tag:blogger.com,1999:blog-85060178469812647632024-03-12T21:11:43.413-04:00Heather Dubreuilartist, art lover, fibre enthusiastUnknownnoreply@blogger.comBlogger886125tag:blogger.com,1999:blog-8506017846981264763.post-26097819110561225072021-05-15T07:31:00.002-04:002021-05-15T07:31:44.883-04:00Art Quilt Elements 2020<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-0DSGSuTfd8Y/YJ-uCPBLPmI/AAAAAAAAT-A/eCXTWaiHLxMI7uRjvERDMcXINZFvFZQ6QCLcBGAsYHQ/s1318/Screen%2BShot%2B2021-05-15%2Bat%2B7.14.51%2BAM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1226" data-original-width="1318" src="https://1.bp.blogspot.com/-0DSGSuTfd8Y/YJ-uCPBLPmI/AAAAAAAAT-A/eCXTWaiHLxMI7uRjvERDMcXINZFvFZQ6QCLcBGAsYHQ/s320/Screen%2BShot%2B2021-05-15%2Bat%2B7.14.51%2BAM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Eyes on the World</i>, by Diana Fox<br />hand-dyed fabric, 79" x 84"</td></tr></tbody></table><br />Follow this <a href="http://www.artquiltelements.org/aqe-2021-online-exhibition/" target="_blank">link</a> to see an online exhibition of impressive art quilts. Many different techniques are on display, from digital printing on fabric to thread painting, and even a quilt made of salvaged wood.<div><br /></div><div>The virtual exhibition will be available until July 9, 2021.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RIpQ6MMvfPg/YJ-w4hWOD4I/AAAAAAAAT-I/pDNKff0iOzcwdkp1yxFHdB1hOu8vzvgGwCLcBGAsYHQ/s1130/Screen%2BShot%2B2021-05-15%2Bat%2B7.30.01%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="746" data-original-width="1130" src="https://1.bp.blogspot.com/-RIpQ6MMvfPg/YJ-w4hWOD4I/AAAAAAAAT-I/pDNKff0iOzcwdkp1yxFHdB1hOu8vzvgGwCLcBGAsYHQ/s320/Screen%2BShot%2B2021-05-15%2Bat%2B7.30.01%2BAM.png" width="320" /></a></div><br /><div><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-10375120164473003632021-03-28T00:00:00.001-04:002021-03-28T00:00:00.828-04:00Des Horizons d'Attente @ MAC Montréal<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qdimLouSMR4/YFdNftN10II/AAAAAAAAT80/dF9AiuDsL8EU3OAmaxDO7Kkby6IAB-XRwCLcBGAsYHQ/s1188/Screen%2BShot%2B2021-03-21%2Bat%2B9.42.43%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="808" data-original-width="1188" height="272" src="https://1.bp.blogspot.com/-qdimLouSMR4/YFdNftN10II/AAAAAAAAT80/dF9AiuDsL8EU3OAmaxDO7Kkby6IAB-XRwCLcBGAsYHQ/w400-h272/Screen%2BShot%2B2021-03-21%2Bat%2B9.42.43%2BAM.png" width="400" /></a></div><p>The Musée d'Art Contemporaine is currently staging a show of its recent acquisitions. <a href="https://macm.org/en/exhibitions/des-horizons-dattente/" target="_blank">Des Horizons d'Attente</a> features the work of 21 Montreal-based artists. There are no traditional paintings in the collection. Instead, visitors are treated to some novel uses of materials like cloth, paper, wood and plastic. There is a particular emphasis on aboriginal issues and imagery.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-JtW8Fj24x6I/YFdEcbD-jTI/AAAAAAAAT8A/lmuicdhCQvgFKt1iq10sZly4zGVAg1csQCLcBGAsYHQ/s2048/IMG_1353.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-JtW8Fj24x6I/YFdEcbD-jTI/AAAAAAAAT8A/lmuicdhCQvgFKt1iq10sZly4zGVAg1csQCLcBGAsYHQ/s320/IMG_1353.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Facade de recueillement, </i>2016-2017<br />[Contemplation Facade]<br />Myriam Dion<br />Japanese paper cut with X-acto knife, graphite</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-K6a06-ICV2A/YFdEcQnGqZI/AAAAAAAAT8I/Xw6E4rNGFvkoT8fA245YCkr6vslm5YBxQCLcBGAsYHQ/s2048/IMG_1354.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-K6a06-ICV2A/YFdEcQnGqZI/AAAAAAAAT8I/Xw6E4rNGFvkoT8fA245YCkr6vslm5YBxQCLcBGAsYHQ/s320/IMG_1354.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Facade de recueillement, </i>2016-2017<br />[Contemplation Facade]<br />Myriam Dion<br />Japanese paper cut with X-acto knife, graphite</td></tr></tbody></table><div><br /></div>"Myriam Dion pushes the fragility of paper to its limits by means of an infinitely meticulous precision knife (X-acto).... The delicate, slow, calm and solitary process required to produce this lace-like work represents the materialization of the artist's musing on the Syrian conflict and the migrant crisis rocking the planet. The installation <i>Facade de recueillement</i> takes up the architectural motifs of the façade of the Great Mosque of Aleppo, which was destroyed by the bombing...."<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-YFWla5w0ygs/YFdEcyiV7OI/AAAAAAAAT8M/gQr0gwE795sGu7dA4BWXmj8vohJuiMehQCLcBGAsYHQ/s2048/IMG_1363.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-YFWla5w0ygs/YFdEcyiV7OI/AAAAAAAAT8M/gQr0gwE795sGu7dA4BWXmj8vohJuiMehQCLcBGAsYHQ/s320/IMG_1363.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Essai d'aplanissement entre les mondes, </i>1999-2020<br />[Levelling Trial Between the Worlds]<br />Pierre Bourgault<br />Installation: shore mud on wood and ink-jet print on paper</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-3TG6c5KYSa0/YFdEdamzsBI/AAAAAAAAT8Q/KJrakRPD9wEBvNO9otZWmgQ3XD6a11XnACLcBGAsYHQ/s2048/IMG_1364.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-3TG6c5KYSa0/YFdEdamzsBI/AAAAAAAAT8Q/KJrakRPD9wEBvNO9otZWmgQ3XD6a11XnACLcBGAsYHQ/s320/IMG_1364.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Essai d'aplanissement entre les mondes, (detail) </i>1999-2020 <i><br /></i>[Levelling Trial Between the Worlds]<br />Pierre Bourgault<br />Installation: shore mud on wood and ink-jet print on paper</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-qcP2IB0ZGtc/YFdEd5pNqNI/AAAAAAAAT8U/DEd46YR9gtYcakYlUp6iLuNA-qsubKnqgCLcBGAsYHQ/s2048/IMG_1367.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-qcP2IB0ZGtc/YFdEd5pNqNI/AAAAAAAAT8U/DEd46YR9gtYcakYlUp6iLuNA-qsubKnqgCLcBGAsYHQ/s320/IMG_1367.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>water song [Kinosipi] </i>2019<br />Hannah Claus<br />Installation, digital print on Jetview© film,<br />thread, PVA glue, acrylic</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UGuvRMfXc7E/YFdEeZC7ToI/AAAAAAAAT8Y/811BFOjD61Yn62SZhQHCMnda4o3RzDCBACLcBGAsYHQ/s2048/IMG_1368.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-UGuvRMfXc7E/YFdEeZC7ToI/AAAAAAAAT8Y/811BFOjD61Yn62SZhQHCMnda4o3RzDCBACLcBGAsYHQ/s320/IMG_1368.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>water song [Kinosipi] </i>2019<i> (detail)</i><br />Hannah Claus<br />Installation, digital print on Jetview© film,<br />thread, PVA glue, acrylic</td></tr></tbody></table><div><br /></div><i>"water song [Kinosipi]</i> is based on the sound spectrum of a song by Atikamekw singer and storyteller Karine Wasiana Echaquan."<div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://lh3.googleusercontent.com/-X6A-NWcH8Hs/YFdJV-hAlKI/AAAAAAAAT8s/T-MJzsBl4MUocWgZyxf4Xd41blNcCw2vgCLcBGAsYHQ/IMG_1352.jpeg" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="1229" data-original-width="2557" height="193" src="https://lh3.googleusercontent.com/-X6A-NWcH8Hs/YFdJV-hAlKI/AAAAAAAAT8s/T-MJzsBl4MUocWgZyxf4Xd41blNcCw2vgCLcBGAsYHQ/w400-h193/IMG_1352.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Lot #X - Front de la rivière Désert, </i>2018<br />[Lot #X - Desert River Front]<br />Caroline Monnet<br />Pyrography on wood</td></tr></tbody></table><p>"Using pyrography, a network of geometric motifs inspired by Indigenous graphic traditions is outlined on this large wooden support made of white cedar..., a tree native to Canada and considered sacred by First Nations. The mention of the term 'Lot # X' in the title, the horizontal cuts and the arrow symbols in the composition suggest the lots of land laid out following the forced uprooting of Indigenous communities over the centuries. Like a metaphorical map with a modern pictorial look, this work gives material form, through wood burning, to the confiscation of Indigenous lands and the scars it has left on Indigenous peoples".</p><p>The exhibition continues until September 19, 2021.</p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-29035708515235306712021-03-24T00:00:00.027-04:002021-03-24T00:00:02.007-04:00Painting class, progress report #3<p>Our fourth and final session concentrated on brushstrokes. We were encouraged to develop dexterity with big brushes, loaded with lots of paint. Big, juicy brushstrokes create a sense of energy. Beginning painters are often too timid with their brushstrokes, making many fussy adjustments that make the final painting look overworked, rather than fresh.</p><p><a href="https://pattimollica.com" target="_blank">Patti Mollica</a>, teacher for the <a href="https://winslowartcenter.com/#" target="_blank">Winslow Art Center</a>'s "Paint Fast, Loose and Bold in Acrylic and Oil", demonstrated by using a 2" brush on a 6" x 6" canvas. Very impressive brush-handling!