The Painted Drawings of Tony Calzetta

Tony Calzetta’s art exists between symbolism and story, straddling narrative and figure. His pieces are often large in scale, confronting the viewer and are a contemporary interpretation of how a “painting will react to you if you react to it. You get from it what you bring to it. It will meet you half way but no further. It is alive if you are. It represents something and so do you.” (Ad Reinhardt).

Often his works on canvas and paper have an iconic quality, suggesting either a glimpse into an ongoing “scene” (like a frame from a multi panel graphic or cartoon), or imply a rendering, in paint or charcoal (a very direct tool in the hand of the artist) of a cinematic still.

The large-scale nature of Calzetta’s “painted drawings” is frequently challenged by humourously irreverent titles. Again, there’s an allusion to a larger story, but we’re only given a hint.

Two significant recent exhibitions of his work have been Fabulous Fictions and Peculiar Practices (2017, at the GPAG, in Grimsby, ON, CA) and Imago mundi (also 2017, at the Palazzo Loredan, Venice, Italy, curated by Francesca Valente). Calzetta has only produced several artists books / livres d’artiste, sometimes in collaboration (How God Talks in His Sleep and Other Fabulous Fictions, 2009), sometimes as solo projects (War Stories for Children and Art Stories for Adults, 1999).

Calzetta graduated with an MFA from York University in 1977. He’s been exhibiting for nearly four decades, primarily out of Toronto (Pollock Gallery, Mira Godard, Fran Hill Fine Art Gallery and more recently De Luca Fine Art) but also national and international spaces. His art resides in numerous private compendiums, as well as notable public galleries and corporate collections in Canada and abroad. These include Canadian External affairs (Ottawa), Canada Council Art bank, National Library (Ottawa), Fisher Rare Book Library (Toronto) and Reinsurance Group of America (London, UK).

Having recently relocated to Niagara, Calzetta, along with his partner (multi disciplinary artist Gabrielle de Montmollin) have collaborated in establishing AIH STUDIOS, a multipurpose site combining an exhibition, production and living space.

Selected works in a variety of media, and more information on Calzetta’s art, can be seen at the extensive online portfolio here.

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What About Rodman Hall? A Recap: So Far, So What?

As we approach the Fall of 2018, and some decisions have apparently been made, some of which have been made public, many of which have not, I decided it was time to consider re visiting the ongoing relationship, it its deterioration or denouement, edit as you will, between Brock University and Rodman Hall Art Centre.

To facilitate that, I’ve made all of the articles (my lord, I didn’t realize there were so many) available here, on my own site, and created this post as a gateway to everything you need to know (that I’m able to share at this time, as many of you know there’s more, and know more, than I’ve been able to share, but may yet do so, in the Fall…specifically how some staff have been treated, and the pharisees at Brock, who say one thing and do another, in that sphere).

These can also be found at The Sound, but more light on this situation, more availability and information, is always good, especially to counter some of the past actions and attitudes from Brock University on this issue.

Some links are still external, and if these don’t work, just message me, and I’ll correct them.

It all started with an exhibition at NAC which I speak about here.

Not long after that show opened, I spoke with the consultant in question, Martin Van Zon, from Interkom Smart Marketing, on the air on CFBU, as part of the ongoing show I produced there, Niagara Voices and Views. That conversation can be heard here.

The first article was a teaser to direct people to The Sound’s website for the longer series, and was the only one from the initial series to appear in printed form. As the four evenings of consultations happened over two weeks, at the beginning of a month, it made more sense to post the series online, as they could be more relevant, in terms of immediacy of the events, and also for ease of sharing. At this time, too, the Facebook group that would eventually lead to the Rodman Hall Alliance was forming, so online seemed expedient for that, as well.

The second, third, fourth and fifth chapters, all dealing with the Interkom consultations, are at the previous links. There’s two more chapters, that focus on the Barlow Report and the presentation that Janis Barlow gave, at The Masonic Temple about the report and proces, that can be found here and here.

There was an update that came much later, which was more like a chart, with an image provided by Brittany Brooks. This was in response to the Rodman Hall Coaltion consultations in late 2017.

I’ll be resharing these links on my various social media spaces. As always, any who feel that they have information they want to share with myself or The Sound, regarding this issue, please contact us as you feel most comfortable. If necessary, confidentiality will be respected, as I’ve been happy to do all along this series.

