canvas that kicked off her curatorial interests. Canadian Art, November 27, 2012

Denyse Thomasos broke out of her own mould Denyse Thomasos’s last paintings are less structured and more open to possibility than her past works. Globe & Mail, November 27, 2012


Will Canada’s Contemporary Artists Finally Get Respect? “In Canada it seems you have be one very dead white guy buried, preferably, under a huge mound of snow or crimson maple leaves to receive that sort of approbation.” The Globe & Mail, November 26, 2012

Venice, California

On Venice Boardwalk Police Weigh In On What Is Art “The L.A. City Council last December passed a new ordinance that effectively banned anyone but local artists from engaging in commercial activity on the boardwalk’s beach-facing side. Ordinance violators are subject to fines and repeat offenders can end up in jail. That has left it to officers like Sgt. Gonzalez to routinely weigh in on a debate more suited to the Museum of Modern Art or the Guggenheim: What constitutes art?” The Wall Street Journal, November 2, 2012


Dallas Museum of Art Overhauls Admissions Policies The Dallas Museum of Art will inaugurate free admission in January 2013, at the same time launching a new membership program, DMA Friends & Partners. The new membership levels will offer varying benefits, which the museum is still developing. Art in America, November 27, 2012

New York

Metropolitan Museum of Art Risks Losing Millions in Lawsuit over “Recommended” Admission Policy Philip Boroff of Businessweek reports that the Metropolitan Museum of Art risks losing tens of millions of dollars in revenue if a lawsuit over its admissions policy succeeds. A complaint filed earlier this month claimed that the museum’s admission policy is not only misleading but violates the terms of its lease. Artforum, November 27, 2012


High-wire art: contemporary commissions to replace Olympic Rings in St Pancras Lucy and Jorge Orta have been chosen to create the first monumental work to be suspended from the ceiling of the international train station. The Art Newspaper, November 27, 2012


Italy Struggles To Save Earthquake-Damaged Art “Ever since May, the race has been on to retrieve thousands of delicate artworks from damaged buildings before the rains and frosts of winter destroy them forever.” BBC, November 26, 2012

Abu Dhabi

Christo Plans World’s Largest Artwork Resembling a flat-topped pyramid with a rectangular base, The Mastaba takes its name and shape from a type of tomb used by ancient Egyptian nobles. Projected to cost $340 million, the sculpture will be built in the Al Gharbia region’s Liwa Oasis, 100 miles south of Abu Dhabi, United Arab Emirates. A projected opening date has not yet been set. Art in America, November 27, 2012


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