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--tqVjtEmmLA/YFc0Y4bfAcI/AAAAAAAAT64/-w6grMgLE_Y8Ib2B7ridu9nSwSIIgHFBACLcBGAsYHQ/s1288/brushstroke%2Bexercise.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1288" data-original-width="958" height="320" src="https://1.bp.blogspot.com/--tqVjtEmmLA/YFc0Y4bfAcI/AAAAAAAAT64/-w6grMgLE_Y8Ib2B7ridu9nSwSIIgHFBACLcBGAsYHQ/w238-h320/brushstroke%2Bexercise.png" width="238" /></a></div><p>We were given a pdf with several awkward shapes (above), and tried to fill them in, without lifting the brush from the paper. In other words, with a single brushstroke.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-aNpnulUIOhg/YFc1bTl72eI/AAAAAAAAT7Y/-qdYFpx34aYsIUwbMi3c9JZfMq4lJTgAgCLcBGAsYHQ/s1282/Screen%2BShot%2B2021-03-12%2Bat%2B7.04.21%2BAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1282" data-original-width="1112" height="320" src="https://1.bp.blogspot.com/-aNpnulUIOhg/YFc1bTl72eI/AAAAAAAAT7Y/-qdYFpx34aYsIUwbMi3c9JZfMq4lJTgAgCLcBGAsYHQ/w278-h320/Screen%2BShot%2B2021-03-12%2Bat%2B7.04.21%2BAM.png" width="278" /></a></div><p>To follow up, we tried to fill in awkward shapes in this line drawing of a rose. Again, single brushstrokes only. One approach I tried to put into practice was the under-mixing of colour on the palette, giving a kind of variegated quality to a single colour.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-A66SlClEmns/YFc8wcqGyCI/AAAAAAAAT74/-z0Kmdy8RZk061BJlW5dKdUoMrdKNso8QCLcBGAsYHQ/s2048/IMG_1399.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2044" height="320" src="https://1.bp.blogspot.com/-A66SlClEmns/YFc8wcqGyCI/AAAAAAAAT74/-z0Kmdy8RZk061BJlW5dKdUoMrdKNso8QCLcBGAsYHQ/s320/IMG_1399.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">I see some value problems in this, but it was just an exercise,<br />and I'm not planning to rework it.</td></tr></tbody></table><p>Our final in-class assignment was to create a value study of a photo, and then to paint over the value study using as few strokes as possible. We were challenged to make the image using no more than 15 separate brushstrokes.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-KBskdhxrz_g/YFc2OB46R_I/AAAAAAAAT7g/IzjvY2WChyIxbigwBMbbJS82LwAOloo_QCLcBGAsYHQ/s1336/Cosmos%2B-%2Bcolour.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1336" data-original-width="1060" height="320" src="https://1.bp.blogspot.com/-KBskdhxrz_g/YFc2OB46R_I/AAAAAAAAT7g/IzjvY2WChyIxbigwBMbbJS82LwAOloo_QCLcBGAsYHQ/w254-h320/Cosmos%2B-%2Bcolour.png" width="254" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the subject</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--MfBrGDpzsM/YFc2cIdc6hI/AAAAAAAAT7k/_fDib1qTycQP5NzjrEYAgSjE6sFSpi8HgCLcBGAsYHQ/s2048/cosmos.value.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/--MfBrGDpzsM/YFc2cIdc6hI/AAAAAAAAT7k/_fDib1qTycQP5NzjrEYAgSjE6sFSpi8HgCLcBGAsYHQ/w240-h320/cosmos.value.jpeg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">my value study</td></tr></tbody></table><div><br /></div><div>I quickly realized that my brush needed to be fully-loaded with paint, and moved up to a 1" brush. It was also clear that I would have to put some thought into the sequence of strokes (dark over medium-value? medium-value over dark?) </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-6IX76ZyK_Ac/YFc3cCnQo8I/AAAAAAAAT7w/ZgkjE7QjjisgoGmSliUMuJE8P7_fFtggACLcBGAsYHQ/s2048/cosmos.brushstrokes.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/-6IX76ZyK_Ac/YFc3cCnQo8I/AAAAAAAAT7w/ZgkjE7QjjisgoGmSliUMuJE8P7_fFtggACLcBGAsYHQ/s320/cosmos.brushstrokes.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maybe 20 strokes to cover 12"x9" panel</td></tr></tbody></table><div><br /></div><div>One non-essential stroke is the highlight down the side of the bottle. Also, I could have done with a single highlight on the bottle, rather than two. Five strokes were needed for the background alone. </div><div><br /></div><div>As instructed, I created the value study in charcoal directly on the panel, then painted over it. But the charcoal lifted from the surface and mixed in with the goopy paint, darkening it. Should I have applied fixative to the charcoal? Or used graphite instead of charcoal?</div><div><br /></div><div>More importantly, was this just an exercise to teach the importance of loading the brush, making big, unfussy gestures, and planning a strategy? Or is this actually how we're supposed to paint?</div><div><br /></div><div>Alas, these questions will not be answered, as the class has ended. Your comments welcomed.<br /></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8506017846981264763.post-63762124320611027432021-03-21T00:00:00.009-04:002021-03-21T06:22:46.586-04:00Christian Dior @ the McCord<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-QJInBOSlys8/YFZvYUg6lcI/AAAAAAAAT50/WnLjRZ3D4LItQ9T0Hei202qxwgM9tT7SQCLcBGAsYHQ/s2048/IMG_1391.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/-QJInBOSlys8/YFZvYUg6lcI/AAAAAAAAT50/WnLjRZ3D4LItQ9T0Hei202qxwgM9tT7SQCLcBGAsYHQ/s320/IMG_1391.JPG" /></a></div><p>Until May 2, Montreal's <a href="https://www.musee-mccord.qc.ca/en/exhibitions/christian-dior/" target="_blank">McCord Museum</a> will host a tribute to Christian Dior. Fans of fashion and of the textile arts will find much of interest. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-qRyU945VQR8/YFZ4Bqy738I/AAAAAAAAT6Y/uLClpmRJcscvlrDhkMeRskn3rX7MFgx1ACLcBGAsYHQ/s2048/IMG_1392.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-qRyU945VQR8/YFZ4Bqy738I/AAAAAAAAT6Y/uLClpmRJcscvlrDhkMeRskn3rX7MFgx1ACLcBGAsYHQ/s320/IMG_1392.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">silks and velvets in abundance</td></tr></tbody></table><p>We learn about the appetite for high fashion after World War II. Dior is quoted as saying that, after wartime austerity, "women wanted to feel like women again". He achieved a sense of opulence with his extravagant use of fine fabrics. Wartime skirts and suits were cut so as to use a minimal amount of cloth; post-war, Dior embraced pleats to achieve a lavish amount of fabric.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Fy_wQdpJD3g/YFZ4Z9olZHI/AAAAAAAAT6g/KvX2Y9HY4MgDKd2NpiaejcSneZ7ocqOfgCLcBGAsYHQ/s2048/IMG_1393.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-Fy_wQdpJD3g/YFZ4Z9olZHI/AAAAAAAAT6g/KvX2Y9HY4MgDKd2NpiaejcSneZ7ocqOfgCLcBGAsYHQ/s320/IMG_1393.jpeg" width="320" /></a></div><br /><p>We trace the process of couture, from an original idea to a mock-up in muslin, to realization in the hands of needleworkers.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ePliOYYJAiM/YFZ5SBUqhJI/AAAAAAAAT6o/dqrD2qEvdbQoWVA27_32mGwvCps6I9IJwCLcBGAsYHQ/s2048/IMG_1394.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-ePliOYYJAiM/YFZ5SBUqhJI/AAAAAAAAT6o/dqrD2qEvdbQoWVA27_32mGwvCps6I9IJwCLcBGAsYHQ/s320/IMG_1394.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">beads, sequins, and threads</td></tr></tbody></table><div><br /></div>Impressive samples of embroidery and beading are on display.<br /><div><br /></div>Videos give visitors a taste of the in-house fashion show. Tall, thin, wasp-waisted, the models seem like creatures from an entirely different world. I had not realized that wearing many of these structured dresses required a "dresser" to fasten all the hooks and eyes.<div><br /></div><div>One wonders about the parallels between post-war fashion and post-pandemic fashion. Will we be ready to give up our "athleisure wear" and sneakers for something more structured, more formal? It will be interesting to see how the fashion industry tries to create an appetite for something new and different.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hap7CcV0WZE/YFZ5YbluexI/AAAAAAAAT6s/dZC-EZW3fVwkHJiIKrq0WT8Cz2cTKSV4gCLcBGAsYHQ/s2048/IMG_1396.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/-hap7CcV0WZE/YFZ5YbluexI/AAAAAAAAT6s/dZC-EZW3fVwkHJiIKrq0WT8Cz2cTKSV4gCLcBGAsYHQ/s320/IMG_1396.jpeg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>The number of visitors to the museum is controlled with time-specific tickets. Phone the McCord or go to their <a href="https://www.eventbrite.ca/o/musee-mccord-museum-9632519927?_eboga=1150180379.1615726879" target="_blank">website</a>. Admission to non-members is free on the first Sunday of the month.