by Erin Campbell
Kala Ghoda is the centre for art in Mumbai. At the centre of Kala Ghoda is Jehangir Art Gallery, where artist M.A. Jafar sells his paintings on the sidewalk outside of this monumental building. He creates his paintings alongside palm-readers, rice-writers and a host of sketch artists who promise to draw your portrait in five minutes or less.
Posted in No Category
Tagged abstract expressionism, abstract realism, artist profile, collecting art, Erin Campbell, Jehangir Gallery, Kala Ghoda, M.A. Jafar, Mumbai, palette knife painting, Prime Minister Bhutan, texture
by Janine C. Grant
The exhibition of Beat Nation begins even before you enter the Vancouver Art Gallery. Carved into the cement by the Hornby Street entrance, the stylized logo ‘Indians’ of the Cleveland Major League Baseball team physically imprints the sidewalk with new meaning. Interweaving the history of Vancouver with contemporary re-appropriation, Nicholas Galanin’s piece sets the tone for the work found inside. In the past, the gallery building held the Land Title office of still un-ceded Coast Salish territory. The enlightening play between space, medium and meaning throughout the gallery presents re-interpretations of tradition and the lived experience of Aboriginal people today.
Posted in Offsite Exhibitions
Tagged Aboriginal, audio visual, Beat Nation, Cleveland Major League Baseball, Coast Salish territory, Indian Act, Janine C. Grant, Jordan Bennett, Land Title, Nicholas Galanin, Nike Air Jordans, Northwest Coast, potlatch, re-interpretations, Remix, Turning Table, VAG Hornby Street Entrance, Vancouver Art Gallery, Video
by Sean Michael Nelson
How does one express the grief over the loss of a loved one? Roland Barthes wrote several works in the wake of his mother’s death, among them Camera Lucida, a personal reflection on the essence of photography. In it, Barthes notes that the “photograph does not necessarily say what is no longer, but only and for certain what has been.” Ishiuchi Miyako’s (石内 都) photographic series Mother’s (2000 – 2005) is one instance where photographs say what-is-no-longer through what-has-been. Continue reading