By Audrey Wang, Marketing Volunteer
In art, the term “Japonisme” (from the French) was coined by the French art critic Philippe Burty in 1872, to describe the influence of Japanese art on the fine and decorative arts, sculpture, architecture and the performing arts of Western culture.
Widely considered to be some of the most important Canadian artists in the early 20th century, the Group was an organization of self-proclaimed modern artists, pioneers to a new Canadian art movement that rallied against the conservatism of the time.
As a photographer, installing Fiona Tan: Ascent gave me the chance to think about images and videography in a new light, you know… to step back, reconsider and reimagine. Spending time with Fiona Tan’s work this week has broadened my understanding of the collective importance of Mount Fuji and I am humbled to have been a part of this exhibit. – Corey Bryson, AGGV Preparator/Technician.
On March 9, the AGGV celebrates two separate, but related, exhibitions that memorialize Mount Fuji and its manifestations in the Japanese and non-Japanese aesthetic.
Emily Carr’s works compare and contrast with the works of David Milne, Lawren Harris, A.Y. Jackson, Vera Weatherbie and many others, giving the viewer a chance to come to terms with the meanings behind the paintings and the artists’ take on exploring the varied landscapes of Canada.
The physicality of forming clay into ceramic vessels and sculpture is wonderfully evoked in the title of the exhibition Throw, Slip, Spin: Studio Ceramics from the AGGV Collection.
“As with every Urbanite, our goal as event organizers is to invite the community to come back to the AGGV at night, to explore, dance, and play!” Julia Pauselius, AGGV Facility and Events Coordinator.
Pottery is both a science and an art. Part chemistry, part creative imagination and part experimentation. The title of the AGGV’s new exhibition “Throw, Slip, Spin: Studio Ceramics from the AGGV Collection” might befuddle those unfamiliar with the technicalities of pottery. In this issue, we hope to elucidate upon some of these baffling terms.
By Marina DiMaio, Curatorial Assistant
Reflecting on the experience, thus far, working on Haema Sivanesan’s project, In the Present Moment: Buddhism, Contemporary Art, and Social Practice, and, learning what it means to be a curator.