“This generation of Americans has a rendezvous with destiny.” President Franklin Delano Roosevelt, June 27, 1936
A Rendezvous with Destiny: 1930s American Art, the new online exhibition from Helicline Fine Art, has started and runs through November 5, 2023. The exhibition features a variety of artistic styles and subject matters from urban, industrial and rural to abstract, people working and scenes of everyday life. For New York City based artists, the City itself was glorified on canvas, paper and bronze. Several of the artists who thrived during that period are still well known today, but most are obscure.
The exhibition, of predominantly 1930s artworks, features that range. The Metropolitan Museum of Art’s new exhibition, “Art for the Millions: American Culture and Politics in the 1930s” celebrates the American spirit during the depression era and serves as the inspiration for Helicline Fine Art’s new exhibition.
After the stock market crash of 1929, Americans experienced a time of great transition at every level of society. After a terrible slump, the men and women of the country came together to rebuild the economy, their lives and their spirits. For the first time, our government paid artists to create. To this day, many Federal buildings – post offices, court houses, schools, hospitals, administrative buildings – still have the murals of WPA artists emblazoned on the walls and statues standing in courtyards. The work of these artists reflected that renewal.
The artists of that generation are being rediscovered in 2023 and for generations into the future, thanks to the Met’s new exhibition, and galleries that keep the modernist art flame burning. Helicline’s proprietors, Keith Sherman and Roy Goldberg, recall discovering the WPA period. “We had just moved into our first apartment, constructed in 1929, on the Upper West Side. In attempting to furnish our home we realized we had no sense of style or taste. We spent time in the Strand Book Store to see what homes looked like in the 20s and 30s,” said Goldberg. “We discovered Art Deco, the Machine Age, the WPA and more.
We spent time in museums, art fairs and something that has disappeared from the cultural landscape, antique shows, where we developed our eye. Today we are collectors turned dealers still collecting. The WPA period is in our hearts,” added Sherman.
Highlights of A Rendezvous with Destiny: 1930s American Art include a bold Stuart Davis gouache on paper; a “Mercury” bronze by Joseph Freedlander that sat on top of 5th Avenue traffic lights from the 1930s-60s; two works by Daniel Celentano (Thomas Hart Benton’s first and youngest student), many works depicting New York City, including a Cecil Bell of street life under the EL train and a Reginald Marsh depicting the Brooklyn Bridge, mural studies, and a Mervin Jules oil of a tailor with astonishing perspective.
MORE ABOUT HELICLINE FINE ART:MORE ABOUT HELICLINE FINE ART:Helicline Fine Art,founded in 2008 by Roy Goldberg and Keith Sherman, specializes in American and European modernism. The gallery’s core offerings are works from the WPA period. Additionally, Helicline offers American scene, social realism, mural studies, industrial landscapes, regionalism, abstracts, and other artwork. Located in a private space in midtown Manhattan, Helicline is open by appointment. The artworks on the site represent a sampling of available works. Helicline’s offerings are also available on artsy.net and 1stDibs.com.
A behind the scene look of the conceptual artist’s solo show SHADOWLAND
It is the first Saturday of Upstate Art Weekend and I am standing in a chemistry classroom of a former public school looking at inverted works, listening to Gregorian chants meets Jimmy Hendrix inspired music, and feeling that I am falling into a trance. In reality, I am meeting the artist Margaret Innerhofer for the first time at her solo show SHADOWLAND, at Ethan Cohen Gallery at The Kube Art Center in Beacon, NY. The renowned gallery describes her exhibition as: “Photo-based prints and framed canvases that explore the transitional spaces between spiritual and psychological borderlands. Each of the large-scale meditative compositions printed in color has a jarring and surreal black and white reflection that invites the viewer into an alternate psychological and temporal dimension.” So, what is behind these works laden with heavy and deep symbolism of awake versus sleep? I sat down with the elegant and stylish Margaret to understand how a dreamy child from the Tyrolean mountains became a philosophical artist in Beacon, NY. It turns out that we are all in a trance.
SHADOWLAND at Ethan Cohen Gallery at The Kube Art Center in Beacon
Let’s begin with your upbringing. Where were you born and raised?
I was born, and raised in the Tyrolean Alps, Italy, immersed in the idyllic beauty of its nature and harmonious sounds. My childhood was filled with long mountain climbs, horseback riding, yodeling, playing the guitar and drums, and singing Gregorian chants in a strict convent boarding school. I found fascination in Western movies and the Apache Indian lifestyle, particularly their deep connection with nature and the imagery of wild horses roaming freely in vast deserts, accompanied by their rhythmic chants and drum circles. These early experiences forged a profound bond with the natural world, which continues to be a driving force behind my visual and sonic artistic expression.
SHADOWLAND at Ethan Cohen Gallery at The Kube Art Center in Beacon
What was your first introduction to art, and how did you start evolving as an artist?
During my Architectural and Fine Art studies, I relocated to Milan, a city that would leave a lasting impact on my artistic path. Dating an artist during that time exposed me to a bohemian lifestyle and immersed me in Milan’s dynamic art, architecture, and design scene. The conceptual and minimalist concepts of the Arte Povera Movement captivated me, drawing me deeper into the contemporary art world. Socially engaging with fellow artists and actively attending art shows in galleries and museums across Italy and Europe, I was inspired by the diverse expressions of creativity. My early fascination with photography, particularly the works of conceptual artists from the Dada and Surrealist Movements, like Man Ray and Andre Breton, further fueled my artistic interests. This multifaceted exposure played a pivotal role in shaping me as an artist. It broadened my horizons, offered fresh perspectives, and allowed me to find my own artistic voice.
