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. . 

 

Writers’ Blocks: Sheldon Rooney’s visual library

Sheldon Rooney’s work is often derivative: I don’t mean that in a derogatory manner, but his work takes its inspiration, its genesis, from elsewhere. His ongoing series of album covers, for example, or works that reference musicians or actors, are illustrative interpretations of his musical and cultural interests. He was recently nominated in the Established Artist Category for the 2018 St. Catharines Arts Awards (sadly, he didn’t win, but this year saw a deep ocean of quality nominees. Buy one of his works to make it up to him, ahem, #buymoreart).

In the latest incarnation of Up Close and In Motion, the same wall that recently had Tobey C. Anderson’s work exploring his mortal illness, or that had Janet Jones’ abstracted suffusive paintings, is now filled with many small portraits of different writers of import to Rooney (these are delicate wood burnings where the lines and details so common in Rooney’s work seems to belie this process). Rooney’s playful humour is in the title: Writers’ Blocks is both the name of the series, and a literal description of the work, and also references the malady of the not quite same name.

An amusing side point, that also will hopefully inform your enjoyment / interaction with Rooney’s work at Rodman. I realized in thinking on this work that I rely greatly on literature, and in conversations for articles about artists like Melanie MacDonald or Clelia Scala, literature was a common point, that informed and deepend how I understood their practice, and what they were making.

So, in light of that visual “sampling” of Rooney’s reading, I offer a “review” that bookends: Rooney chooses writers to illustrate, to depict, and I have chosen images of these writers and will offer an excerpt of their writing, that is important to me. From words to images back to words: your intrepid #artcriticfromhell offers this non traditional response to Rooney’s work, furthering some of the ideas that curator Emma German has highlighted with her focus on Slow Art Day, but also with presenting artworks that demand visual attention, and considered looking. Writing about art has almost always been about literature, for me, too, and one of the authors Rooney offers as a portrait (Robertson Davies) was an early influence in this area.

“So, let us go then, you and I” (T.S. Eliot, whom I don’t remember seeing among the faces Rooney rendered here), and here’s my selected “biography” of the authors Rooney has “sampled” for us. Your intrepid #artcriticfromhell suggests you seek these authors out, and read them yourself, and see why the artist consideres them worthy, and why I find such joy in his “library.”

Timothy Findley: “Literature was intended to be dangerous. Art was meant to be dangerous. Ideas were nothing if they were not dangerous.”

Timothy Findley

 

 

 

 

 

 

Anaïs Nin: “Worlds self made are so full of monsters and demons.”

Anais Nin

 

 

 

 

 

 

Irvine Welsh: “Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a fuckin couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth; choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats ye’ve produced. Choose life.”

Irvine Welsh

 

 

 

 

 

 

Jack Kerouac: “Whither goest thou, America, in thy shiny car in the night?”

Jack Kerouac

 

 

 

 

 

 

Sir Salman Rushdie: “A poet’s work … to name the unnamable, to point at frauds, to take sides, start arguments, shape the world and stop it from going to sleep.”

Salman Rushdie

 

 

 

 

 

 

Walt Whitman: “Some people are so much sunlight to the square inch. I am still bathing in the cheer he radiated.”

Walt Whitman

 

 

 

 

 

 

Antoine de Saint-Exupéry: “Les grandes personnes ne comprennent jamais rien toutes seules, et c’est fatigant, pour les enfants, de toujours et toujours leur donner des explications. / Grown-ups never understand anything by themselves, and it is tiresome for children to be always and forever explaining things to them.”

Antoine St. Exupery

 

 

 

 

 

 

W. Somerset Maugham: “People ask you for criticism, but they only want praise.”

Somerset Maugham

 

 

 

 

 

 

ee cummings:

“i like my body when it is with your
body. It is so quite new a thing.
Muscles better and nerves more.
i like your body. i like what it does,
i like its hows. i like to feel the spine
of your body and its bones,and the trembling
-firm-smooth ness and which i will
again and again and again
kiss, i like kissing this and that of you,
i like, slowly stroking the,shocking fuzz
of your electric furr,and what-is-it comes
over parting flesh….And eyes big love-crumbs,

and possibly i like the thrill

of under me you so quite new”

ee cummings

 

 

 

 

 

 

George Orwell: “I tell you Winston, that reality is not external. Reality exists in the human mind, and nowhere else. Not in the individual mind, which can make mistakes, and in any case soon perishes: only in the mind of the party, which is collective and immortal. Whatever the party holds to be truth, is truth. It is impossible to see reality except by looking through the eyes of the Party.”