</p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-85096894051780014722021-03-17T00:00:00.001-04:002021-03-17T00:00:00.462-04:00Fibre Art Exhibition at the Smithsonian<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-DITNWX8PeMw/YFCJ_FHbEgI/AAAAAAAAT5c/pw8NqMF_iJsmQvsFzqWU25aVQZih-KLcgCLcBGAsYHQ/s1234/Screen%2BShot%2B2021-03-16%2Bat%2B6.34.52%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1234" data-original-width="922" height="400" src="https://1.bp.blogspot.com/-DITNWX8PeMw/YFCJ_FHbEgI/AAAAAAAAT5c/pw8NqMF_iJsmQvsFzqWU25aVQZih-KLcgCLcBGAsYHQ/w299-h400/Screen%2BShot%2B2021-03-16%2Bat%2B6.34.52%2BAM.png" width="299" /></a></div><p>The Smithsonian Museum of American Art has organized <i>Subversive, Skilled, Sublime: FibertArt by Women</i>, originally scheduled for April 22 - August 28, 2022. At this time the museum is closed, and opening dates are to be announced.</p><p>The website reads, in part:</p><p><span style="background-color: white; caret-color: rgb(8, 31, 44); color: #081f2c; font-size: 16px;"></span></p><blockquote><span style="font-family: inherit;">"The thirty-four selected artworks piece together an alternative history of American art. Accessible and familiar, fiber handicrafts have long provided a source of inspiration for women. Their ingenuity with cloth, threads, and yarn was dismissed by many art critics as menial labor. The artists in this exhibition took up fiber to complicate this historic marginalization and also revolutionize its import to contemporary art. They drew on personal experiences, particularly their vantage points as women, and intergenerational skills to transform humble threads into resonant and intricate artworks."</span></blockquote><p></p><p>Visitors to their <a href="https://americanart.si.edu/exhibitions/fiber-art-by-women" target="_blank">website</a> can see the thirty-four works selected for the show. Artists include Sheila Hicks and Judith Scott, whose work I have profiled here in the past.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-12878297000498781832021-03-09T12:15:00.002-05:002021-03-09T12:15:37.678-05:00Painting class, progress report #2<p>Having completed three sessions, I am learning a lot in <a href="https://pattimollica.com" target="_blank">Patti Mollica</a>'s class, "How to Paint Fast, Loose & Bold". I also ordered her book, and have found it to be instructive. </p><p>One of the aspects of Mollica's paintings that appeals to me is that she imposes her own colour scheme on her subject, creating a mood with colour rather than faithfully reproducing reality. I often did this with my Cityscapes in cloth, so this approach interests me. </p><p>Here's the photo I started with. The instructor has given us ten photos to work with for the four classes. This limitation allows for easier comparison between the varying efforts of the participants.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-ecqoL_KuYYw/YEen1WV8wQI/AAAAAAAAT4k/qcfu6hWRpCcvffZRhJYcR8Moc_QrNYbswCLcBGAsYHQ/Cyclist.photo.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1316" data-original-width="1346" height="240" src="https://lh3.googleusercontent.com/-ecqoL_KuYYw/YEen1WV8wQI/AAAAAAAAT4k/qcfu6hWRpCcvffZRhJYcR8Moc_QrNYbswCLcBGAsYHQ/Cyclist.photo.png" width="245" /></a></div><br /> Here's how I cropped it into a 9 x 12 format, eliminating distractions that I felt were best removed.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-ORm3czZzlYI/YEeoQ4sT-nI/AAAAAAAAT4s/XH1e62SXkNsCx4IlvTvtg6nP5_dS4hD6QCLcBGAsYHQ/Cyclist.photo.cropped.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="650" data-original-width="866" height="240" src="https://lh3.googleusercontent.com/-ORm3czZzlYI/YEeoQ4sT-nI/AAAAAAAAT4s/XH1e62SXkNsCx4IlvTvtg6nP5_dS4hD6QCLcBGAsYHQ/Cyclist.photo.cropped.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>Here's the value study. I used four values for this sketch, and three would have been easier. I eliminated the sun flares on the car to put the focus on the cyclist.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-V4WNeunTOZM/YEeof4RGIII/AAAAAAAAT4w/SXU_9TeeAFA4iIK9Bq6cXUWwGE-UK3s-wCLcBGAsYHQ/Cyclist.value%2Bstudy.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="960" data-original-width="1257" height="240" src="https://lh3.googleusercontent.com/-V4WNeunTOZM/YEeof4RGIII/AAAAAAAAT4w/SXU_9TeeAFA4iIK9Bq6cXUWwGE-UK3s-wCLcBGAsYHQ/Cyclist.value%2Bstudy.jpeg" width="314" /></a></div><br />And here is my effort, using what I think might be called a triadic colour scheme (red-blue-yellow). I began this in the third class and finished it up a few days later. The idea is to work faithfully from the value sketch. If changes seem called for, they should be tried out first on the value sketch. (You may notice, if you squint, that I wasn't totally faithful to my value sketch.)<p></p><p>We were to pay attention to our brush strokes, and use them with freedom, introducing subtle variety in colour. Some of the students opted for a robust "mosaic" look, for a still life, for example. I felt an approach like that would undermine the focal point (the cyclist). But perhaps I could have been bolder with the brushstrokes.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-7uKoQoC3ADo/YEep5PkHjRI/AAAAAAAAT48/zlkDC1MBj90lKSxl4kwzzkvw9UkTzMqcgCLcBGAsYHQ/Cyclist%2B9x12%2Bpainted.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="960" data-original-width="1268" height="240" src="https://lh3.googleusercontent.com/-7uKoQoC3ADo/YEep5PkHjRI/AAAAAAAAT48/zlkDC1MBj90lKSxl4kwzzkvw9UkTzMqcgCLcBGAsYHQ/Cyclist%2B9x12%2Bpainted.jpeg" width="317" /></a></div><br />More adventures await....<p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-72856281084236258102021-02-28T19:50:00.001-05:002021-03-01T10:40:43.920-05:00Painting class, progress report #1<p><a href="https://pattimollica.com" target="_blank">Patti Mollica</a>, the author of "How to Paint Fast, Loose and Bold", offers an on-line class of the same name through the <a href="https://winslowartcenter.com" target="_blank">Winslow Art Centre</a>. We are now half-way through the four classes, and I thought I would post an update here.</p><p>I am a real newbie when it comes to figurative acrylic painting, so I'm finding there's a lot to absorb.</p><p>Mollica's style is all about exuberant colour and energetic brushstrokes, but the basis of her approach to composition is quite technical. Whether she begins with a photo or from life, she translates her image into a value study, reducing the subject to three or four values of dark, medium and light. She transfers her value study to her support, using charcoal, and then mixes and applies paint, always keeping in mind the value of the chosen colours. Being able to rely on this structure allows her to be more expressive with colour and application of paint.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-OQsGG-GuKSY/YDwu8IZji6I/AAAAAAAAT3I/CPXdk0zk7k86j6rKkyHMZRVcP-4J03d9ACLcBGAsYHQ/MAKEUP.photo.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1218" data-original-width="822" height="320" src="https://lh3.googleusercontent.com/-OQsGG-GuKSY/YDwu8IZji6I/AAAAAAAAT3I/CPXdk0zk7k86j6rKkyHMZRVcP-4J03d9ACLcBGAsYHQ/w216-h320/MAKEUP.photo.png" width="216" /></a></div><br />Above is one of ten photos Mollica provided for our first efforts.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-78E9rF0mtnY/YDwvdbWEguI/AAAAAAAAT3Q/lIcr9dJoMuMA9PGkbGjWTEtnhxqXpX-nwCLcBGAsYHQ/MAKEUP.values.mine.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1176" data-original-width="838" height="320" src="https://lh3.googleusercontent.com/-78E9rF0mtnY/YDwvdbWEguI/AAAAAAAAT3Q/lIcr9dJoMuMA9PGkbGjWTEtnhxqXpX-nwCLcBGAsYHQ/w228-h320/MAKEUP.values.mine.png" width="228" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br />I cropped the image a bit and converted the colours of the photo into a value study, using black, white, and a neutral gray. At this point, the artist has the option of deviating from the original, to make a successful design. For one thing, it's important to have some imbalance. It would be rather boring to have equal amounts of the three values: one should dominate. Even more important is to have enough information to allow the viewer to decipher the subject. Above, the cylindrical nature of the solids are conveyed by means of highlights, credible shading and shadows, and small details that reinforce the perception of solid shapes. <p></p><p>Another consideration is to establish a focal point, and use a dramatic contrast of value to establish that. Where is the eye drawn? (Often it's to a figure.) Can that focal point be strengthened by directional lines in the composition?</p><p>This value study is then transferred to a substrate, using charcoal to indicate areas of light, middle and dark values. Paint is then applied on top of the charcoal drawing.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-rgo3ls60WAQ/YDwxTdJZ0XI/AAAAAAAAT3Y/gkskUcB98905FiyJ8tjf1kO1UJ8h68sUgCLcBGAsYHQ/MAKEUP%2Bpink.