As I have promised / threatened, a further update, perhaps where I offer some things I’ve known and have been reluctant to share but am feeling must be put out for public consideration, will be coming in the Fall of 2018.

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Dennis Tourbin: layering time, place and space

Years ago, in a conversation with someone whom also has that rare affliction of being both an arts writer / critic and having obtained a degree (and published in the field) of art history, we decided to enumerate the differences between art critics and art historians. Our (perhaps inebriated) comments were incisive, if caustic (offensive doesn’t preclude veracity).

Despite that jocular irreverence, several ideas proved enduring. For example: art historians are more “official” and reluctant to change positions. In fact, one of the best teachers I ever had, who turned me onto the living and dangerous nature of art history, insisted “your opinion is irrelevant, as you’re nobody”. Look to the canon and genuflect footnote cite endnote and quote, forever and ever, amen.

Yet, when I was taking Early Italian Renaissance Art from him and cited Paglia’s Sexual Personae and Rosenberg’s The Sexuality of Christ in Early Renaissance and Modern Oblivion, or a scintilla of Foucault, he verified my sources and then embarrassed me in class, using me as a response to students’ complaints re: his pedantism.

Oh, sometimes I miss the university. Then I remember being mocked for daring to cite, in a paper about the art of the French Revolution – with sardonic contempt, for sure – Mao’s assertion that it hasn’t been long enough to decide if it was a good or a bad thing.

But what’s this tangent have to do with Dennis Tourbin’s La ville dort (translated as The city sleeps)? La ville dort is currently dominating one wall in the Hansen Gallery at Rodman Hall facing John Moffat’s massive psychedelia of Rechatin Miscalculated? (Regrettably, I shan’t be discussing Moffat here, but he has works in the MIWSFPS. Go. See them. #artcriticfromhell insists.)

The point: Tourbin does many things in La ville that I usually disdain (i.e. excessive text and iridescent, almost violent hues). Yet Tourbin presents an enamouring work I’ve visited repeatedly when I should’ve been reviewing (as promised) other pieces. But I had to go take one more look, basking in its burnished glow and evocative words.

The vertical work, to the right of the fireplace, has flat green “water” and golden land with text fragments “written on the earth.” Many of Tourbin’s contemporaries from this era (early 1970s – John Boyle or Greg Curnoe, both in the last instalment of curator Emma German’s Up Close and In Motion) employed similar fonts with cleanliness and ease. Some of the text is “cut off” by the topography, the map shape, and the words alternate in hue from reds to blues to yellows to blacks and more. Although the gold and greens visually seized my eyes and pulled my body over, the poetic words are what held me. This, especially: When I leave St. Catharines now, I only take enough memories to do me for the year. That’s what St. Catharines means to me.

This evokes my previous thoughts on Up Close, of “I’m not from here, I just live here” or how there is no point where “then” stops and “now” begins, in exploring STC’s history and being.

Dennis Tourbin La ville dort

Tourbin died in 1998. The front gallery space at NAC bears his name (it’s a space often focused on emerging / local artists, continuing his legacy). The didactic panel cites his major role and influence here in St. Catharines, along with Boyle, Moffat, Tobey C. Anderson. Ernest Harris, Jr.’s painting is still on display in the adjunct space in Hansen, and in conversation with German the idea of the interconnectivity, the suffusing environment that many artists live within, like fish in water, was mentioned. These recent manifestations of Up Close are regionally aware: it’s worth noting the role that St. Catharines based artists and activists have played in the history of Canadian Art, as German is showing us in most recent iterations of  her examination of RHAC’s collection. This echoes history cited in The History of Painting in Canada: Toward a People’s Art (published several years after Tourbin’s piece was made) or by Robert McKaskell in his Making it New! (the big sixties show).

In 2012, Rodman presented, in collaboration with CRAM International and NAC (curated by the inestimable Marcie Bronson) Dennis Tourbin: The Language of Visual Poetry, described as a “city-wide celebration of the St. Catharines-born artist’s life and work.” Observing how Up Close is / has been structured, German seems with the last few iterations to be using Ernest Harris, Jr.’s painting (which still rests above the mantle in Hansen) as a base: a contemporary artist in STC whose work is not only about another contemporary STC artist (in being titled Mel’s Brushes, as in painter Melanie MacDonald, who had a work in a past Up Close) but that acts as an endpoint for an historical line from “then” (Tourbin, or previously Anderson, or Boyle) to “now” with Ernest’s painting (a portrait in painting tools – brushes – rendered in a painterly manner. The lines intersect in multiple ways).