DECONSTR-ACTIVIST II, 2023
You now have a solo show called SHADOWLAND at Ethan Cohen Gallery at The Kube Art Center in Beacon, NY. What is the main inspiration for the three different series: Sandmen, Heavy Metal, and Deconstr-Activist?
In my latest exhibition, I delve into the intricate realms of the subconscious, guided by profound philosophical and scientific readings. Carl Jung’s exploration of collective consciousness has deeply fascinated me, leading me to explore how our subconscious influences our waking decisions and movements. Through my artwork, I seek to unravel the enigma of our subconscious control, drawing inspiration from scientific research, which reveals that a significant 80% of human behavior is governed by our subconscious, heavily influenced by experiences from our formative years, particularly ages 0 to 10. This revelation sheds light on why logical arguments may often be overshadowed by emotional reactions rooted in the gut. Another crucial thread in my exhibition revolves around the environment. I have been an environmental activist well before it became a trend, and I’ve actively co-produced environmental films and fought against practices like fracking. In SHADOWLAND, the subjects in my works interact with nature, and, in many instances, nature appears to reclaim them. This theme highlights the fragile bond between humanity and the natural world, provoking contemplation on our relationship with the environment.
Is it this exploration into the subconscious why the artworks are designed to be inverted? That they can be hung in either vertical orientation?
As I present my art to viewers, I give them the unique opportunity to evoke different visual and emotional responses by allowing them to choose how to hang each piece. They can opt for the color side up, revealing a figurative and realistic view of the artwork. Alternatively, they can explore the more conceptual, surreal, abstract, and volumetric perspective of the black-and-white ‘Shadow image’ when it faces upward. What’s intriguing is that showing the ‘Shadow image’ facing up, actually, represents a more realistic worldview, one that most people might be unaware of. It’s a perspective that delves into the subconscious, which I believe rules humanity and ‘runs the show.’ It’s a fascinating paradox: while the color side portrays the conscious perception of the world—what’s readily visible—the ‘Shadow image’ uncovers the hidden depths and complexities that shape our lives. By offering this choice of orientation, I invite viewers to question their own understanding of reality and delve into the intricacies of their subconscious minds. This art goes beyond mere aesthetics; it prompts introspection and contemplation, creating a multi-layered experience that challenges us to consider the complexities of human perception.
DECONSTR – ACTIVIST III, 2023Signature on the back. Archival Pigment Print on Hahnemühle Cotton Canvas,109.2 x 109.2 cm, 43 x 43 in, Edition of 3
Looking specifically at the three different subjects, can you first tell us more about Deconstr-Activist?
My Deconstr-Activist series draws inspiration from the ‘Deconstructivism’ architectural movement, challenging the rationality of modernism and embracing and revealing chaos and complexity. I delve into the intriguing world of shadows, volumes, negative versus positive space, and the interplay between light and darkness. This exploration stems from my background in architecture, which ignited my fascination with these artistic elements. Throughout the series, I endeavor to capture neglected structures that are gradually being reclaimed by nature. By doing so, I aim to shed light on the physical structures we create to accommodate our fragmented psyches. The juxtaposition of abandoned structures being overtaken by nature serves as a compelling visual metaphor for the inherent fragility and impermanence of human constructs.
HEAVY METAL – VOLKS WAGEN, 2023Signature on the back. Archival Pigment Print on Hahnemühle Cotton Canvas,109.2 x 109.2 cm, 43 x 43 in, Edition of 3
What about Heavy Metal?
In my “Heavy Metal” series, the transition from the pristine mountain range to the Hudson Valley exposed me to a striking contrast—defunct cars replacing the beauty of flowers in many backyards. This encounter sparked an obsession, leading me to spend years capturing these scenes with vintage analog Leica cameras, which I acquired from flea markets, embracing the slight imperfections in their lenses as a welcomed artistic element. In this body of work, I explore my fascination with American vintage cars left abandoned and outdated, captured within the passage of time and the encroachment of nature. Each photograph alludes to the poignant collision between the past and the future, symbolizing our own embodiment within these vehicles that are increasingly outdated, yet perpetually trapped in the present. In “Heavy Metal,” I seek to evoke a sense of nostalgia while urging reflection on the transient nature of our material possessions and the fleeting nature of human creations. The juxtaposition of these forgotten vehicles with the ever-encroaching embrace of nature serves as a poignant reminder of the impermanence of all things, urging us to ponder our place in the grand tapestry of time and the inescapable passage into the unknown future.
SANDMEN III, 2023Signature on the back. Archival Pigment Print on Hahnemühle Cotton Canvas,152.4 x 152.4 cm, 60 x 60 in, Edition of 3
And finally, what can you tell us about Sandmen?
Within each frame, beachgoers blissfully inhabit the horizon, seemingly unaware of their inverted doppelgängers lurking just below the surface. This juxtaposition of colors and reflections becomes a visual metaphor for the duality of human existence—the conscious experience of the moment above the surface and the hidden depths of the subconscious below. Drawing inspiration from Carl Jung’s concept of the Shadow persona and Quantum Physics, I explore how these profound elements influence human actions and behaviors. The dreamy beachscapes serve as a canvas for contemplating the interplay between our conscious and unconscious selves, the tangible and the intangible aspects of our existence. In this series, I invite viewers to immerse themselves in the enigmatic world of “Sandmen,” where time seems to stand still, and the boundaries between reality and imagination blur. The photographs become a gateway to introspection, inviting you to reflect on the transient nature of human experiences and the profound complexities that shape our perceptions and actions.
