Sunday, May 28, 2017

Maudernism



Detail from an untitled painting by Maud Lewis.

Saturday, May 27, 2017

Denis Johnson (1949-2017)


Looking Out the Window Poem

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The sounds of traffic   
die over the back lawn   
to occur again in the low   
distance.

The voices, risen, of
the neighborhood cannot   
maintain that pitch   
and fail briefly, start   
up again.

Similarly my breathing rises   
and falls while I look out   
the window of apartment   
number three in this slum,   
hoping for rage, or sorrow.

They don’t come to me   
anymore. How can I lament   
anything? It is all
so proper, so much
as it should be, now

the nearing cumulus   
clouds, ominous,   
shift, they are like the
curtains, billowy,   
veering at the apex
of their intrusion on the room.
If I am alive now,   
it is only

to be in all this
making all possible.   
I am glad to be
finally a part
of such machinery. I was   
after all not so fond
of living, and there comes
into me, when I see   
how little I liked
being a man, a great joy.

Look out our astounding
clear windows before evening.   
It is almost as if
the world were blue
with some lubricant,
it shines so.

Denis Johnson, “Looking Out the Window Poem” from The Throne of the Third Heaven of the Nations Millennium General Assembly: Poems Collected and New. Copyright © 1995 by Denis Johnson. Used by permission of HarperCollins Publishers.
Source: The Throne of the Third Heaven of the Nations Millennium General Assembly (HarperCollins Publishers Inc, 1995)

Friday, May 26, 2017

Japanese Cherry



Every April I visit Locarno Beach to see the sand-locked Prunus serrulata.

Thursday, May 25, 2017

Pictures From Her(e)



On Tuesday I walked through the VAG's Pictures From Here exhibition. Although I was aware in advance of the artists included in the show, one never knows what one will see until one steps inside.

On that note, hanging outside the VAG's south face is an exhibition banner that uses Rodney Graham's Paddler, Mouth of the Seymour (2012-2013) not as the triptych it is, but the image therein. Could the VAG not have made a three-part banner consistent with the artist's work instead of simply displaying the image the artist worked with?

Something else that bothered me is Paul Wong's Vigil 5.4 (2010). This is the last work in the show (if one proceeds clock-wise), and employs video documentation Paul shot of Rebecca Belmore's 2002 Vigil performance at the Talking Stick Festival (Full Circle First Nations Performance), footage that Rebecca projected in its entirety onto a surface of lightbulbs as a subsequent work entitled The Named and the Unnamed (2002).

Now I know there is nothing wrong with an artist making work from the work of other artists, but there is something troubling about what Paul has made of Rebecca's performance documentation. While I have no doubt that Paul is supportive of Rebecca and her intentions, the means by which he expresses his support does not critique/transcend the gaze that contributes to the conditions that allow women to "go" missing or "get" murdered.

Wednesday, May 24, 2017

Tuesday, May 23, 2017

Good Morning, Midnight (1939)



In 1908 E.M. Forster published Room With a View, where the desired view is not of a courtyard but of a free and flowing river. Six years later Gertrude Stein published Tender Buttons (1914), a book that ends with "Rooms".

Another notable "room" writer is Jean Rhys, in particular her novel Good Morning, Midnight (1939). It opens with a room:

"Quite like old times," the rooms says. "Yes? No?"

There are two beds, a big one for madame and a smaller one on the opposite side for monsieur. The wash-basin is shut off by a curtain. It is a larger room, the smell of cheap hotels faint, almost imperceptible. The street outside is narrow, cobblestoned, going sharply uphill and ending in a flight of steps. What they call an impasse.

I have been here five days. I have decided on a place to eat in at midday, a place to eat in at night, a place to have my drink in after dinner. I have arranged my little life.

Monday, May 22, 2017


A small room inside a bay window. A single bed, a table and chair, and a sink. I could manage something larger, with more conveniences, but I could never match the view.

Sei Shonagon was a 10th century Heian courtesan who kept a diary while serving the Empress Teishi (977-1000). A mix of "vignettes and opinions and anecdotes," according to her translator, Meredith McKinney. English readers know this diary as The Pillow Book (1001).

In 1996 Peter Greenaway made a film of it.

Here's something I fell asleep to last night:

[28] Things that make you feel cheerful -- A well-executed picture done in the female style,* with lots of beautifully written accompanying text around it.

* the female style: A painting done in the softer, sometimes tinted, "Japanese" style, as distinct from the bolder "Chinese" style known as the "male style". Here it is presumably part of an illustrated tale.

Saturday, May 20, 2017

PLAZA Projects



Made my first visit to Richmond's Aberdeen Centre mall last week to attend the opening of the New Collection group show at PLAZA Projects.