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1280" data-original-width="960" height="320" src="https://lh3.googleusercontent.com/-rgo3ls60WAQ/YDwxTdJZ0XI/AAAAAAAAT3Y/gkskUcB98905FiyJ8tjf1kO1UJ8h68sUgCLcBGAsYHQ/w240-h320/MAKEUP%2Bpink.jpeg" width="240" /></a></div><br />Above is my first effort, 12" x 9". I decided the image needed to be cropped more closely, and used a 10" x 10" format for my second effort, below. <p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-2dSC27P83L0/YDwyGllwN0I/AAAAAAAAT3g/uzx8ZmHRdn4Uh9hPdNoEFsGtSqw9oLBBwCLcBGAsYHQ/MAKEUP%2Bgreen.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="960" data-original-width="960" height="240" src="https://lh3.googleusercontent.com/-2dSC27P83L0/YDwyGllwN0I/AAAAAAAAT3g/uzx8ZmHRdn4Uh9hPdNoEFsGtSqw9oLBBwCLcBGAsYHQ/MAKEUP%2Bgreen.jpeg" width="240" /></a></div><br />I also applied green paint to the panel as a first coat. This "underpainting" peeks through and makes the painting more interesting, especially if its colour is the complement of the subject. <p></p><p>I think the shadows need to be softened in the image above. Perhaps the instructor will offer some other advice, as she provides support on the class message board and during class time as well.</p><p>Here's another still life subject that I worked with:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-UQrwXvgLgEk/YDwy7UcB6BI/AAAAAAAAT3o/Z-hgCDuKpq4tP-WG0-neNDNjTEItH_U6QCLcBGAsYHQ/shoes.photo.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="700" data-original-width="946" height="237" src="https://lh3.googleusercontent.com/-UQrwXvgLgEk/YDwy7UcB6BI/AAAAAAAAT3o/Z-hgCDuKpq4tP-WG0-neNDNjTEItH_U6QCLcBGAsYHQ/shoes.photo.png" width="320" /></a></div><br /><p></p><p>Notice that in my value study I've transposed some of the values. The highlights are important details, giving information about the shapes of the solids as they are struck by the light.</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-qu84t-_OiaI/YDwzVvTC9pI/AAAAAAAAT3w/Yxo43R3dF1EbrBUl5i5nu_T--z9-PZgpQCLcBGAsYHQ/shoes.v.s.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="961" data-original-width="1212" height="240" src="https://lh3.googleusercontent.com/-qu84t-_OiaI/YDwzVvTC9pI/AAAAAAAAT3w/Yxo43R3dF1EbrBUl5i5nu_T--z9-PZgpQCLcBGAsYHQ/shoes.v.s.jpeg" width="303" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-RiI9xngxmyc/YDwzznw-rbI/AAAAAAAAT34/V-IVlNX-bYoSbQCNDMyJEd1dSV34gbnXwCLcBGAsYHQ/shoes.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="961" data-original-width="1280" height="240" src="https://lh3.googleusercontent.com/-RiI9xngxmyc/YDwzznw-rbI/AAAAAAAAT34/V-IVlNX-bYoSbQCNDMyJEd1dSV34gbnXwCLcBGAsYHQ/shoes.jpeg" width="320" /></a></div><br />I used an underpainting of turquoise for this one, though it's not as evident as I would like. Again, I think the shadows should have softer outlines.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-Rc4lfKr-KB0/YDw0M894DJI/AAAAAAAAT4A/i4k5XncwT4Q0SCWrOP16VKTb1-KijiLygCLcBGAsYHQ/value%2Bchecker.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="960" data-original-width="1280" height="240" src="https://lh3.googleusercontent.com/-Rc4lfKr-KB0/YDw0M894DJI/AAAAAAAAT4A/i4k5XncwT4Q0SCWrOP16VKTb1-KijiLygCLcBGAsYHQ/value%2Bchecker.jpeg" width="320" /></a></div><br />When choosing our colours, it's important to be conscious of their values. If I need a dark, it's important that what I mix reads as a dark, to reinforce the composition. So by putting a dab of the paint on our "value checker", we can get a better sense of whether it suits our needs or not.<p></p><p>Mollica is an advocate of using as big a brush as we can handle, to allow for expressive brushstrokes. So far I'm being too careful with mine. Her palette often becomes tainted with colours transferred in the process of applying paint. This is all to the good, according to the instructor. Again, I'm not working loosely enough to accommodate this approach, but it's something I will try to put to use in my next assignments.</p><p>Below is a value study of a third photo provided by the instructor. Perhaps something more challenging for my next efforts?</p><p style="text-align: center;"><a href="https://lh3.googleusercontent.com/-EQK5Y9Ud6PY/YDw4WLc8HnI/AAAAAAAAT4M/NN7o2RKP07IZB2T0X90m9IeZhRpaQlMNwCLcBGAsYHQ/Cyclist%2Bphoto.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1308" data-original-width="1474" height="240" src="https://lh3.googleusercontent.com/-EQK5Y9Ud6PY/YDw4WLc8HnI/AAAAAAAAT4M/NN7o2RKP07IZB2T0X90m9IeZhRpaQlMNwCLcBGAsYHQ/Cyclist%2Bphoto.png" width="270" /></a></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-x0PCI3g1xQc/YDw4Ts_fOSI/AAAAAAAAT4I/mJkGgGO9794BnpYM9-Sva_KMflfR2s1lACLcBGAsYHQ/Cyclist.value%2Bstudy.mine.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="960" data-original-width="960" height="240" src="https://lh3.googleusercontent.com/-x0PCI3g1xQc/YDw4Ts_fOSI/AAAAAAAAT4I/mJkGgGO9794BnpYM9-Sva_KMflfR2s1lACLcBGAsYHQ/Cyclist.value%2Bstudy.mine.jpeg" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-84153797033166561882021-02-17T00:00:00.010-05:002021-02-17T00:00:02.288-05:00Dabbling in figurative imagery<p>I have signed up for an online class with the <a href="https://winslowartcenter.com" target="_blank">Winslow Art Center</a>. The class is called "Paint Fast, Loose and Bold in Acrylics and Oils", and will be given on-line by instructor Patti Mollica, for four consecutive Wednesdays. </p><p>I never took a painting class while pursuing my BFA. For one thing, paint was expensive! Another factor was that the style of painting being championed in my program did not appeal to me. "Les Plasticiens" painted in a style described as "rigorously hard-edged and abstract" and they held sway over the painting department at the university.</p><p><span style="color: #393939; font-family: Avenir, Helvetica, serif; font-size: medium;"><span style="caret-color: rgb(57, 57, 57);"><br /></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://lh3.googleusercontent.com/-79T4kdxmsSk/YCqAF7Ip5wI/AAAAAAAAT1I/8C66i2RmJxAYxVscE2UjbkY8ZXhEaeMFgCLcBGAsYHQ/image.jpeg" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="416" data-original-width="880" height="189" src="https://lh3.googleusercontent.com/-79T4kdxmsSk/YCqAF7Ip5wI/AAAAAAAAT1I/8C66i2RmJxAYxVscE2UjbkY8ZXhEaeMFgCLcBGAsYHQ/w400-h189/image.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">an exhibition of "les Plasticiens"</td></tr></tbody></table><p></p><p>I've dabbled a bit in watercolour and explored abstract imagery in acrylic, but this will be my first experience with figurative painting in acrylic, and I thought I should do a little warm-up before the start of class.</p><p>I began with some travel photos and a still life, trying to match the colours in the photos. I found an app called <a href="http://rapidresizer.com" target="_blank">Rapid Resizer</a> that helped me to enlarge the image to the desired size. The app converts a photo into a line drawing and, using some antique carbon paper from the days when I had a portable typewriter, I was able to get the basic shapes and perspective in place.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-5a5kNpOcaYM/YCqC5rx18jI/AAAAAAAAT1Q/cvROo9uJccgAw75A0ffwmaSvxuQnQX6DwCLcBGAsYHQ/s2048/IMG_1290.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1619" height="320" src="https://1.bp.blogspot.com/-5a5kNpOcaYM/YCqC5rx18jI/AAAAAAAAT1Q/cvROo9uJccgAw75A0ffwmaSvxuQnQX6DwCLcBGAsYHQ/w253-h320/IMG_1290.jpeg" width="253" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sketch #1</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-oiC1EEsxAyc/YCqDd_prgkI/AAAAAAAAT1c/vlsJgyJaWhkS36ZKhSVH4ilmTg_lMxbNQCLcBGAsYHQ/s2048/IMG_1291.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2005" data-original-width="2048" height="314" src="https://1.bp.blogspot.com/-oiC1EEsxAyc/YCqDd_prgkI/AAAAAAAAT1c/vlsJgyJaWhkS36ZKhSVH4ilmTg_lMxbNQCLcBGAsYHQ/w320-h314/IMG_1291.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sketch #2</td></tr></tbody></table><div><br /></div>I set up some still life tableaus and worked from those photos as well.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3Dmwv8XTmJk/YCqEGcupkEI/AAAAAAAAT1o/x0jrQ1hq3OIaL63C8xbR41FqdqysO_h2gCLcBGAsYHQ/s2048/IMG_1295.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2014" data-original-width="2048" height="315" src="https://1.bp.blogspot.com/-3Dmwv8XTmJk/YCqEGcupkEI/AAAAAAAAT1o/x0jrQ1hq3OIaL63C8xbR41FqdqysO_h2gCLcBGAsYHQ/w320-h315/IMG_1295.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">sketch #3</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">At this point, I realized that I wanted to do more than just reproduce photos. I wanted "the hand of the artist" to be evident in the sketches. More energy, more pizazz.