What is your favorite piece in the show and why?
As an artist, it’s challenging for me to pick a favorite, each image represents a moment of inspiration, creativity, and a reflection of my inner world. Each image carries a distinct essence, resonating with different viewers in various ways. Together with the sound piece ‘Shadowland’ that I have composed, performed, and recorded specifically for this show, the fusion and synergy between my visual art and sound adds a multi-dimensional layer to the overall experience. The fusion of visual and auditory expressions allows each piece to resonate on a deeper level, connecting with viewers in unique and profound ways.
SANDMEN II, 2023On the back. Archival Pigment Print on Hahnemühle Cotton Canvas,152.4 x 152.4 cm, 60 x 60 in, Edition of 3
What is next on the horizon?
A beach vacation in Italy, is on the immediate horizon!
This year’s SWISSARTEXPO 2023 will be held in the beautiful Zurich main station. The art festival expects to draw 80,000 passers-by every day at the most visited hotspot in Zurich!
What is the ARTBOX.PROJECTS? The ARTBOX.PROJECTS have been taking place at regular intervals since 2015 at the most sought-after art hot spots worldwide. The aim of the ARTBOX.PROJECTS is to provide a platform for specially emerging artists so that they can be seen by a large audience. So far, for example, very successful exhibitions have been held in the following locations: Miami during Art Basel, New York during Armory Art Week, Basel during Art Basel, Barcelona, Venice during the Biennale d’Arte and many more! How does the ARTBOX.PROJECT Zurich 5.0 work? Our most popular art project, the ARTBOX.PROJECT Zurich, takes place every year during the SWISSARTEXPO. SWISSARTEXPO is a Swiss art festival that takes place in late summer in Zurich’s venerable Main Station Hall and presents over 100 artists from all over the world. The ARTBOX.PROJECT has a very prominent place in the front part of the exhibition, where the two 86″ HD screens are located, on which the artworks of the ARTBOX.PROJECT Zurich participants are presented digitally throughout all exhibition days.
Vancouver, B.C. – Art Vancouver, Western Canada’s largest international art fair is once again uniting the world through art, held at the Vancouver Convention Centre West on May 4–7, 2023.
Art Vancouver’s vision is a noble one that seeks to use the universal language of art to connect people from different parts of the world and to promote a sense of global community.
By bringing together artists and galleries from across Canada and around the world, Art Vancouver aims to showcase a diverse range of contemporary artwork that reflects the unique perspectives, experiences, and cultures of each participating artist.
Art Vancouver marks its 7th edition, welcoming 100+ exhibitors, making Vancouver a destination city for artists, collectors and art lovers alike. Unique to this year, is a panel discussion about the intersection of Artificial Intelligence and art, providing valuable insights and perspectives from experts in the field.
Artist talks, demonstrations and art classes are always a great way for attendees to learn new skills and techniques, and having more of them available means that more people can benefit from the educational opportunities.
Art Vancouver has put together a diverse and engaging program that offers something for everyone. Whether attendees are artists themselves, or simply enthusiasts of art and creativity, there should be plenty of opportunities to learn, engage, and be inspired.
Established in 2017, the non-profit organization was started to make art accessible to everyone, with the goal of promoting and developing Vancouver’s visual art community into a thriving international art scene. VVAF hosts their main annual event, Art Vancouver, a four-day international art fair showcasing artists from across Canada and around the world. For the Silo, Christina Ioannou.
Have you ever dreamed of owning a piece of fine art but felt that it was out of reach financially? An art auction may be the answer to your dreams! Art auctions are an excellent way to purchase original artworks without breaking the bank. With the right approach, art auctions can be a great way to build a collection of art and save money.
The benefits of an art auction
For those who are looking to add to their art collection or simply just want to try something new, art auctions can be an excellent way to obtain art. Art auctions offer a unique opportunity to purchase artwork from all over the world at competitive prices. With a broad selection of works to choose from, they provide an exciting and engaging experience.
One of the main advantages of attending an art auction is that buyers have the chance to buy authentic artwork without the risk of buying a counterfeit piece. This can save buyers both money and time since they don’t need to worry about being scammed by an online seller.
Auctions also provide an opportunity for the buyer to get to know the artist and their work, as well as to discuss any questions with auctioneers or knowledgeable collectors.
How to participate in an art auction
Attending an art auction is a great way to find unique and valuable pieces of art. But it can be intimidating if you’ve never attended one before. Here are some tips to help make sure your first experience at an art auction is a successful one. Before you attend the auction, take some time to research the artwork that is being offered. Learn about the artist and the piece you are interested in. Knowing what you are bidding on can help you make informed decisions during the auction.
The difference between an art auction and an online sale
Auctions and online sales both offer a great way for art collectors to purchase artwork, but there are some key differences between the two. An art auction is a live event where bidders compete in a competitive environment to purchase pieces of art. Bidding is fast-paced and participants must be willing to pay the highest price in order to secure the artwork they desire.
Online sales are much different in that they are usually conducted over a longer period of time. Instead of a competitive environment, buyers have the opportunity to browse through the artwork and make their selections at their own pace. This allows buyers to take their time, research the piece, and evaluate whether it’s worth purchasing or not.
Furthermore, buyers may be able to negotiate a lower price as they may not have to compete with other bidders. Another difference between an art auction and an online sale is that auctions are typically reserved for more expensive pieces of art, while online sales tend to feature more affordable artwork. As a result, those who want to purchase high-end artworks may find it more beneficial to attend an art auction than to purchase from an online store.