George Orwell

 

 

 

 

 

 

Sheldon Rooney’s many “portraits” that make up his piece Writers’ Blocks is on display at Rodman Hall, as part of the most recent version of Up Close and In Motion, right now. This exhibition shifts often, so go soon, and go often.

You can see the entire series here, along with other work by Rooney.

The Lure of the Local

“Travel is the only context in which some people ever look around. If we spent half the energy looking at our own neighborhoods, we’d probably learn twice as much.” (Lucy Lippard)

I have a game I like to play, here in Niagara: I didn’t start it, but I’ve surely pushed it further.
At a reception nearly three (3!) years ago, NAC Minister of Energy, Minds and Resources Stephen Remus introduced me to several people as being “from Saskatchewan.” I didn’t correct him, but it circulated, and still does, that I was “sprung…up dirty and sad, spiky also, like grass beside the railroad tracks” (Duddy Kravitz) on the prairies. My time in the gulag archipelago of #YXE was nearly two decades, but I was neither born nor a child there (though I’d argue I was too often the only adult in the room).

Even more perverse: my curatorial background (what, you thought your intrepid #artcriticfromhell was one of those ilk who jabbers yet can’t do? Shush, it’s an understandable assumption, based on “my” brethren. But I digress) is very Saskatoon grassroots, as I’ve curated works from the University of Saskatchewan collection,The Photographers Gallery (TPG) Archive and Video Vérité (frequently  focused on the history / histrionics of collecting in Saskatoon, as I also worked at the College Gallery at #usask for some time, assisting in their first and widest inventory of their archive and artworks). Another curatorial venture was REGION which explored contemporary painting in Saskatchewan.

Amusingly, as I write this, the (please, Jesus, Mary and Joseph the carpenter, let it be the) final edits on my contribution to a book / anthology titled Art on the Margins: Visual Culture in Saskatchewan are flying back and forth in the dark email ether twilight zone.

I torment my innocent readers with these anecdotes for two reasons, both shockingly positive.

My own focus in writing, curating and the sludge of Canadian art history has repeatedly been about immediate community, with the history written in the visual arts of a place, a very present “site of contested narratives.”

Secondly (and more relevant to you) is that the latest rendering of Up Close and In Motion (titled Phase 4 / 11) at Rodman Hall is very much a St. Catharines chapter: this is important both for how Ernest Harris, Jr., created a specific painting for 4 / 11, but also in that all the artists on display have a very strong presence in STC’s artistic history. I appreciate this latest evolution, curated by (former) Assistant Curator Emma German, as a means to learn more about my current community, which although no longer “new” to me, still offers exciting anecdotes and visual narratives of “here.”

Ernest Harris, Jr.’s Mel’s Brushes in the front part of the Hansen Gallery is responsive to the artworks German has selected for the back area (more details on them in a moment). His words: “I’m a fan of most of the artists featured during these upcoming months – a who’s who of regionalist all-stars – but I have the strongest connection to the phase 4 artists.”

Mel’s Brushes could also be seen as a gateway to appreciating the 4 / 11 selections, or conversely (yet complimentary), Harris’ painting might be seen as the final punctuation to MacDonald, Wren and Anderson’s works. Backward and forwards, just like an experience of memory which place and artworks can evoke. Read this visual or painted “sentence” as you see fit. Or do what I enjoy in exploring conjunctive interrelations between the artworks: treat them as puzzle pieces that fit together in different ways on different visits, with different orders, to offer unique, yet still contextually / conceptually interlinked, (his)stories.

This (I suspect) is what German would emphasize, with her ideas of Slow Art Day, and with her more creative and less “formal” exploration of the collection at Rodman Hall Art Centre.

Carolyn Wren’s Sheaf of Wheat (a linocut print) sits on the far wall, far opposite the window in the front room. Tobey C. Anderson’s Silken Twine #22, #27, #39 and #41 are to your right, if the window is to your back, and Melanie MacDonald’s Salt and Pepper Muskies sits above the fireplace. The installation is different than previous Up Close and In Motion “phases” in that the three collection pieces occupy the same room. On my initial visit I entered that room first, then went to Harris’ painting. But on subsequent visits, I spent more time with Mel’s Brushes, as its physical separation – and frankly its the most visually dominating of the four (with its rich black void and how it makes the banality of brushes in a tin monumental) – fosters this focused interaction.