To bring it to contemporary times, I also can’t look at this piece with its title La ville dort / The city sleeps and not think of the large number of individuals who are part of A Better Niagara and that have put their hats into the ring for positions on regional council and to (paraphrase Laura Ip) “reset the region”, perhaps to wake it up.

This version of Up Close will shift soon: I could tease you with who’ll be showing next, but instead I’ll just remind you to go see it, go often, and spend time in this considered selection from RH’s collection. Frankly, looking at how Brock University is underfunding, understaffing and generally neglecting Rodman Hall (and how many tenured faculty at the MIWSFPS are complicity silent on the issue), your time may be limited.

Up Close And In Motion will be on display, in different ways and forms, until January 2019.

Image credit: Danny Custodio, of Dennis Tourbin, “La ville dort”, 1973, acrylic on canvas, Gift of Nadia Laham, 2012, collection of Rodman Hall Art Centre/Brock University. . 


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MUSE: Nature in the Urban Core at City Hall

The third floor of City Hall in downtown St. Catharines has hosted a number of exhibitions in the hallway (sometimes even in Council Chambers) to the left, and then right, of the Mayor’s office. There’s alternately two to four exhibits annually in City Hall. When visiting (I believe I was last here for a large juried show about #Canada150, but there’s been past curated excerpts from the City of St. Catharines collection) its good to apply some of the same rules as when engaging with art in the public sphere / public art. Unlike the usual, somewhat uniform visitors to a gallery space or an artist’s studio, very diverse communities will encounter this work (there’s a litany from City Hall about it being “our” building, which is something more than just a marketing campaign. After all, during the farcical Van Zon / Interkom “consultations” around Rodman Hall, many people expressed appreciation for the grounds of that beautiful site as their own, as they should).

MUSE is a small exhibition of two dimensional works on display for the rest of the Summer. I’ll sample the following from the didactic panel: “Muse focuses on…artists and their muses. A muse is defined as a source of inspiration…The works on display demonstrate how our shared artists continue to find muses in their everyday lives and continue to express the worlds around them. An exhibit brought to you by the City of St. Catharines Cultural Services Office.”

The works have a certain nostalgic quality to them, with a prevalence of landscapes. Sandy Middleton’s Ghost Trees (2009) is an example of her photographic works that are printed on a variety of non traditional surfaces (several years ago, at an open studio she hosted during In The Soil, her many images of Cuba were printed on wood and the inherent texture and colour seemed to give the scenes a humid, tropical light). This work is printed on metal  and the sheen and shimmer makes the scene haunting and ethereal.

Pete Malaguti’s Port Weller at Dawn also has an atmospheric quality to rival Middleton’s photograph (both Middleton and Malaguti’s pieces are part of the City of St. Catharines Collection. I’d like to see more from this collection, as displaying works that have historical and regional relevance has been wonderful to see in Emma German’s Up Close and In Motion, at Rodman Hall). Malaguti’s scene seems to bleed and ripple, like sunlight on water, and the mirroring that happens in the painted image has a quality of memory over realism, a moment suspended and captured in time – and paint (faint to vibrant yellows, mauves giving way to deeper indigos).

Pete Malaguti Port WellerMiddleton’s Ghost Trees offers gradations of greys, steel to ash to charcoal, and has a quiet quality that suggests C.S. Lewis’ “wood between the worlds” from The Magician’s Nephew in his Narnia series. The forest is a place of wonder and danger, perhaps with a funerary quality (all the fairy tales warn you about it, remember). If you know Caspar David Friedrich’s Monastery Ruins in the Snow, this emotional quality is familiar.

Sandy Middleton Ghost Trees

Other works here are vibrant and expressive: Joseph Hallam’s St. Catharines, Upper Canada, Ed Hausmann’s St. Paul St. on a Friday Night, Sybil Atteck’s Bélè Dancers, Angus Bascombe’s Shipping Post, Leo Glasgow’s Boats and George Enns’ Resting Shells. But MUSE is an uneven show. Several of the works will reward your attention with an evocative quality that communicates not just the artist’s vision but their inspiration, but many are too easily passed by (whether this is the danger of installing in non traditional spaces, or that not all works are of the same quality, I leave to the visitor to decide).

MUSE will be on display on the third floor of City Hall at 50 Church Street in downtown St. Catharines until September 14, 2018, during regular City Hall hours.