Nice, France textile artist Stéphanie Lobry frantically fashions her art with an unexpected yet satisfyingly fitting leitmotiv: feminism.
A Teacher when she’s not at the loft, where she created and exhibited her works, Stéphanie Lobry is busy hanging a crochet. Entitled 1.8 cubic meter, “parce c’est la taille qu’il fait”, lies in the piece, in the middle of a crowd of scattered bodies which share this small space with balls of yarn and needles.
If we pay attention to all red wires that surround and hang throughout her living room, we realize that they are, in fact, a gun.
“I wanted to divert the everyday objects. And to do so with needles and wool. No, no to knitting scarves for her daughters in some kind of ‘good housewife’ role, but rather to rediscover the woman inside, and then to discover humans in general.”
Why crochet? Rolled cigarette in mouth, she passes a nonchalant hand into blond spiky hair. She thinks… “This practice is also ancestral, but has potential for feminist messages and aesthetics when it is diverted from its original use and put towards the service of art. I’ve always been very creative and a little hyper active yet the only compliment I could expect from that was to be commended for being a good mother…”. I got fed up.” Reduced once too often to the status of “the good historical female”, Stéphanie Lobry “lost it”and held her first exhibition.
Our compulsive crocheter remembers having hesitated….stalled somewhere between a choice of direction. Between science and art: “When I started my studies in molecular biology, my mother asked me if I was sure didn’t want to make fine art instead.” Would an academic focus on science bind her passions? In her artistic process, she discovered that there was in fact a synthesis manifested through the act of the creation, which after all, begins with the cells inside the brain. Fittingly, her art work began with a small croqueted skull which “immediately went to Gallery’. The creative process then dissected and took over other parts of the body.
An Ariane of modern times
Sweeping my gaze around her workshop, it stops suddenly on the croqueted heart, “it was a participatory project I created shortly after Charlie.” Surely a way to re – unite people, to reconnect, “everyone needed it.” The artist put out a call using social media, letting all participants know that their name would be displayed at the bottom of the finished work. In a few weeks, she received 763 balls of wool, from more than 120 donors, scattered to the four corners of the world, from Paris to Noumea, the Chile, the Belgium and the Greece.
A Runaway success requires a lot of hard work.
It takes almost a month to sort the fabrics and create a ball that weighs more than 40 kg. As for the hook… 45 days are necessary for the realization of a typical piece of finished work: “the ball weighed a ton! I couldn’t do more than five knots without being exhausted.” It is a technique so grueling and time-consuming, but I feel like I’m really at the beginning, I still have a lot to say.” She seems to have found her way alright and is brimming with ideas to express her commitment.
Worried perhaps about her peers who see their emancipation sometimes as endangered, this knitter doesn’t fail to hang onto a hint of conviction to her works. I remember especially this sort of determined representation that she had given at the Théâtre National de Nice, last May, dressed in a full suit. Knitted of course. Delivering metaphors spun into all of her creations. For the Silo, Marine de Rocquigny originally for Art and Factswww.artandfacts.fr
*photos by Florian Lévy
Stéphanie Lobry accroche l’œil au crochet avec son cœur. Ledit, intitulé 1,8 mètre cube, « parce c’est la taille qu’il fait », gît dans la pièce, au milieu d’une foule d’organes éparpillés, partageant ce petit espace avec les pelotes de laine et les aiguilles.
Pourquoi le crochet ? Cigarette roulée au bec, elle passe une main nonchalante dans ses blonds cheveux en bataille. Elle songe… « Cette pratique aussi ancestrale soit-elle, prend des allures féministes quand elle est détournée de son utilisation pour se mettre au service de l’art. » Car c’est bien avec une volonté libératrice et féministe qu’elle s’est lancée il y a maintenant sept ans : « J’ai toujours été très créative et un peu hyper active pourtant le seul compliment que je pouvais espérer c’était d’être une bonne mère de famille… J’en ai eu marre. » Réduite une fois de trop au statut de BMF, Stéphanie Lobry « pète les plombs » et organise une première exposition.
Alors que les curieux s’aventurent dans ses appartements, elle les reçoit en nuisette, repassant chemise après chemise, la main collée à son fer. Et si l’on prête attention à l’ensemble de fils rouges qui l’entourent et parcourent son salon, on s’aperçoit qu’ils forment, en fait, un pistolet. « J’ai voulu détourner les objets du quotidien. » Elle se munie dès lors d’aiguilles et de laines. Non, pas pour tricoter des écharpes à ses filles en bonne femme d’intérieur, mais plutôt pour redécouvrir l’intérieur de la femme, puis de l’humain en général.
Rencontre logique. La crocheteuse compulsive se souvient avoir longtemps hésité entre la science et l’art : « Quand j’ai commencé mes études en biologie moléculaire, ma mère m’a demandé si j’étais sûre de ne pas vouloir plutôt faire les Beaux-Arts. » Alors autant entreprendre une reconversion qui pourrait lier ses passions et ses connaissances. Dans sa démarche artistique, elle revient donc à la genèse de la création, qui commence avec des cellules. Elle commence avec un petit crâne « tout de suite parti en galerie », puis dissèque et reprend toutes les parties du corps. Du neurone au pied. Du sexe aux poumons.