Fonder and director Steven Tong was there, of course, as were most of the artists and some of the mall's representatives.

I purchased a cotton abibas bag from Olga Abeleva and Shizen Jambor, saw the permanent installation of the latest version of Julia Feyrer and Tamara Henderson's The Night Times Press Bar (2016) and poked my head in on 7:30 Assemble's ongoing performance I didn't know the Blue Jays were from Mexico (2017).


But the biggest hit was the mall itself, with its many tiny shops, none of which are franchises. Amazing. Had me returning to the exhibition -- to look again.


Friday, May 19, 2017

History Painting




Allegory is not a problem. It has been with us, carried along with church and state, private and public capital, and the development of industrial processes. It has been readymade for some time. Suspended disbeliefs are fabricated and squeezed into tubular packaging, woven canvas pulled from looms of mass production, thin wood sheet layered, glued and heated together to form a rigid substrate for our pleasure. Allegory has history, a production value and the results are familiar.



Thursday, May 18, 2017

The Exiles (1961)




Sherman Alexie speaking on Kent Mackenzie's The Exiles (1961) at the 2008 Northwest Film Forum.

Here is a link to the L.A. Weekly article Alexie mentions concerning one of the film's stars, Yvonne Williams (Walker).


Wednesday, May 17, 2017

Miss Lonelyhearts



“Perhaps I can make you understand. Let’s start from the beginning. A man is hired to give advice to the readers of a newspaper. The job is a circulation stunt and the whole staff considers it a joke. He welcomes the job, for it might lead to a gossip column, and anyway he’s tired of being a leg man. He too considers the job a joke, but after several months at it, the joke begins to escape him. He sees that the majority of the letters are profoundly humble pleas for moral and spiritual advice, and they are inarticulate expressions of genuine suffering. He also discovers that his correspondents take him seriously. For the first time in his life, he is forced to examine the values by which he lives. This examination shows him that he is the victim of the joke and not its perpetrator.”
-- Nathanael West, Miss Lonelyhearts (1933)

Tuesday, May 16, 2017

"Tahiti in urban form"



There were many Brits working in Hollywood in the 1930s and 40s, something Evelyn Waugh noted in his novel The Loved One: an Anglo-American Tragedy (1948), written after he, too, came west to make a buck.

But if the Brits descended on Hollywood for financial reasons, Germans were motivated by more immediate concerns: remaining in Nazi Germany had become a biological impossibility.

Thomas Mann loved Los Angeles, while others, such as Bertolt Brecht, loathed it. It was Brecht who described Los Angeles in 1940 as "Tahiti in urban form." Two years later, in a March diary entry, he writes: "extraordinary in these parts how universally demoralizing cheap prettiness stops one from leading anything like a cultivated, i.e., dignified life."

Brecht might be describing exterior architectures like the Brown Derby (above) when using words like "cheap prettiness," but is there a literary equivalent? Like the simile? Is not the conflation of "Tahiti" and the "urban" a kind of cheap (informational) prettiness?

In 1987, Peter Ustinov described Toronto as "New York run by the Swiss." He meant it as a compliment. But to those who feel their city is no longer the product of an equation but a variable independent of it ("No one runs us," I was once told by an art collecting landlord), the comment continues to burn. Raise it and you get freak-outs like this.

Monday, May 15, 2017

Canada 150 Heritage Moment




Seventy-two hundred and thirty-nine seconds of our current moment can be found in this CBC news item. And yes, while it is two men doing most of the talking, they are kept on course by a woman charged with moderating their "conversation".

More from Jesse Wente (this morning) can be found here.

Sunday, May 14, 2017

Mother's Day Movie




This year's Mother's Day movie is Claudine (1974).

Saturday, May 13, 2017

Light and Space



In that kindly light the stained and blistered paint of the bungalow and the plot of weeds between the veranda and the dry water-hole lost their extreme shabbiness, and the two Englishmen, each in his rocking-chair, each with his whiskey and soda and his outdated magazine, the counterparts of numerous countrymen exiled in the barbarous regions of the world, shared in their brief illusory rehabilitation.

Image: Peter Alexander 7/18/11 (untitled blue diptych), 2011
Text: second paragraph from Evelyn Waugh's The Loved One: an Anglo-American Tragedy (1948)

Friday, May 12, 2017

A shíshálh Family



Reconstructed from bones by the Canadian Museum of History, this shíshálh family from B.C.'s Sunshine Coast is described by CMH president and CEO Mark O'Neill as "perhaps the wealthiest and most important family in North America 4,000 years ago that we've been able to identify."