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I thought back to my cityscapes in cloth, and how I had transformed my photo images by imposing my own colour scheme on them.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://lh3.googleusercontent.com/-_iZP8S8Ie9U/YCqFm1GOdZI/AAAAAAAAT1w/P8K7Cdu3AEIUF7GS0lcX0r4-mMyXWYcSACLcBGAsYHQ/IMG_1292.jpeg" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="2048" data-original-width="1588" height="320" src="https://lh3.googleusercontent.com/-_iZP8S8Ie9U/YCqFm1GOdZI/AAAAAAAAT1w/P8K7Cdu3AEIUF7GS0lcX0r4-mMyXWYcSACLcBGAsYHQ/w248-h320/IMG_1292.jpeg" width="248" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sketch #4</td></tr></tbody></table><div class="separator" style="clear: both; text-align: left;"><br /></div>Then I noticed a Vlaminck post card that was pinned to my studio wall.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-YSfka6LOyhc/YCqGayZ4-LI/AAAAAAAAT14/-IkrpgwkxI0-KBzY4MeLqQQBXlX1LqK8ACLcBGAsYHQ/s2048/IMG_1298.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1498" data-original-width="2048" src="https://1.bp.blogspot.com/-YSfka6LOyhc/YCqGayZ4-LI/AAAAAAAAT14/-IkrpgwkxI0-KBzY4MeLqQQBXlX1LqK8ACLcBGAsYHQ/s320/IMG_1298.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Le Restaurant de la Machine a Bougival, </i>1905</td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: left;">The bold palette appealed to me.<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-c4hB-mfVNdA/YCqHHxkBfLI/AAAAAAAAT2A/JY1zmt-tbhg-Emm93tD4x_PcV1Q2vNtdgCLcBGAsYHQ/s2048/IMG_1294.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1543" data-original-width="2048" height="242" src="https://1.bp.blogspot.com/-c4hB-mfVNdA/YCqHHxkBfLI/AAAAAAAAT2A/JY1zmt-tbhg-Emm93tD4x_PcV1Q2vNtdgCLcBGAsYHQ/w320-h242/IMG_1294.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sketch #5</td></tr></tbody></table><div><br /></div>On further reflection, I decided that the success of Vlaminck's palette depended on many small areas of colour, rather than large blocks of colour. I've noticed the same phenomenon with patchwork quilts. I chose to work from a photo that had more small shapes.<div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-fT2t1hh_wYw/YCqH6G1OTBI/AAAAAAAAT2I/-fR-3ZMi6Rsy4U_SJwW2kQksL3hx0tyiACLcBGAsYHQ/s2048/IMG_1297.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1459" data-original-width="2048" height="229" src="https://1.bp.blogspot.com/-fT2t1hh_wYw/YCqH6G1OTBI/AAAAAAAAT2I/-fR-3ZMi6Rsy4U_SJwW2kQksL3hx0tyiACLcBGAsYHQ/w320-h229/IMG_1297.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sketch #6</td></tr></tbody></table><div><br /></div>I looked more closely at the Vlaminck street scene, and saw that his brushstrokes added to the vigour of the image. The brushstrokes were not visible on the buildings in the far distance, but became larger moving towards the foreground. I made an attempt to introduce some texture to the foreground of the scene.<div><br /></div><div>Another Vlaminck postcard suggested a still life subject, using a similar palette.</div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://lh3.googleusercontent.com/-j3K2P1zUlco/YCqI0rpEUAI/AAAAAAAAT2Q/4yH7J3n69k0mqOxo6ivadiWjgmwokpscgCLcBGAsYHQ/IMG_1299.jpeg" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="2048" data-original-width="1352" height="240" src="https://lh3.googleusercontent.com/-j3K2P1zUlco/YCqI0rpEUAI/AAAAAAAAT2Q/4yH7J3n69k0mqOxo6ivadiWjgmwokpscgCLcBGAsYHQ/IMG_1299.jpeg" width="158" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Vase bleu avec fleurs</i>, 1906</td></tr></tbody></table><div><br /></div>I set up a still life of flowers in a vase, and painted the subject.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://lh3.googleusercontent.com/-zAQXhZfEzMk/YCqJRE5hGMI/AAAAAAAAT2Y/jt0zcwo1vdMVPdqT-4-2hvww5OR-N0jwQCLcBGAsYHQ/IMG_1289.jpeg" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="2006" data-original-width="2048" height="240" src="https://lh3.googleusercontent.com/-zAQXhZfEzMk/YCqJRE5hGMI/AAAAAAAAT2Y/jt0zcwo1vdMVPdqT-4-2hvww5OR-N0jwQCLcBGAsYHQ/IMG_1289.jpeg" width="245" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sketch #7</td></tr></tbody></table><div><br /></div>How to proceed? Would it have been better to paint the background first? Perhaps I will learn some of these basic skills in my upcoming class. </div><div><br /></div><div>To complete the exercise, I took my cue from the Vlaminck and painted in a similar background.</div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://lh3.googleusercontent.com/-UdURoHHEk0o/YCqJ7dkiMgI/AAAAAAAAT2g/9zLfU_1FaIgQ509C9TMWwUm02qW-GC7bACLcBGAsYHQ/IMG_1300.jpeg" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="2048" data-original-width="2026" height="240" src="https://lh3.googleusercontent.com/-UdURoHHEk0o/YCqJ7dkiMgI/AAAAAAAAT2g/9zLfU_1FaIgQ509C9TMWwUm02qW-GC7bACLcBGAsYHQ/IMG_1300.jpeg" width="237" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sketch #8</td></tr></tbody></table><div><br /></div>Clearly I have a lot to learn, and I may decide that figurative work is not for me. But at least I am somewhat warmed up for the first class.<br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-34920233770371119292021-02-03T00:00:00.001-05:002021-02-03T00:00:06.218-05:00A Close Read of a Cubist Masterpiece<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ha-s_U1x5CI/YBQhSCfuRTI/AAAAAAAAT0g/geurCLfPeTYoaKxPeBy68vG67csXPdi3gCLcBGAsYHQ/s908/Screen%2BShot%2B2021-01-29%2Bat%2B9.47.59%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="908" data-original-width="686" height="320" src="https://1.bp.blogspot.com/-ha-s_U1x5CI/YBQhSCfuRTI/AAAAAAAAT0g/geurCLfPeTYoaKxPeBy68vG67csXPdi3gCLcBGAsYHQ/s320/Screen%2BShot%2B2021-01-29%2Bat%2B9.47.59%2BAM.png" /></a></div><br /><p>The New York Times publishes an occasional series of "close reads" of iconic works of art. Most recently, "Still Life with Table", by Juan Gris, was chosen as a subject for exploration.</p><p>If asked to name the most revolutionary new artistic medium in 20th-century art, would you choose Cinema? Video? Installation? Writer Jason Farago suggests it might well be Collage. Readers learn about the impact of collage as a medium, and what the use of glued newspaper had to say about the explosive influence of journalism on French café society.</p><p>What is real and what is false? Wood-grained paper purports to represent a wooden surface. And the content of these same newspapers: true or false?</p><p>Farago refers us to the impact of African sculpture, with its shattering portrayal of three-dimensional space, so different from the classic perspective of European traditionalists. The painted landscapes of Cezanne are cited as an earlier challenge to the accepted view of reality.</p><p>The fascinating <a href="https://www.nytimes.com/interactive/2021/01/29/arts/design/juan-gris-cubism-collage.html?campaign_id=9&emc=edit_nn_20210128&instance_id=26537&nl=the-morning&regi_id=74302018&segment_id=50580&te=1&user_id=b19e990ba2ab98eb416ff42ccea474a4">analysis</a>, with its many supporting illustrations and close-up views, is well worth a look.</p><p> </p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-8506017846981264763.post-1223470214674023522021-01-31T00:00:00.007-05:002021-01-31T00:00:00.313-05:00What's Happening at the Louvre?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qVc2qR1Kobg/YBAB85lZTGI/AAAAAAAAT0Y/zeZfDQa6wzUbz8gmu6blVnHnv2ee5-DTQCLcBGAsYHQ/s1212/Screen%2BShot%2B2021-01-26%2Bat%2B6.49.04%2BAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="814" data-original-width="1212" height="269" src="https://1.bp.blogspot.com/-qVc2qR1Kobg/YBAB85lZTGI/AAAAAAAAT0Y/zeZfDQa6wzUbz8gmu6blVnHnv2ee5-DTQCLcBGAsYHQ/w400-h269/Screen%2BShot%2B2021-01-26%2Bat%2B6.49.04%2BAM.png" width="400" /></a></div><br />Never since World War II has the Louvre been closed for such a long time, but during the pandemic, the Louvre is still a hive of activity. With no visitors permitted, the museum is undergoing a major "refresh". I read about it in the <a href="https://www.nytimes.com/2021/01/26/world/europe/louvre-coronavirus.html?campaign_id=9&emc=edit_nn_20210126&instance_id=26410&nl=the-morning&regi_id=74302018&segment_id=50262&te=1&user_id=b19e990ba2ab98eb416ff42ccea474a4">New York Times</a>. Lots of great photos help to give a sense of what's going on.