 

Anderson’s work is interesting to me in a similar manner to Philia (by Brendan Fernandes, in an earlier UCIM) as these artworks resonates outside of the Hansen gallery and in a wider historical sense. Several friends from both Toronto and Montreal had asked after the CRAM International when I told them I was moving to St. Catharines, and Anderson specifically. It’s likely that I’ve encountered Anderson’s work elsewhere, but I disremember.  These four paintings are from a series that’s as much epithet as resistance, as much memento mori as a visual “diary” of someone who played a major role in the artistic / cultural melee of St. Catharines. They’re small, but dense and vibrant. The bright colours, the organic shapes and abstracted scenes are reminiscent of microscopic slides of disease or other variant biological samples, seen through intense magnification.

These are also self portraiture: perhaps in that Anderson was attempting to “control” his illness, rendering an aspect of his identity onto canvas. These are the remnants of him. I never met him, but his influence on this place has been cited many times to me, and in the quiet “contemplation” of Slow Art Day, of the ruminative interactions that German wants to – and has – evoked with the “up close” part of UCIM, I have met Tobey Anderson.

Art is, after all, the most direct yet most subversive form of history: as it is sometimes the most intimate, yet most symbolic, form of autobiography. Your intrepid #artcriticfromhell likes to “speak in collage”, so I offer this, which Anderson’s work evoked from me: “Illness is the night side of life, a more onerous citizenship. Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use the good passport, sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place.” (Sontag, Illness as Metaphor)

Ernest’s words offer another point of entry (some of the same sentiments / facts came up in brief chat with German): “Carolyn Wren was my high school art teacher and …[s]he was teaching at a university level, something I only realized in my freshman year at Brock. Wren also introduced me to Kate Bush, Tom Waits and Laurie Anderson. Her impact on my young mind can not be overstated. I was still in high school when I was introduced to Tobey C. Anderson as the incoming director of Niagara Artists Centre. His paintings, particularly Idi Amin / Madonna / Mandela / Dada (1989), had a direct influence on me and my first real body of work, which in turn led to my first professional art show a few years later at [appropriately] NAC.”

 

There’s a simplicity to Wren’s work (lino encourages this, and in the right hands, this print medium can be expressive, graphic and emotionally moving) that, if you turn right from Mel’s Brushes can lure you from across the space. But, as Harris indicates, Wren is more important to him as a teacher, and more importantly, a teacher you encounter while malleable and receptive and without whom you can’t imagine being the artist you are now. (Amusing side point: Harris and I have both worked with Evergon, one of the most significant photo / lens based artists in Canadian Art history. Evergon is / was, in many ways, an influence on me like how Wren, or Anderson, were for Ernest.)

MacDonald’s Salt and Pepper Muskies is the only work that matches Harris for size: and both sit above mantles, in an amusing manner, as both seem too playful, too “banal” for the clichéd mantle space (many shows I’ve seen here, however, challenge the architectural “expectations” of the Hansen). MacDonald is the artist I’m most familiar with, of this quartet (the tendons of history and experience join Harris to the others, quite firmly, making this a four person show, in my eyes). Her excellent Florida Noir may be the best painting show I’ve experienced in Niagara; her use of paint, creating surfaces pearlescent and bright, and forms that suggest you might reach out and grab them made that exhibition one of my favourites ever in the Dennis Tourbin (another local artist of significance) gallery. In a fitting definition of “community”, Harris “gave Mel painting lessons” when she attended university (the formal attention to detail in Harris’ – or Mel’s Brushes was present in MacDonald’s Noir exhibition. But I also have to cite how a recent conversation with the founder / director of a community arts organisation emphasised the cyclical nature of supporting local artists so they might mentor and foster aspiring and emerging, so they might one day be mentors to the next upcoming group or generation…)

In past incarnations of Up Close and In Motion, artists from other communities whose artworks – and their own experiences and histories – have augmented Niagara and St. Catharines have been featured (Jones, Dagneault, Cadieux and Tang). I know that future instalments of UCIM will feature several regional artists, continuing this year long exploration of the history of Rodman Hall in a more active (hence “motion”) and more intense (“up close”) way.