Une Ariane des temps modernes
En balayant du regard son atelier, elle s’arrête sur le cœur, « c’était un projet participatif que j’ai crée peu après Charlie. » Surement une façon de re-fédérer les gens, de renouer les liens, « tout le monde en avait besoin. » L’artiste lance alors un appel sur les réseaux sociaux, tous les participants verront leur nom affiché au bas de l’oeuvre. En quelques semaines, elle reçoit 763 pelotes de laines, provenant de plus de 120 donneurs, dispersés au quatre coins du monde, de Paris à Nouméa, en passant par le Chili, la Belgique ou la Grèce. Succès fulgurant. Travail titanesque en perspective. Il lui faut près d’un mois pour trier les tissus et constituer une pelote de plus de 40 kilos. Quant au crochet… 45 jours nécessaires à la réalisation de l’organe démesuré. « Les aiguilles étaient énormes et la pelote pesait une tonne ! Je ne pouvais pas faire plus de cinq nœuds sans être épuisée.
Une technique épuisante donc et laborieuse que la « quinqua » ne compte pas abandonner de si tôt: « J’ai l’impression que je ne suis vraiment qu’au tout début, j’ai encore beaucoup de choses à dire. » Sorte d’Ariane des temps modernes. Elle semble avoir trouvé sa voie grâce au fil et regorge d’idées pour exprimer son engagement. Inquiète au sujet de ses consœurs qui voient leur émancipation parfois en péril, cette tricoteuse ne manque pas d’accrocher un soupçon de conviction à ses œuvres. On se souvient notamment de cette représentation qu’elle avait donnée au Théâtre National de Nice, en mai dernier, enfermée dans une combinaison intégrale tricotée comme dans sa condition féminine, attendant qu’on tire sur les fils pendants pour la délivrer. Une cause qui lui tient à cœur, une métaphore filée sur l’ensemble de ses créations. Marine de Rocquigny pour Art and Factswww.artandfacts.fr
This year, I have been in Canada 54 years. It is difficult to define what I need to do but I have to be more active, more involved in positive social change…….The state of Trumpism gnaws at me.
A few years ago, during March 2017, about 40 of my photographs (1967 – 1974) of Toronto’s Baldwin St. were exhibited at the Toronto Arts & Letters Club. I recently spoke at the Club about my experience as an immigrant in 1967 with a draft dodger avoiding the Vietnam War.
Here is one of my photographs.
In Feb. of that same year, I was fortunate enough to have exhibited photographs at Unlovable Gallery that John Phillips (my ex-husband and late husband) and I took of the American Civil Rights Movement. Last year, I gave a slide presentation at the Women’s Art Association on Canadian women photographers who worked between 1865 -1915. Three projects – war resisters, civil rights, and feminism.
…and this one taken Toronto City Hall
My son, Bennett Jones Phillips, and his partner, Lisa Pereira are in the process of creating a record store on Baldwin St. and I am going to have an exhibition space- provided the current Covid epidemic is managed, controlled and finally defeated. (I had a gallery in the past on Baldwin). Here is a chance to be more active and socially involved. My plan includes an expanded “coming to Canada” exhibit with blow ups of my and John’s photos and some pages of John’s FBI file and underground papers. It looks like the space will be a shipping container. The opening event will likely include having a tent in the former Silverstein Bakery parking lot and having music, poetry, and a 60’s feel with Baldwin Street history – Irish, Jewish, Chinese, and American immigration being part of the opening focus.
There are lots of possibilities. I am very open to ideas and involvement of other people. So what do you think? Cheers, Laura Jones.
The artist Maren Hassinger with children from Pearl City, the historic African American neighborhood where the majestic 100-year-old banyan tree, the “Tree of Knowledge,” still stands today. The children joined hundreds of community members to create together thousands of aerial branches from recycled newspapers for Hassinger’s new monumental installation. Clifford Ross in the ocean surf, photographing hurricane waves.
The power of nature is unleashed with two timely, powerful exhibitions at the Boca Raton Museum of Art for the new season. Both of these original shows ─Maren Hassinger: Tree of Knowledge and Clifford Ross: Waves ─ will kick off the museum’s 70th anniversary season (on view November 5th – March 1st).
The museum is presenting both exhibitions together because the two shows sound a clarion call for environmental awareness. These shows also remind viewers that the beauty of nature can still inspire us, despite the over-saturation of society by hand-held devices and screens. The two exhibitions are presented side-by-side in adjoining galleries.
The artist Maren Hassinger with children from Pearl City, the historic African American neighborhood where the majestic 100-year-old banyan tree, the “Tree of Knowledge,” still stands today. The children joined hundreds of community members to create together thousands of aerial branches from recycled newspapers for Hassinger’s new monumental installation.Clifford Ross in the ocean surf, photographing hurricane waves.The Clifford Ross exhibition features a new approach to his monumental depictions of ocean waves that the artist captures during extreme weather. The result is the most comprehensive survey of his process ever shown in a museum.
Ross dramatically presents the monstrous power of the seas in his new exhibition at a crucial moment in time for our planet: the United Nations recently issued a major new report warning that the dangerous effects of climate change on our oceans is much worse than previously thought. The new findings warn about warming oceans and damaged ecosystems.
Sea levels are rising faster than previously predicted, glaciers and ice sheets melting more rapidly than expected, shrinking the fisheries that feed millions. Watch the spectacular video of Clifford Ross in the ocean surf at vimeo.com/168830477 The new report warns that many cities around the world will experience annual flooding events by 2050 that previously occurred only once per century.
The world’s oceans have been warming since 1970 and have absorbed 90 percent of the planet’s excess heat, killing off vast stretches of coral reefs. Absorbing massive amounts of carbon has made the ocean more acidic and inhospitable to corals that millions of species depend on for survival.