<p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-75853946203862214082021-01-27T00:00:00.104-05:002021-01-29T06:52:18.108-05:00"The Golden Thread: How Fabric Changed History", by Kassia St. Clair<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Ziste3tfz1o/YA8TaOuYeOI/AAAAAAAAT0M/XBeIH-mSwj0xUDF22_7xh29sYeoG-M2EwCLcBGAsYHQ/s800/Screen%2BShot%2B2021-01-25%2Bat%2B1.51.43%2BPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="536" height="320" src="https://1.bp.blogspot.com/-Ziste3tfz1o/YA8TaOuYeOI/AAAAAAAAT0M/XBeIH-mSwj0xUDF22_7xh29sYeoG-M2EwCLcBGAsYHQ/s320/Screen%2BShot%2B2021-01-25%2Bat%2B1.51.43%2BPM.png" /></a></div><br /><p>I last wrote about Kassia St. Clair when I <a href="http://heatherdubreuil.blogspot.com/2019/06/the-secret-lives-of-colour-by-kassia-st.html" target="_blank">reviewed</a> her book, "The Secret Lives of Colour", in June of 2019. The book, her first, was a really good read. About 70 colours were profiled by St. Clair, each one with its own history. Readers learned how colours are experienced differently in different cultures, how precious dyes came to signify elite status, and how the toxicity of some dyes drove innovation in dye manufacture.</p><p>I was reminded of St. Clair when my friend Lauma shared with me a <a href="https://www.youtube.com/watch?v=vilUVD69oJY" target="_blank">link</a> for a video from Karen Brown, featuring a 38-minute interview with Kassia St. Clair, discussing "The Secret Lives of Colour" as well as her most recent book. </p><p>"The Golden Thread: How Fabric Changed History", weaves the fascinating story of how textiles have driven human development in areas like technology, trade and even space exploration. The book has been well-received, having been chosen as a Sunday Times Book of the Year, and nominated for the Somerset Maugham Award.</p><p>A recent review of "The Golden Thread" is <a href="https://www.washingtonpost.com/outlook/the-overlooked-innovation-woven-throughout-human-history/2020/01/09/11b9c0fe-f4f4-11e9-ad8b-85e2aa00b5ce_story.html" target="_blank">available</a> from The Washington Post. </p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-50179991664796398162021-01-24T09:51:00.003-05:002021-01-24T14:55:50.937-05:00Visions Art Museum's virtual exhibition<p><a href="https://visionsartmuseum.org" target="_blank">Visions Art Museum</a>, in San Diego, California, is a non-profit organization with a focus on fibre art. It stages twenty exhibitions annually, and though it is now closed to visitors, four of its shows are currently available on-line.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-XVRQ9dtCXE0/YA2AcAkhopI/AAAAAAAATzo/n2GkHc8N4Fk7vzkOOnR0GNPkgM7D2pQIACLcBGAsYHQ/s2458/Screen%2BShot%2B2021-01-24%2Bat%2B9.11.58%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="890" data-original-width="2458" height="145" src="https://1.bp.blogspot.com/-XVRQ9dtCXE0/YA2AcAkhopI/AAAAAAAATzo/n2GkHc8N4Fk7vzkOOnR0GNPkgM7D2pQIACLcBGAsYHQ/w400-h145/Screen%2BShot%2B2021-01-24%2Bat%2B9.11.58%2BAM.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Octopus and Crab</i> (detail), Beth Blenkinship</td></tr></tbody></table><p>Beth Blankenship's solo <a href="https://visionsartmuseum.org/connecting-threads/" target="_blank">exhibition</a>, "Connecting Threads", showcases her longtime fascination with marine life. Using thread and beads, she has made a series of vessels celebrating the diversity of aquatic plants and animals.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-nxiWjnlTn08/YA2DbukbzJI/AAAAAAAATz0/IH5Tmu6UzM8O-_Xkb5ZyOw6wRwj56MpFACLcBGAsYHQ/s1060/Screen%2BShot%2B2021-01-24%2Bat%2B9.15.36%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="760" data-original-width="1060" height="286" src="https://1.bp.blogspot.com/-nxiWjnlTn08/YA2DbukbzJI/AAAAAAAATz0/IH5Tmu6UzM8O-_Xkb5ZyOw6wRwj56MpFACLcBGAsYHQ/w400-h286/Screen%2BShot%2B2021-01-24%2Bat%2B9.15.36%2BAM.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Meltdown #1</i> (detail), Sandra Meech</td></tr></tbody></table><p>Canadian artist Sandra Meech has a longstanding interest in the people and landscape of the polar regions. "Polar Expressions" is a masterful <a href="https://visionsartmuseum.org/polar-expressions/" target="_blank">display</a> of her use of painted cloth and stitch to create contemporary quilts.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--LVxpBlFCwQ/YA2FxLmby2I/AAAAAAAATz8/GI41aORRnKI_F2BZ3tInBW6E_xC0AEt9ACLcBGAsYHQ/s920/Screen%2BShot%2B2021-01-24%2Bat%2B9.35.12%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="920" data-original-width="668" height="400" src="https://1.bp.blogspot.com/--LVxpBlFCwQ/YA2FxLmby2I/AAAAAAAATz8/GI41aORRnKI_F2BZ3tInBW6E_xC0AEt9ACLcBGAsYHQ/w291-h400/Screen%2BShot%2B2021-01-24%2Bat%2B9.35.12%2BAM.png" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Break Up, </i>Maria Shell</td></tr></tbody></table><p>"<a href="https://visionsartmuseum.org/shifting-tides/" target="_blank">Shifting Tides: Convergence in Cloth</a>" is a group show, staged by members of Studio Art Quilt Associates. Its 46 varied works focus "on the current state of the Pacific Ocean ecosystem, its marvellous natural diversity, and the human activities that both sustain and threaten oceanic life".</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UL0WD1eilSg/YA2HK7EYpAI/AAAAAAAAT0E/xjf5piwtdLoGRcMAw3eag36agnBdiMVuQCLcBGAsYHQ/s1024/Screen%2BShot%2B2021-01-24%2Bat%2B9.40.52%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1006" height="320" src="https://1.bp.blogspot.com/-UL0WD1eilSg/YA2HK7EYpAI/AAAAAAAAT0E/xjf5piwtdLoGRcMAw3eag36agnBdiMVuQCLcBGAsYHQ/s320/Screen%2BShot%2B2021-01-24%2Bat%2B9.40.52%2BAM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Wave, </i>Carol Simpson</td></tr></tbody></table><div><br /></div>Finally, small works by local artists, "The Seaside Quilt Group", are on display in the <a href="https://visionsartmuseum.org/the-san-diego-seaside/" target="_blank">show</a> "The San Diego Seaside".<div><br /></div><div>Fans of contemporary art quilts will have much to explore in this virtual collection.</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-17721769587049046402021-01-13T00:00:00.003-05:002021-01-13T00:00:02.928-05:00Knitting the Pandemic<h2 class="deck" style="font-weight: 400; line-height: 24px; margin-block-end: 16px; margin-block-start: 16px; margin-top: 16px;"><span style="font-size: small;">Thank you, Lynda, for passing along this <a href="https://www.cbc.ca/news/world/knitting-is-helping-this-canadian-in-italy-make-sense-of-the-covid-19-pandemic-1.585" target="_blank">item</a> from CBC News.</span> <span style="font-family: inherit; font-size: small;">Each stitch on Sarah McLean's epic project represents 100 COVID-19 cases. It takes her hours a day to keep up. </span></h2><div class="separator" style="clear: both; text-align: center;"></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SdWL5KQPhH4/X_2JEQaRuvI/AAAAAAAATyc/YHAuD_sD7X8RahWgiE8hAt1xoEPBQJjwgCLcBGAsYHQ/s620/Image-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="620" height="225" src="https://1.bp.blogspot.com/-SdWL5KQPhH4/X_2JEQaRuvI/AAAAAAAATyc/YHAuD_sD7X8RahWgiE8hAt1xoEPBQJjwgCLcBGAsYHQ/w400-h225/Image-1.jpg" width="400" /></a></div><p></p><p>While I have not attempted anything as ambitious as McLean's project, I have found some solace in knitting during these difficult days. At this point I am using wool scraps to make slippers for the local women's shelter. It steadies me to have something to do with my hands while watching too much television.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-85582898445878980302021-01-10T00:00:00.004-05:002021-01-10T06:08:12.665-05:00"We Are the Story": quilt exhibition in Minneapolis<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-q-IUZNvzsHs/X90vexxJCZI/AAAAAAAATxA/m3N5CaFuetk01KAeLfnyAMLO1EN9c49wACLcBGAsYHQ/s768/Screen%2BShot%2B2020-12-18%2Bat%2B5.38.18%2BPM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="732" height="320" src="https://1.bp.blogspot.com/-q-IUZNvzsHs/X90vexxJCZI/AAAAAAAATxA/m3N5CaFuetk01KAeLfnyAMLO1EN9c49wACLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-18%2Bat%2B5.38.18%2BPM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>I'll Fly Away,</i><br />Susan Brubaker Knapp</td></tr></tbody></table><br /><p>An <a href="https://www.nytimes.com/2020/12/16/arts/design/quilt-art-women-injustice.html" target="_blank">article</a> in The New York Times reviews "We Are the Story", one of a series of quilt exhibitions at seven sites throughout Minneapolis and St. Paul, presented by the Textile Center and the national Women of Color Quilters Network. The first exhibition, "Gone but Never Forgotten:Remembering Those Lost to Police Brutality, is available <a href="https://textilecentermn.org/gone-virtualexhibition/">online</a>, and other shows run through the spring.