4 / 11 has been personally enjoyable and enlightening. When I was first living on the prairies, I read  Lucy Lippard’s Lure of the Local,  and one of the contributors to that anthology made a comment that still lives in my head: “I’m not from here, I just live here.” Up Close and In Motion‘s latest “chapter” literally illustrates the importance of the history and community that Rodman Hall holds in its collection and reinforces the gallery, the centre and the collection’s importance (as so often manifest through the staff, of course), and the quality of visual arts, and artists, in this variant and intersecting “site.” And by “site” I mean not just St. Catharines, but the diverse ways RHAC has presence in Niagara, and beyond (from Harris to Fernandes, from Wren to Cadieux).

This incarnation of Up Close and In Motion (part of the ongoing project) curated by (former) Assistant Curator Emma German is on display until June 23rd. You can read more about it here and here. Different works by different artists from the RHAC collection will be in the Hansen, however, as part of the year long exploration of the collection, until January 2019. All images are courtesy / copyright of Rodman Hall and the artists.

Contemplation and Consideration: Up Close & In Motion at RHAC

Assistant Curator Emma German’s Hot Talk took place on Slow Art Day. This was appropriate, given the ideas at play in her ongoing, year long curatorial examination of Rodman Hall’s permanent collection, Up Close and In Motion.

Two ideas cited during her presentation acknowledge this. Firstly, she described the Hansen Gallery, at RHAC (part of the original house built by Thomas Rodman Merritt, with fireplaces, cornices, decorative domestic flourishes) as “experiential.” This recognizes the uniqueness (no white cube here) of Hansen. When we talked about Up Close German showed me the floorplan of the Hansen, which seemed too plain and linear, too generic, for that very unique space.

Many past exhibitions have responded to its architecture. Forty Five Years of Collecting (2007) had a salon / every available scrap of wall is to be used aesthetic, while other collection shows like A Painter’s Country matched “classic” Group of Seven pieces to the “historical” space. Maggie Groat’s 2014 intervention / interaction is another German mentioned, in her research of how a collection might be presented unconventionally but more relevantly. (This is both an informative and enjoyable reminder of the richness of RHAC’s past exhibitions).

The other idea German mentioned cited the exhibitions’ title: “up close” suggesting time spent contemplating the displayed works  (thus only three in the two rooms, with ample space for the viewer to occupy, to converse with the pieces) and “motion” as the works change at set intervals. The literal space suggests you be a less frantic visitor: but the brief exhibition window means you must make the most of your visit. I can remember works installed in gallery washrooms (unisex, maximizing visitors, ahem) as studies have shown that half a minute is the average time a visitor allots to “art.” More time is spent washing your hands (hopefully..).

The Hansen Gallery was a factor, in scrutinizing the first three “phases” of Up Close: what German has hoped to provide here is a different framework for experiencing Art. So, Brendan FernandesPhilia had the front room to itself not solely for its neon nature, and David Rokeby’s Plot Against Time #2 (Flurry) rests in the same spot, over the mantle, not simply because the dark, hushed and almost whispery scene demands space, in the soft diffused, lately cold, light from the bay window. Also so the visitor might be alone with them, and not have their time together intruded upon by the (equally lovely) massive work of Geneviève Cadieux – from the first instalment of Up Close – or the tiny, layered urban impressions by Janet Jones. These were / are safely in the other room. You can visit them, with renewed attentions, and consider your own walking and looking between them, taking your time with the artwork(s) and your thought(s).

I must add something amusing. Several artists German curated are ones I’ve been unimpressed with, having experienced “them” in other places, other spaces. But it occurred to me I’ve never seen these artists installed in this manner, privileging their individuality over a larger curatorial narrative. Perhaps that’s also why the RHAC version of Material Girls impressed me, as I know the curatorial staff at RHAC saw its installation as more collaborative with the artists than previous, curatorially “top down” incarnations…

In her talk, German also spoke of the “life” of these objects, “resting” in a kind of stasis, like mummies, in the vault, when not “alive” in the gallery: thus, how in the first instalment of Up Close, Cadieux and Daigneault and Fernandes interacted was unique, and won’t happen again. In this same way, any visit to these works, in this “slow” aesthetic German is presenting, emphasises the uniqueness of the visitor as well as the art object. The environment of Up Close is about the individual artworks but also the larger framework of looking, with consideration and contemplation. No need to rush through, say you’ve “seen” the show, and yet forget it before you’ve walked out the front door….