“When I first began photographing these hurricane waves 30 years ago, most of us were unaware that global warming was seriously damaging our oceans,” said Clifford Ross. “Now, as I look back on my work, it takes on a whole new meaning.”
Above – the two artists headlining the new season: Clifford Ross and Maren Hassinger. MAREN HASSINGER: TREE OF KNOWLEDGERenowned sculptor and performance artist Maren Hassinger was commissioned by the museum for a residency that explored the staying power of nearby Pearl City, Boca Raton’s historic African-American neighborhood.
This is the largest installation that Hassinger has ever created in her long and celebrated career. Her new site-specific installation is based on Pearl City’s landmark, the “Tree of Knowledge.” This majestic, 100-year-old banyan tree still stands today and is protected by the Historic Preservation laws. The tree has served the people of Pearl City since the dawn of the 20th century, as a gathering place for sharing stories and communal spirit. The majestic 100-year-old banyan tree at Pearl City is the inspiration for Maren Hassinger’s Tree of Knowledge.(photo by Aylin Tito) Hassinger vigorously engaged the public to recreate the tree’s aerial roots by gathering many groups over several months.
People from the community and visitors to the museum spent hundreds of hours twisting by hand thousands of recycled newspapers. Thousands of recycled newspapers were twisted to mimic the aerial roots of the banyan tree for Maren Hassinger’snew installation Tree of KnowledgeThese banyan “branches” will be suspended from the ceiling of the main gallery, representing the community-based “Creation-Stations.” The participants’ names will be incorporated into the monumental new work.
“I want visitors to the museum to think about the endurance of the tree and the endurance of the people who live beside it,” said Maren Hassinger. “I hope they realize it’s possible to build a world in which, like this installation, people work together side by side. Both the tree and the residents have inspired me with their mutual endurance.
In new reports, the United Nations warns that fires such as those causing de-forestation in the Amazon elevate concerns for the planet’s natural life support systems. This global call to action urges countries, companies and consumers to build a new relationship with nature.
The destruction of the world’s largest rainforest calls attention to the need to prevent ecosystems from declining to a point of no return, with dire consequences for humanity.
This year, the leading scientists of the world warned that civilization was in jeopardy due to forest clearance, over-usage of land, climate change, and pollution, putting a million species at risk of extinction.
Hassinger’s new installation is about nature as knowledge and about education. The twisted ropes of newspaper are made of words and stories.
“I hope the community and all of the visitors to the museum take a moment to think about the materials used in the project, which are not traditional art materials, and realize that this giant project was made not by artists, but by the public, working together,” adds Maren Hassinger.
“Both adults and children from the community welcomed my project with enthusiasm and proceeded to twist and twist to create the aerial branches. Their enthusiasm and spirit of camaraderie is uplifting and contagious,” says Hassinger.
Paper is a natural material, made from trees, and throughout the installation there will be fans that evoke the wind blowing gently through nature, as opposed to the hurricane winds of Ross’s work.Wind, the video by Maren Hassinger, will also be part of the exhibition. Watch the video trailer here vimeo.com/368811486
“Following the theme of nature for our new season at the Museum, how appropriate that Maren Hassinger would choose this legendary tree, known as the Tree of Knowledge, as the subject for her site-specific installation,” said Irvin Lippman, the executive director of the Boca Raton Museum of Art. “From its inception to its installation, this has involved audiences of all ages from every corner of our community to participate in the making of the aerial roots from streams of recycled newspapers. Much in the manner of the Banyan tree, we are all connected to one another,” adds Irvin Lippman.
Hassinger’s new exhibition will also feature the installation Love – an experiential portal for visitors to walk through. As the entranceway into the museum’s main galleries, it will surround visitors with hundreds of recycled pink plastic bags that will completely cover all of the surfaces around them. The shopping bags are filled with the air of human breath, and contain human love notes inside. Love, by Maren Hassinger. This installation will serve as the entryway featuring hundreds of recycled pink plastic bags, surrounding visitors.The bags are filled with human breath and contain human love notes.Maren Hassinger (still from her video Pink Trash).
CLIFFORD ROSS: WAVES On the subject of Clifford Ross: Waves, Irvin Lippman adds: “It would seem obvious that a museum with a coastal address such as ours would naturally be ever fascinated by the subject of waves. The subject of Clifford’s photographs in this new exhibition, however, goes deeper into the unpredictable shapes of waves, as much about abstraction as realism.” The effect of being engulfed in a room full of his work is profound, causing some viewers to claim they can actually hear the sound of the ocean waves although there is no sound component. Ross is celebrated worldwide for his Hurricane Waves series, monumental images that were photographed by the artist during storms and while hurricanes were off-shore, while he was attached by a tether to his assistant who remained on land as Ross braved the ocean surf.