Sandy Middleton will be having a reception and sale of works at her studio (36 James Street, Studio 202, in downtown STC) on Friday, August 3rd (5:30 – 8:30 PM) and Saturday, August 4th (11 AM – 2 PM).


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Why I can no longer support the Saskatchewan Arts Board

I’ve purged a great deal of what I call the #YXE hypocrites from my news feed, mostly for my own mental health but also due to how with activities and responsibilities in Niagara, there’s little worth in wasting time refuting some of the ignorance suffusing the visual arts community there. Although it is enjoyable to point out that critics of the Remai Modern like Marcus Miller or Jen Budney both are vocal and well funded supporters of perhaps the most institutionally racist university in Canada, we live in a post truth world (a clarification: examples of this can be found online, but I won’t link to them, as proliferation of garbage, even for critical dismissal, still spreads the stink). This is a community, after all, where highlighting that an artist run centre had to be shamed into paying artists (employing forceful language when concerns raised at AGMs and in other spaces were ignored) was dismissed with slander and libel.

However, recently it showed up in my social media feed that the Saskatchewan Arts Board is marking a significant anniversary. Unsurprisingly, I was reminded of the dishonesty, unproffessionalism, ignorance and – perhaps the most unforgivable aspect – how I was made to feel that my questions about the accountability and transparency of the SAB in funding organizations made me akin to a member of the Canadian Taxpayers Federation.

An aside: Now, I don’t speak for other areas, such as music or literature. But I suspect that if corrupt incompetence is there in the areas I’m familiar with, it’s likely there in areas with which I’ve not concerned myself.

I learned, through emails and other conversations with board members (if one can call a petulant rant by former aka artist run board member Jay Seibel a “conversation”) that they had intentionally lied at an AGM, ignored board governance and even, arguably, contravened it (an email I received from the aka board chair at the time indicated that decisions were made WITHOUT her approval) to facilitate the ending of my employment there. There was also significant evidence that one board member – the aforementioned Miller – was “punishing” me for the many peices I’d written in different publications highlighting the frequent – and one official – complaints regarding institutional racism at his employer, the University of Saskatchewan.

I forwarded all this to SAB Visual Arts Officer Noreen Neu: I also documented and forwarded the email expressing complaints and asking questions regarding my dismissal. Amusingly, when I posted an excerpt from this email on aka’s FB AGM page – with the permission of the person who sent it to me – aka deleted it, claiming “privacy was infringed.” Strange to think that there can be privacy invoked for something that the board and director previously denied even existing.

Neu did nothing. It is also unclear if the SAB was aware – or if they would have acted  – regarding how the “new” position created at aka after my departure was at a significantly smaller salary, while demanding the same hours and more duties.

When I raised the issue in other spaces – with other well paid cowards such as the then SAB CEO (who was instrumental in the travesty of ending the Sask Film Credit and destroying most of the film and television industry in that province), or with other groups, such as CARFAC Sask (whose then director only “talked” to aka about not paying artist fees when it became clear their own sullied reputation was at stake if they continued to do nothing) the hypocrisy of the region became clear.

Now, an organization is only as good as its employeers, as its members: I remember when Video Vérité was in crisis, and then (now long retired) Visual Arts Officer Doug Townsend was in attendance at a crucial and overdue AGM, and very well informed on the malfeasance of the VV board. Contrast that to how Neu was absent, literally and ethically, from any meeting or event where, as a representative of not just the SAB but many who support ethical actions in cultural spheres – and a guardian of the important and often criticised role of public funding for the arts – where she might have called aka’s board and director to account…

Townsend once, much to the Director of TRIBE’s chagrin, commented artist run centres (ARCs) “needed to be policed.” Amusing that this same person was offended, as I’d never been employed by an ARC that bounced cheques as often, nor seemed unable to fulfil basic SAB requirments, such as reports / updates to ensure funding was released. Townsend was present at the VV AGM (which was suffering from similar problems as aka artist run), and brought his significant experience (former Director of TPG, an artist in the community) to the table. This was how it should have been, how it should be, not the lazy ignorance of the aforementioned Neu.

I can remember when she was dismissed from the Dunlop Art Gallery. Bluntly, many of us were surprised she’d been hired, as her previous experience was primarily in Public Programming at the Mendel (the Mendel had a reputation for incompetence among many staff that was ignored and indulged. This was a manifest danger of having a powerful City of Saskatoon Employee union, that also kept many qualified candidates out).