Informative text panels are provided, yet German spoke of how she encourages people to experience the art, individually, then as a group, repeatedly, and then read the words. Employ them as a component of your own dialogue with the art. If you read my impressions of Philia, by Fernandes, you’ll remember my own admission of how the piece was interesting, but the text offers a depth that animated ideas of my own, re: HIV / AIDS, and I found in that artwork a repository, or a catalyst, for my own experiences. Jeanne Randolph spoke of this, in her essay The Amenable Object, of how most viewers provide much of the content, if not the lens, through which we understand artwork (I’ve often played this on people who find much art empty, arrogant and self centred, as they won’t / can’t / daren’t leave their own echo chamber).

Right now, the aforementioned Rokeby video installation, Jones’ delicate paintings and a Brendan Tang sculpture await visitors in the Hansen space. Tang’s ceramic constructions, merging stereotypes of Asian vases with Manga influenced slickness, with imagery and symbols that are symbolic and humourous, have brought the artist significant praise nationally and beyond. A fine example of the depth and quality of RHAC’s collection. Another way, perhaps, in which some at Brock who should be aware of the value and importance of RHAC might be reminded of it….again, until they pay attention, perhaps.

But that’s not why I mention Manga Ormolu Ver. 5.0-K: here, in Up Close, the singular work can be walked around, examined and experienced to its full potential. When I last saw Tang’s work, in an amazing show with a half dozen pieces, it was overwhelming, but perhaps didn’t serve me – or the pieces – as well as one whose only “challenge” in the Hansen is Jone’s painting. Jones offers a respite to Tang’s serpentine detail, as her painterly softness and play of light and fluorescence will make you marvel at her acumen in Solo #1 – 4. It may sound like a back handed compliment, but Jones uses paint in a manner that makes you wonder if its paint, with depth and imitation of refracted light that (like Cadieux’s photo works) changes with where you stand, literally, in the gallery.

Up Close and In Motion isn’t about quantity, like many collections exhibitions, but quality. How that quality is defined is fluid and changing (just like the works on display will). It’s about they speak to each other and help define and elaborate each other’s meaning, and we help redefine it over the year, with repeated visits and with the recollections of what was there before, and the expectations of what’s upcoming. It’s almost as though I’m talking about visiting people, not inanimate objects: but these works are indexical referents of many hands, many people.

Another aspect of this intuitive curatorial exploration of RHAC’s collection is that several local artists have been invited to make work in response to works in said collection, and this will be in the space with the future incarnations. Ernest Harris, Jr. (whose work was in Small Feats, and who, along with other artists like Melanie MacDonald, has had an annual open studio show and sale in downtown STC) will be the first of these, opening on May 8th. The teasing text: “Often recording details of their immediate surroundings and elements of everyday life, the artists [in the next instalment of Up Close] have made important contributions to the development of local artist-run culture. Tying together what he learned from these artists, many of whom are peers, mentors, and friends, Harris stimulates an active exchange between multiple generations of St. Catharines-based artists that have been both influential and relevant to his practice.” Again, the idea of the art object as a living thing that speaks to us, and a history and site, is present here.

Up Close and In Motion is neither a linear, nor a chronological show about the collection, but an endeavour that offers a different way to know the artworks that comprise the RHAC collection. German’s words: Up Close “frames the exhibition space as flexible…tracing important developments in contemporary art across genres such as hybridity within material structures, sculptural experimentation, performative gesture, and time-based media, many of these works will be displayed for the first time since being acquired for Rodman Hall’s permanent collection. At this moment, we invite you to experience the permanent collection and consider the role it plays in representing our common aspirations, collective imagination and community spirit.”

Up Close and In Motion will be on display, with different artworks and artists, until January 2019. The images in this article are courtesy Rodman Hall, and are copyright of the artists (respectively, Brendan Tang, Janet Jones and the last is a teaser for Harris’ upcoming show. The image is St. Paul’s Variety Meatball, 2017, ink and watercolour on paper).