The size of these images is humbling. The angle of vision, from as low as possible, is calculated to inspire awe. The waves dominate us, framed or cropped; we feel their full force. These waves invoke the power of wind as well as the power of water, the great cyclical forces of nature that generate energy. This major survey includes his monumental hurricane wave images. The exhibition also features a site-specific installation of extremely large-scale prints on wood, as well as the artist’s Digital Waves – A computer generated video displayed on an LED wall that has been acquired by the museum for its collection. Other sections include: the Horizons series (photographs that explore movement with the added power of obstruction); his Hurricane Scrolls; and the Grains series of bold abstract works exploring the purity of color.Clifford Ross, Hurricane LXIII, 2009. Archival pigment print.“The pure abstraction of the Grains series is an antidote to the hurricane, a space to calm down. A quiet end to this stormy story where we can recompose our thoughts,” said Clifford Ross. While it explores the limits of photography and abstraction, this exhibition is also a dramatic declaration about climate change. “This exhibition is a thorough survey of my working methods,” said Ross. “an effort to show all the ways I have approached the subject of ocean waves. But there’s also a deeper theme of addressing climate change – unavoidable in this day and age.”A work from Clifford Ross’s Digital Waves series (computer generated videos displayed on an LED wall) has been acquired by the museum for its collection. “Somehow the apocalyptic quality of the show does not erase the basic lyricism and beauty that I see in nature. When I started out, wanting to celebrate nature by creating bodies of work that were an homage to the sublime, I didn’t understand that the images were also capturing evidence – evidence of our negative impact on nature.”
“The ferocity, the forms of these waves were partially due to global warming. This project has come full circle, as much a meditation on the medium of photography as it is a photographic reflection of our world,” said Clifford Ross.
Clifford Ross, Wood Wave LIV, 2017. Triptych UV cured ink on maple veneer. Caption for first photo at top: Clifford Ross, Hurricane LI, 2009. Archival pigment print.
MORE ABOUT THE TWO ARTISTS: Above – the two artists headlining the new season: Maren Hassinger and Clifford Ross. Maren Hassinger has work held in the permanent collections of the Hammer Museum in Los Angeles; the Reginald F. Lewis Museum of Maryland African American History & Culture in Baltimore; the California African American Museum in Los Angeles; Portland Museum of Art; The Studio Museum in Harlem; Williams College Art Museum in Williamstown; and the San Francisco Museum of Modern Art, among others. Her many awards include: the Lifetime Achievement Award from the Women’s Caucus for Art, Maryland Institute College of Art; Joan Mitchell Foundation Grants; Anonymous Was a Woman; and the Pollock-Krasner Foundation, among others. More about Maren Hassinger here. The works of Clifford Ross are held in the collections of the J. Paul Getty Museum in Los Angeles, The Museum of Modern Art in New York, and the Museum of Fine Arts in Houston, among others. He is the editor of the book Abstract Expressionism: Creators and Critics, and is Chairman of the Helen Frankenthaler Foundation. His work has been widely exhibited in the United States, Europe, Brazil and China. He has lectured in numerous university and museum settings, including Princeton, Yale, and New York University. Ross is a member of the Yale School of Art Dean’s Advisory Board. More about Clifford Ross here.
The majestic 100-year-old banyan tree at Pearl City is the inspiration for Maren Hassinger’s Tree of Knowledge. (photo by Aylin Tito) Love, by Maren Hassinger. This installation will serve as the entryway featuring hundreds of recycled pink plastic bags, surrounding visitors.The bags are filled with human breath and contain human love notes. Thousands of recycled newspapers were twisted to mimic the aerial roots of the banyan tree for Maren Hassinger’s new installation Tree of Knowledge A work from Clifford Ross’s Digital Waves series (computer generated videos displayed on an LED wall) has been acquired by the museum for its collection.
I learned about the Hamilton Audio Visual Node (HAVN) a few years ago by doing the rounds during Art Crawl. Since then it’s become obvious they’re hosting some of the most innovative music and visual art in Hamilton. I sat down with Connor Bennett and Chris Ferguson at the beginning of July to learn more about the collective and discover yet another reason to move to Hamilton. Connor and Chris made it pretty clear you don’t need an invitation to join the party. Featured Title Image, The HAVN Storefront on Barton Street Credit: Ariel Bader-Shamai
Timothy: How did HAVN get started?
Connor: Um, a few of us started a band, and we were practising in the basement of a student house and when it came time to leave that house, we wanted a space where we could continue to play, and show art, and we just lucked out, our collaborator and co-founder Amy McIntosh was living above a storefront and…
Chris: …had a good relationship with the landlord and managed to get the downstairs space at a price we could afford.
Connor: That was May, 2012, we opened up just as most of us were graduating from McMaster University.
Timothy: What does it mean to be a node for the arts? Is the storefront a critical component?
Connor: It’s probably not critical, although it’s nice, it’s really nice. I wouldn’t say it’s critical because we don’t do regular gallery hours, where people can just pop in. It is nice to have the storefront space for things like art crawl. We’re off of James Street but it’s still easier to get people out as compared to a studio space.
Aubrey Wilson Quartet in February 2015, Photo Credit: Amy McIntosh
Chris: Back to your question, as to what it means to be a node. Nodes are intersection points, which denotes the collaborative nature, the interdisciplinary nature of what we’re trying to do. And it was chosen for the sake of the acronym [Laughter].
Timothy: So what are your activities?
Chris: You could put it into four categories. We do art shows every art crawl, and occasionally outside of art crawl. We do music shows two to five times a month. And then there’s HAVN Records, our cassette tape little label. There’s also some miscellaneous things that are harder to categorize. We’ve done craft nights where people come out. Or if people in the collective supply an idea and make it happen. For a little while we had a darkroom in the backroom where people could develop photos.
Timothy: What are some of the highlights from the past couple of years?
Chris: It wasn’t something that I was involved with personally but I thought the darkroom was a really cool idea. It’s not something that’s widely available and it was a DIY thing where they obtained all the equipment and brought it all together. Some of it was donated by a like-minded friend from Guelph.
Connor: One of the best concerts I’ve seen recently was hosted by Cem Zafir and his partner Donna Akrey at HAVN, and they had a percussionist by the name of Tatsuya Nakatani come in and everyone in the room was transported to a different world, it was a magical moment. Those happen a lot. We’ve been really lucky with a lot of good music.