I was hired, while an MFA student, to assist two artists doing a project there, which she was supposed to oversee. Her incompetence and disinterest were an issue with both artists, and both frequently commented to me that they weren’t unhappy working with me, but found Neu more of a road block than a facilitator. (I’m still in contact with one of these artists, a very affable and soft spoken person who lost his temper – something I still find hard to believe, but speaks to the ineptness at play – with Neu, at that time).

Her departure from the Dunlop was swift: allegations from the city (the Dunlop is a city affiliated gallery, more closely entwined with city administration than the Mendel was to its city civil servants, at that time, and the Regina Mayor at the time was very “hands on” with many organisations) of incompetent chicanery, as regards financial concerns, were levied. The city of Regina seemed to be intent to use the situation to eliminate the Dunlop, and we – arts groups and concerned individuals across the province and  further – organizsed to prevent this, successfully.

Yet, I remember, in conversation with then then Saskatoon based ARC administrator Winnie Fung, asking why no one was talking about how Neu was unqualified, and arguably could have been very inadequate to the job, as I wasn’t alone in my previously cited experience of her “abilities”. She didn’t have director level experience, and many had expressed surprise at her hire. Other stories had leaked up to Saskatoon about financial mismanagement at artist dinners and such: things an experienced director would be able to prevent. Fung commented that “we” were all ignoring that, for the “good of the Dunlop.”

There is a special place in hell, if I believed such a place existed, for the hypocrites in cultural spaces who demand their opponents behave ethically, and yet don’t themselves. It is quite disgusting, we can all agree, no matter our political stripe, that when a group that makes ethics a large part of their (perhaps only superficial) being is so openly willing to abandon those ethics that corrupt is too weak a word.

And attitudes like that are how, years later, when dealing with serious issues about an artist run centre that chooses to ignore governance, ethics and transparency, it seems obvious that aka would get a free pass on what are actions that should bring the centre’s funding into question. My long history with ARCs in three provinces has shown that this is sadly common. I don’t expect integrity of the board, or of the director, a careerist whom cancelled several shows immediately (several artists contacted me to ask what had happened) and whom plagiarised an emerging artist program pioneered by another centre in the city, excluding paying the artists. (There is also a special place in hell for those whom exploit emerging artists as a means to salvage their decreased funding, as aka was doing at the time).

The role of the Visual Arts Officer with the SAB is not just to hand out money indiscriminately, but to foster and support a community. But when undermining is the practice and hypocrisy is the rule, the Saskatchewan Arts Board becomes a travesty. Again, what I hate the most about this situation is that a natural ally like myself has been made an enemy: as I said to someone recently who opposes arts funding from a very uninformed, right wing perspective (yet whom I have good arguments with, both of us coming away less “sure”), you oppose arts funding because of what you don’t know, and I oppose much of it because of what I do know, and have seen.

But this was the beginning of my disappointment, that became distaste, that became dismissal and now, at best, indifference, to the Saskatchewan Arts Board.

It was also the beginning of the end of my time in Saskatoon, and also when I went from someone who had supported that community in many ways to someone that now feels required to highlight the dishonesty and self serving sanctimony of that fetid place.

That is a chapter in why I have purged most #YXEArts from my social feed, and have little good to say about that place.

That is why, on the anniversary of the Saskatchewan Arts Board founding, I wonder if they’ll survive the change in government that’s coming. Saskatchewan has a history of letting right wing parties make a financial mess, then the NDP comes in and cleans it up. Amusing that the NDP have more of a factual reputation for austerity in that place than right wing media shills would have you believe. Brad Wall’s departure to officially – as opposed to implicitly – work for an Alberta corporation, means the NDP will – despite their innate ability to mess things up they’ve demonstrated in the last few Saskatchewan elections – form the next Provincial Government. And they will do what they did last time: cut culture and cultural spending, as they feel, perhaps not incorrectly, that those groups are politically beholden to them, and have no other real option.

That is why if the SAB does get hit very hard, I will try to suppress my schaedenfreude, but might only be able to muster apathy.

That is why – unlike my nearly two decades in the gulag archipelago of Saskatchewan – I don’t wish the Saskatchewan Arts Board congratulatios on this anniversary. I don’t wish them well, at all. It’s been suggested that the opposite of love isn’t hate, but apathy. That seems appropriate here, and perhaps it’s worth considering that I was brought to this point by the Saskatchewan Arts Board itself.



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