For more on this ghastly action, click here.

Thursday, May 11, 2017

The Three Greenthorns



We are now eleven days away from tabulating the 179,100 absentee ballots cast during the 2017 B.C. provincial election. To put those numbers in perspective, there are 3,156,991 eligible voters in B.C., of which 57% cast a ballot.

With certain ridings close enough to be decided by absentee votes, the leaders of the three main parties are understandably cagey about what to say and do in the days leading up to May 22.

For those concerned that the three Green MLAs might form a coalition government with a 43 seat Liberal party willing to enact the Green's main election promise of proportional representation, rest assured -- it's not going to happen. The Liberals like the current first-past-the-post format, just as the Greens deplore the Liberals' indifference to the environmental consequences of oil, gas and hydro production.

But this is B.C politics. And in B.C. politics, anything can happen -- from a former premier who changed his name to Amor de Cosmos to an NDP candidate (Morgane Oger) who changed more than that and came within 561 votes of defeating the Liberal incumbent (Sam Sullivan) for the riding of Vancouver False-Creek.

Below are the email addresses of B.C.'s three Green MLAs. Write to them and let them know that a Green-Liberal coalition would be, in the words of the current U.S. President, "A bad -- a very bad -- a very, very bad idea."

SONIA FURSTENAU: Cowichan Valley cwv@bcgreens.ca

ADAM OLSEN: Saanich North and the Islandssan@bcgreens.ca

ANDREW WEAVER: Oak Bay-Gordon Headobg@bcgreens.ca

Wednesday, May 10, 2017

Portrait



I have known Olive for most of her eight years. Her current interests include drawing.

Recently her father showed me some of her portraits and I was impressed enough to ask Olive if she would accept a commission.

"Let me practice on you first," she said, so I sat for a ten minute session, after which she said she would "colour it in" and get back to me.

Monday, May 8, 2017


A small room inside a bay window. A single bed, a table and chair, and a sink. I could manage something larger, with more conveniences, but I could never match the view.

I awake to the latest on that serial melodrama known as the French election and an update on our own provincial election (tomorrow), with the centrist Greens "surging," according to their haughty leader.

Following that -- floods. Not just in the Okanagan or the Fraser Canyon, where Cache Creek's fire chief was swept away last week, but in civilizations like Montreal.

"Après nous, le déluge," said Madame de Pompadour to her lover Louis XV, who, in keeping with the spirit of de Pompadour's declaration, revised it to "Après moi..."

Saturday, May 6, 2017

Live at the Malcolm Lowry Room (February 1994)



An opening night recording of cub (with guest) at the Malcolm Lowry Room in the fabulous North Burnaby Inn.


Friday, May 5, 2017

The Final Frontier (1992)



The Georgia Straight is exactly 50 years old. That's a long time, especially these days.

To mark its anniversary the Straight published an annotated list of "50 albums that shaped Vancouver." Included is an album I helped to make with my old band, Hard Rock Miners.


Normally I would be flattered -- but there are too many omissions! (Remember, the Straight is talking albums that "shaped" the city, not our favourites.) For example, of the 50 albums selected (one for each year), only three are by solo women artists!

Ann Mortifee's recording of The Ecstasy of Rita Joe (1975) is an important record -- an original score from a play that everyone in Vancouver saw that year.

Same too for Sarah McLachlan's Fumbling Towards Ecstasy (1993), an album whose contribution to Kitsilano goddess culture is on par with Joni Mitchell's Court and Spark (1974) and Tracy Chapman's Tracy Chapman (1988).

Animal Slaves was an art band, a great band. What about Dog Eat Dog (1984)?

Spirit of the West's impact was huge and intergenerational. What about Labour Day (1988)?

No hip-hop? What about Rascalz's Really Livin' (1992)?

cub's Betti-Cola (1993)?

Kinnie Starr's Tidy (1996)?

Destroyer's We'll Build Them a Golden Bridge (1996)?

Oh yeah, and Louis Cyphre -- thanks for uploading this yesterday. That Circle C record is among my Top 50, everywhere.

Thursday, May 4, 2017

Signs



North Vancouver's Tomahawk Barbecue in 1936 -- or The Tomahawk as it is known today.

What to make of its sign? A clever (resourceful) use of a civic utility pole, or evidence of the state's role in the perpetuation of negative stereotypes?



What about the pairing of an indigenous signifier with one associated with the "Orient"?

Here is the Salada sign today:


Wednesday, May 3, 2017

Cranes in the Sky




"Cities aren't always so popular with birds. Venice was once an area of marshland where migrating cranes could rest their feet. Now they have to keep on flying."