Hagface and Zena in August 2015, Photo Credit: Tony Hoang
Chris: What was the name of the show, I think Ariel and Petra did it, with the yarn, it was kind of, performance stuff; would you consider it a successor to the Quanta_1 show, where you and Kearon…
Connor: Yeah, yeah, it’s kind of like that…
Chris: An extension of that idea. Petra and Ariel did it, how would you describe it?
Connor: It was kind of a poetic yarn installation, with figures…
Chris: …and quotations.
Connor: It was great.
Chris: Really well executed. Not something you see a lot of.
Connor: Yeah, there’s lots of highlights.
Chris: We could keep going.
Connor: Once you start thinking about it.
Chris: I really liked our show for Supercrawl last year, which ended up being themed around Cootes Paradise, the Cootes to Escarpment EcoPark System, which is a conservation effort beginning with Cootes Paradise all the way into Burlington to connect some critical natural lands. The show really nailed the peaceful nature of it. Supercrawl is very busy, there’s tonnes of people and then you come to HAVN and it’s peaceful, relaxed.
Connor: Serene.
Chris: Yeah, Judy Major-Girardin, a professor at McMaster that taught a lot of the HAVN crew, was very generous with her time and she’s a big supporter of that initiative, so she put up a gorgeous installation with sound recordings from Georgian Bay. Frogs. Printed cheesecloth. It was stunning.
Corridors, in Support of the Cootes to Escarpment EcoPark System, September 2015, Photo Credit: Ariel Bader-Shamai
Timothy: What are your objectives? What is the need or desire that you are addressing?
Connor: I’d say from the music side of things, it’s a space for outsider music, for music that doesn’t really fit in a club or a bar. It’s a small space, really intimate, so even if ten people come out it feels like a nice crowd.
Chris: Yeah, It could just be a touring band who might have trouble booking a show at a bigger venue, because they wouldn’t attract a bigger crowd.
Connor: We know a lot of people who are booking shows in Hamilton and we’re filling a bit of a void since they’re not booking these types of shows. Like free jazz, for example, there’s no venues that are booking free jazz but we will gladly and enthusiastically book a free-jazz show.
Boyhood and Holzkopf in July 2015, Photo Credit: Tony Hoang
Timothy: How did you determine the scope of your practice?
Connor: Time determined that. When I started out with HAVN I was working a lot more with Kearon on the visual arts and installation projects and with time my interests and time investments moved more towards the music. It’s a natural evolution within the group, that we’ve settled into our roles based on our interests.
Timothy: Were those interests present from the beginning, or have they been nurtured over time?
Connor: One of the reasons why this has worked out for so long is that everyone has been really passionate about creativity, and art in general, and open to all art forms. That’s been the crux of why we’ve been around for so long, and putting on shows that are successful.
Timothy: What is your current relationship with institutional structures like the university and the gallery?
Connor: Well, quite a few professors from McMaster have shown art in our space. Judy and Dr. McQueen had a show recently. Other galleries? We have good relationships with other galleries, in particular, the Factory Media Centre, because we’ve done a lot of media art, not only that, we’ve shown a lot of art there, and both Amy McIntosh and Aaron Hutchinson have been on the board there. Amy’s been involved since the beginning.
Timothy: You position yourself as an alternative, though.
Chris: It’s not an adversarial relationship, like ‘that stuff is no good.’
Connor: We just don’t want to replicate things that are being done elsewhere. I’m sure we do it all the time. But the intention is to fill a void, take a risk.
Timothy: What are the benefits and limitations associated with your present configuration?
Connor: We’ve had trouble finding grants that apply to us. That’s one challenge because we operate with no inflow of money, so it’s just tough to make it work sometimes. That’s one of the limitations.
Chris: Sometimes I wonder if we put more time into the grants whether we would begin to take a different path. Like, having gallery hours wouldn’t be a bad thing, but it would be different than what we do now, and it would mean that we would be travelling down a more traditional path.
Timothy: Can you speak of the benefits and effects of HAVN, for yourselves and the broader community?
Connor: It’s such a useful space for us as artists and musicians, that’s kind of priceless.
Chris: It’s great to have a spot that you’re part of.
The Celestial Offerings Show in December 2015, Photo Credit: Petra Matar
Connor: Ideally we’re providing a space that’s inclusive, and open, where people feel comfortable. But if I was new to Hamilton and I went to HAVN I could understand feeling intimidated because there’s all these people who know each other already.
Chris: I think it’s always hard, because you establish your audience, and your friends, and you want people to have a stake in the space, that they’re part of it, that they’re not just attending shows, but that they’re part of the community too. But you have to balance that with being open and having new people feel that they can be part of it.
Timothy: So do you have any words of advice to people who might want to start a collective?
Chris: If I had any advice it would be pretty cheesy.
Connor: I don’t know. [Laughter]
Chris: The real trick is having the right group of people.
Connor: Get lucky.
Chris: Yeah, we couldn’t have made this happen in a bigger city where the rents are more expensive.
Why crochet? Rolled cigarette in mouth, she passes a nonchalant hand into blond spiky hair. She thinks… “This practice is also ancestral, but has potential for feminist messages and aesthetics when it is diverted from its original use and put towards the service of art. I’ve always been very creative and a little hyper active yet the only compliment I could expect from that was to be commended for being a good mother…”. I got fed up.” Reduced once too often to the status of “the good historical female”, Stéphanie Lobry “lost it”and held her first exhibition.