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-30fer5AlBSA/X90u2v36fhI/AAAAAAAATw4/nhmcok2b6QAAp5cUF2usVnERRmM_DxrtACLcBGAsYHQ/s992/Screen%2BShot%2B2020-12-18%2Bat%2B5.35.22%2BPM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="992" data-original-width="718" height="320" src="https://1.bp.blogspot.com/-30fer5AlBSA/X90u2v36fhI/AAAAAAAATw4/nhmcok2b6QAAp5cUF2usVnERRmM_DxrtACLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-18%2Bat%2B5.35.22%2BPM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Writing on the Wall</i>,<br />Deborah Fell</td></tr></tbody></table><div><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-40142262746935732532021-01-06T00:00:00.000-05:002021-01-06T00:00:00.167-05:00Architecture and Knitting Machines<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-HkR4aGrly-c/X85GTNRGoqI/AAAAAAAATus/DZMHbK4S4qsOlkW7ZMBniO4UljfjNphngCLcBGAsYHQ/s1083/1083px-L%2527Oceanografic_%2528Valencia%252C_Spain%2529_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1083" src="https://1.bp.blogspot.com/-HkR4aGrly-c/X85GTNRGoqI/AAAAAAAATus/DZMHbK4S4qsOlkW7ZMBniO4UljfjNphngCLcBGAsYHQ/s320/1083px-L%2527Oceanografic_%2528Valencia%252C_Spain%2529_01.jpg" width="320" /></a></div><br /><p>I subscribe to a <a href="https://gurneyjourney.blogspot.com" target="_blank">blog</a> by painter James Gurney, where I recently learned about an innovative approach to building that relies on knitted textiles to support concrete construction. This method is being explored as a new way to build affordable housing, with a smaller environmental footprint.</p><p>The video below features architect Mariana Popescu, explaining how knitting machines can create the "bones" of concrete structures.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/O-3iY4dtRDE" width="320" youtube-src-id="O-3iY4dtRDE"></iframe></div><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-63438409406380515252021-01-03T00:00:00.000-05:002021-01-03T00:00:05.832-05:00Excellence in Fibers VI<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bvClcbJNeIE/X9QYk9-G00I/AAAAAAAATvc/pqlh5ay814crMH-hAzk-Q2wGhhuSsqtYQCLcBGAsYHQ/s1534/Screen%2BShot%2B2020-12-11%2Bat%2B8.10.05%2BPM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1238" data-original-width="1534" src="https://1.bp.blogspot.com/-bvClcbJNeIE/X9QYk9-G00I/AAAAAAAATvc/pqlh5ay814crMH-hAzk-Q2wGhhuSsqtYQCLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-11%2Bat%2B8.10.05%2BPM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Repair</i> (detail), Kevan Lunney, 2016<br /><span face="Lato, sans-serif" style="background-color: #f9f9f9; caret-color: rgb(85, 85, 85); color: #555555; font-family: inherit; font-size: 14px; text-align: justify;">Aluminum base, neon glass tubes, industrial wool felt,<br />white electric cord; back fully enclosed with<br />removable aluminum plate, knitted construction</span></td></tr></tbody></table><p>This<a href="https://newbedfordart.org/fibers/" target="_blank"> virtual show</a> is presented by the New Bedford Art Museum, in Massachusetts. It showcases fifty-two outstanding works, juried from over 1100 submissions, in the categories of </p><p></p><ul style="text-align: left;"><li>Installation</li><li>Sculptural</li><li>Vessels</li><li>Wall and Floor, and</li><li>Wearables.</li></ul>The exhibition presents a truly astonishing diversity of material, technique, and subject.<p></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8506017846981264763.post-56374960847475165602020-12-30T00:00:00.000-05:002020-12-30T00:00:04.505-05:00The Queen and The Crown @ the Brooklyn Museum<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qhouQ9EHmcU/X8kWOiFIqwI/AAAAAAAATs0/LvpkL_kLGYQYNTGGHcrF8inAO8mPkW8FgCLcBGAsYHQ/s1038/Screen%2BShot%2B2020-12-03%2Bat%2B11.45.13%2BAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1038" data-original-width="914" height="320" src="https://1.bp.blogspot.com/-qhouQ9EHmcU/X8kWOiFIqwI/AAAAAAAATs0/LvpkL_kLGYQYNTGGHcrF8inAO8mPkW8FgCLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-03%2Bat%2B11.45.13%2BAM.png" /></a></div><p>Those who have enjoyed the Netflix series of <i>The Crown, Season 4</i>, and <i>The Queen's Gambit</i>, may wish to know more about the costumes. Currently, the Brooklyn Museum is staging a virtual show that allows visitors to see many of the costumes made for these productions, to view them in detail, and to access more information from the costume designers themselves.</p><p>To learn more, go to the exhibition <a href=" https://www.brooklynmuseum.org/exhibitions/queen_and_crown" target="_blank">website</a>, which offers a link to a virtual exploration of the show. The link includes film clips featuring the various costumes, and a panel discussion with the designers.</p><p>I learned about this exhibition by reading Leanne Delap's article in a recent issue of <i>The Kit</i>, available <a href="https://thekit.ca/life/the-crown-season-4-netflix/" target="_blank">here</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-88186354069342781052020-12-27T00:00:00.041-05:002020-12-27T06:55:53.665-05:00Hidden Pond Yarns<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--g9icFP0LI4/X-h2Drm3reI/AAAAAAAATxg/s6USpOVMffEBINr1lZtaIPgK2s0iDqRMQCLcBGAsYHQ/s1461/IMG_8650%2B2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1461" data-original-width="1247" height="320" src="https://1.bp.blogspot.com/--g9icFP0LI4/X-h2Drm3reI/AAAAAAAATxg/s6USpOVMffEBINr1lZtaIPgK2s0iDqRMQCLcBGAsYHQ/s320/IMG_8650%2B2.jpeg" /></a></div><br /><p>Many of us are especially focused on family at this time of year. So please indulge me when I explain how very proud I am of my daughter, Katya. The busy mom of two little ones, Katya has long had an interest in knitting and a great eye for colour. When the pandemic began, she took the opportunity to open a home-based business, offering hand-dyed yarn. Hidden Pond Yarns is getting 5-star reviews!</p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Nnzi8Gg3fUE/X9oyWsNpQqI/AAAAAAAATwM/4WSd6cwpAlQI1sKhvbxJ3ZDcseQPi5r3ACLcBGAsYHQ/s2048/IMG_8677.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-Nnzi8Gg3fUE/X9oyWsNpQqI/AAAAAAAATwM/4WSd6cwpAlQI1sKhvbxJ3ZDcseQPi5r3ACLcBGAsYHQ/s320/IMG_8677.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Katya's gorgeous yarns are available through her <a href="https://www.etsy.com/ca/shop/HiddenPondYarn?ref=usf_2020" target="_blank">Etsy site</a>. Their rich colours have even re-kindled my own long-dormant interest in knitting.</div><br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-8506017846981264763.post-62635562020088811342020-12-23T00:00:00.026-05:002020-12-23T00:00:00.223-05:00Another project for Christmas giving<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-JfcFc1m1dSk/X9vyq_-ZM9I/AAAAAAAATws/i7dQk78zoyYCl_focXXDwmB6UKWFSUzjwCLcBGAsYHQ/s2048/IMG_1205.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/-JfcFc1m1dSk/X9vyq_-ZM9I/AAAAAAAATws/i7dQk78zoyYCl_focXXDwmB6UKWFSUzjwCLcBGAsYHQ/s320/IMG_1205.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">without hat</td></tr></tbody></table><p>I discovered this charming doll pattern on line, and just had to knit it up for my granddaughter. A steep learning curve for me, but I persisted. I love her unruly hair. My daughter chose the colour palette and supplied me with her own hand-dyed yarn.</p><p></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-pY-yfSetki8/X9vyq-zQvyI/AAAAAAAATwo/SEW_A_quZNIlJ0MDDVRzrFSOyi6b6a71gCLcBGAsYHQ/s2048/IMG_1206.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/-pY-yfSetki8/X9vyq-zQvyI/AAAAAAAATwo/SEW_A_quZNIlJ0MDDVRzrFSOyi6b6a71gCLcBGAsYHQ/s320/IMG_1206.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">with hat</td></tr></tbody></table><br /><div>The pattern is available on-line from <a href="https://www.maryjanestearoom.com" target="_blank">Mary Jane's Tearoom</a>, along with knitting patterns for delightful teddies, elephants, rabbits and mice. The patterns are also carried by Ravelry and Etsy (just do a search for "Mary Jane's Tearoom".)<br /><p></p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-69801675254076818542020-12-20T00:00:00.010-05:002020-12-20T00:00:02.690-05:00Quilt as Political Statement<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-K-wc81E6Qis/X8uK0H2kS3I/AAAAAAAATt8/Cg1eofsoSzcEm09tOgtZQMhMKP_0Lki5wCLcBGAsYHQ/s1010/Screen%2BShot%2B2020-12-05%2Bat%2B8.26.37%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="998" data-original-width="1010" src="https://1.bp.blogspot.com/-K-wc81E6Qis/X8uK0H2kS3I/AAAAAAAATt8/Cg1eofsoSzcEm09tOgtZQMhMKP_0Lki5wCLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-05%2Bat%2B8.26.37%2BAM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="border: 0px; box-sizing: border-box; font-size: 12.000000953674316px; font-style: italic; margin: 0px; outline: 0px; padding: 0px; text-align: left; vertical-align: baseline;">AIDS Memorial Quilt</span><span style="background-color: white; font-size: 12.000000953674316px; text-align: left;"> panel, NAMES Project</span></span></td></tr></tbody></table><p>This recent <a href="https://observer.com/2020/11/american-quilts-exhibition-art-of-revolution-toledo-museum/" target="_blank">article</a> in <i>The Observer, </i>by Karen Chernick, traces the history of quilts as political statement.