Tuesday, May 2, 2017

Artist-run Cultured



Something that became apparent during Vancouver's Institutions by Artists conference of October 2012 was the growing relationship between state-sanctioned artist-run centres and the academy. I had to remind myself of this while waiting for my breath to return after reading ECUAD's typically proprietary April 30th announcement that had its Living Labs reifier and Prince George's civic art gallery (Two Rivers) "Partner[ing] to Launch a new Artist-run Centre in Prince George, B.C."

Monday, May 1, 2017

Gladstone Street



Last week Hannah and I drove southeast on Kingsway to New Westminster where we walked up and down Columbia Street, poked around the antique shops along the waterfront before a quick visit to the New Media Gallery at the Anvil Centre.

On our return we stopped at the Oasis Car Wash in Burnaby; and then, as we were nearing Gladstone  Street, I remembered that the City of Vancouver recently posted a "Literary Landmark" plaque to commemorate my book Kingsway (1995) and its mention of Kingsway's first settler-built structure, the Gladstone Inn, in 1865.

The two dots placed below my eyes are remnants of what Hannah said were "likely googly eyes." She tried to pick them off, but they were on there pretty good.

Saturday, April 29, 2017

What Blue



Behind Main Street (to the west), West Broadway (to the south) and Kingsway (to the east).

Friday, April 28, 2017

Never My Love (1967)




The Association of Blue Plastic Lip-Synchers -- singing one of the most beautiful songs I know.

Here they are opening the 1967 Monterey Pop Festival:

Thursday, April 27, 2017

Trips Festival (1966)



Another screen grab, this one from unaired CBC footage shot at the Trips Festival at the end of July, 1966.

Below is the Trips Festival poster, with a calligraphic work by Judith Copithorne in the centre panel? (Nope, says Judith, "maybe Jack Wise.")


Wednesday, April 26, 2017

Tuesday, April 25, 2017

.art registration period



It appears that the worker in Rodchenko's poster forgot to include the hyphen when shouting, "e-flux."

Only two weeks left in the ominously-titled ".art registration period," according to e(ntrepreneur)-flux's Anton Vidokle. Come May 9th the draw-bridge comes up and those not aboard this Russian's arc will miss out on the cheese plate that is the Revolution's centenary.

Here is what the e-fluxetariat sent out this morning:

"This struggle must be organised, according to 'all the rules of the art,' by people who are professionally engaged in revolutionary activity."
–Vladimir Lenin, What Is To Be Done?, 1901
The centenary of the October Revolution is around the corner.
So is the end of the .ART professional registration period—on May 9 to be exact. After that you might lose out on your top choice of best domain names, and more popular names will get pricier.
Join our comrades at ICA LondonPara SiteStedelijk and many others across the planet. Get a registration token at www.e-flux.art.
Questions? Email artdomain@e-flux.com.
And here is a sample of what Vidokle told the Guardian last month:
'Being an artist implies a normative departure from bourgeois society. It’s a different kind of extension because it refers to a different lifestyle, so, unlike other domains, .art has the capacity to draw artists and institutions to itself.'

Yes, "implies" is the right (and careful) word. But is "different"? As for "itself," I reminded of the Borg.

Monday, April 24, 2017

Easter Bee-In



So many bees, so few croci.

Sunday, April 23, 2017

Sign of the Times



When I first saw this sign I thought it said WELCOME TO WHITENESS.

Saturday, April 22, 2017

No Time to Waste



Much of what ails me about our contemporary condition can be found in this inadvertent artwork.

Friday, April 21, 2017

Final Walk-Through



Last Monday SFU Audain Gallery curator Amy Kazymerchyk, Western Front Executive Director Caitlin Jones, Griffin Art Projects Director Lee Plested and CSA co-founder and curator Steven Tong came together for a final walk-through of the VAG's Ambivalent Pleasures exhibition. It was my pleasure to hold the microphone and listen as the group spoke with eloquence, insight and honesty of a show comprised of work by artists that the four have worked with in the past (a number of the works on display were first shown at their galleries), but also of a curatorial frame that, for this sound recordist, has more in common with expediency and brute pragmatism than lyricism and risk.

Thursday, April 20, 2017

A Museum is a School (2009-)





I am not sure what the conditions are for the display of Luis Camnitzer's The Museum is a School (2009-), but every time I see its text, the punctuation is different.

Wednesday, April 19, 2017

Grand Piano Rattle: a Bosendorfer for Al Neil (1984)



Carole Itter graduated from Magee Secondary the same year as my mom. Carole is this year's recipient of the Audain Prize for Lifetime Achievement in the Visual Arts. Congratulations Carole!