</p><p>In <i>Quilting as a Radical Act: An Exhibition Examines the Art Form's Revolutionary Impact, </i>Chernick reviews a new exhibition at the Toledo Museum of Art, titled <i>Radical Tradition: American Quilts and Social Change. </i></p><p>While the common public perception of quilts and quilters is one of cozy domesticity, the reality is often different. This show gathers together over 30 quilts from the mid-19th century onward, revealing a long history of quilts made for social causes.</p><p>Quilts that comment on our current pandemic, and that pay tribute to its victims, are no doubt already in the making. </p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8506017846981264763.post-26937419178953699082020-12-16T00:00:00.006-05:002020-12-16T05:56:27.608-05:00"Creative Threads" @ BIG Arts, Sanibel Island<p>Thank you, Lynda, for sharing news of this 3-artist exhibition of art quilts, currently staged at BIG Arts Gallery, Sanibel Island, Florida. Featured is the fibre-based art of Sally Dutko, Bonnie Langenfeld, and Angela Scozzari.</p><p>While we can't teleport to Florida, we can enjoy the <a href="https://bigarts.org/creative-threads-sally-dutko-bonnie-langenfeld-angela-scozzari/" target="_blank">virtual version</a> of this show.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-R6S8NYFP_cg/X8r6lhPFBvI/AAAAAAAATtM/zhqhu7HsCSwdCKqxajxRcb4QCE3FpLBYgCLcBGAsYHQ/s846/Screen%2BShot%2B2020-12-04%2Bat%2B10.11.38%2BPM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="846" data-original-width="748" height="320" src="https://1.bp.blogspot.com/-R6S8NYFP_cg/X8r6lhPFBvI/AAAAAAAATtM/zhqhu7HsCSwdCKqxajxRcb4QCE3FpLBYgCLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-04%2Bat%2B10.11.38%2BPM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sally Dutko, <i>Dots Without the Polka</i>,<br />hand-dyed cottons, silk<br /><br /></td></tr></tbody></table><br /><div>I particularly enjoyed the larger pieces in the exhibition, one of which is shown above. The physical space of the gallery seems to favour the bigger, bolder works. No doubt the charms of the smaller pieces are appreciated by those seeing the show in person.</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8506017846981264763.post-11163798947975513822020-12-13T00:00:00.030-05:002020-12-14T09:18:38.331-05:00All in good fun<p>For me, one of the joys of being a grandmother is making things for the grandchildren.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-7xX-keCvdq0/X9D9Cd29FjI/AAAAAAAATu4/rG6Pu2ap_cMzfEMi_i29oi2owAl6A_N4ACLcBGAsYHQ/IMG_1184.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="320" src="https://lh3.googleusercontent.com/-7xX-keCvdq0/X9D9Cd29FjI/AAAAAAAATu4/rG6Pu2ap_cMzfEMi_i29oi2owAl6A_N4ACLcBGAsYHQ/w240-h320/IMG_1184.jpeg" width="240" /></a></div><br />Here is a recent project I've completed for my little grandson, whose nursery has been given a "hunting lodge" theme. <p></p><p>I made the "stag head" from a pattern by <a href="https://amie-scott.com" target="_blank">Amie Scott</a>, a Toronto-based pattern designer, who also offers clothing patterns. On her website are similar patterns for unicorns, bunnies and rhinos. Amusing, yes?</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-14912367645161872122020-12-09T00:00:00.006-05:002020-12-09T00:00:02.972-05:00Artists Reinvent the Mask<p> From <i>The Guardian: </i>45 artists were asked to reinvent the mask. Here's the <a href="https://www.theguardian.com/artanddesign/gallery/2020/nov/21/artists-reinvent-the-mask-in-pictures" target="_blank">link</a>.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-rzwQuiiBIIE/X8t_PWy08PI/AAAAAAAATtU/HxF-lzXjCuMYRZEisxJD3DjsdfVofIotACLcBGAsYHQ/s1392/Screen%2BShot%2B2020-12-05%2Bat%2B7.37.37%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1392" data-original-width="1044" height="320" src="https://1.bp.blogspot.com/-rzwQuiiBIIE/X8t_PWy08PI/AAAAAAAATtU/HxF-lzXjCuMYRZEisxJD3DjsdfVofIotACLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-05%2Bat%2B7.37.37%2BAM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Porcupine Fish</i>, Liz Sexton</td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-uR5Do6VuP2c/X8t_uzGuczI/AAAAAAAATtc/94Ap0Qt8bHYvj-wr8gXOvAcz3ng7hT3HQCLcBGAsYHQ/s1148/Screen%2BShot%2B2020-12-05%2Bat%2B7.39.53%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1148" data-original-width="1148" height="320" src="https://1.bp.blogspot.com/-uR5Do6VuP2c/X8t_uzGuczI/AAAAAAAATtc/94Ap0Qt8bHYvj-wr8gXOvAcz3ng7hT3HQCLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-05%2Bat%2B7.39.53%2BAM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Beak, </i>Elizabeth Morisette</td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-VChmOdxLGD8/X8uAU33owoI/AAAAAAAATtk/71ERmSoIcI4fi4V7PAyG4DzupBpopMaLQCLcBGAsYHQ/s1154/Screen%2BShot%2B2020-12-05%2Bat%2B7.42.27%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1150" data-original-width="1154" src="https://1.bp.blogspot.com/-VChmOdxLGD8/X8uAU33owoI/AAAAAAAATtk/71ERmSoIcI4fi4V7PAyG4DzupBpopMaLQCLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-05%2Bat%2B7.42.27%2BAM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Breathing Apparatus</i>, Adrienne DeLoe</td></tr></tbody></table><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-22973028549472292022020-12-06T00:00:00.020-05:002020-12-15T10:36:01.856-05:00Vogue Magazine celebrates patchwork<p>Recently published by <i>Vogue</i>, an amazing photo essay about patchwork on the runway. Catch it <a href="https://www.vogue.com/article/a-survey-of-patchwork-on-the-runways-from-the-archives" target="_blank">here</a>.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-CtbzAHvRvUg/X8uREP12XfI/AAAAAAAATuM/zL1cgY-B0lcsazx4YxcXxqlgbHYIcabXwCLcBGAsYHQ/s1182/Screen%2BShot%2B2020-12-05%2Bat%2B8.53.51%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1182" data-original-width="788" height="320" src="https://1.bp.blogspot.com/-CtbzAHvRvUg/X8uREP12XfI/AAAAAAAATuM/zL1cgY-B0lcsazx4YxcXxqlgbHYIcabXwCLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-05%2Bat%2B8.53.51%2BAM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dolce & Gabbana,<br />spring 2020 ready-to-wear</td></tr></tbody></table><br /><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8506017846981264763.post-15178928356285284552020-12-06T00:00:00.019-05:002020-12-11T06:21:24.148-05:00Riopelle at the Montreal Museum of Fine Arts: virtual show<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-8_rzLnlLg_0/X8y9VJa5t2I/AAAAAAAATuU/34wDUsy4Z-AZO-GiPMyO6HrqYs7ZtgT5QCLcBGAsYHQ/s1038/Screen%2BShot%2B2020-12-06%2Bat%2B6.14.26%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="788" data-original-width="1038" src="https://1.bp.blogspot.com/-8_rzLnlLg_0/X8y9VJa5t2I/AAAAAAAATuU/34wDUsy4Z-AZO-GiPMyO6HrqYs7ZtgT5QCLcBGAsYHQ/s320/Screen%2BShot%2B2020-12-06%2Bat%2B6.14.26%2BAM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Point de rencontre – Quintette</i>, 1963,<br />the largest painting Jean-Paul Riopelle ever made,<br />displayed prominently at the entrance to the exhibition.<br />Commissioned for Toronto's Pearson airport, <br />it was later gifted to France to mark the bicentennial <br />of the French Revolution.</td></tr></tbody></table><p>The MMFA offers us a <a href="https://www.mbam.qc.ca/en/museums-gift-of-the-holidays/" target="_blank">virtual tour</a> of its most recent exhibition, "Riopelle: The Call of Northern Landscapes and Indigenous Cultures", available at no cost until January 11. During this period, while the galleries are closed, other shows can be viewed at the same link:</p><p></p><ul style="text-align: left;"><li>Paris in the Days of Post-Impressionism: Signac and the Indépendents,</li><li>Yehouda Chaki: Mi Makir – A Search for the Missing, and</li><li>Manuel Mathieu: Survivance (coming soon)</li></ul><div><br /></div><div>Riopelle is one of my favourite Canadian painters, and I only wish he were better known, especially outside Canada.</div><div><br /></div><div>Later in his career, Riopelle drew inspiration from Canada's aboriginal cultures, and the show fully addresses the issue of cultural appropriation.</div><p></p>Unknownnoreply@blogger.com0