Expressionist oil paintings exuberant with brilliant colour in their portrayal of women and animals are Millie Shapiroʼs expertise. Like the paintings of James Weeks, with whom Shapiro studied in the late ʼ60ʼs at the San Francisco Art Institute, the influence of European modernists such as Henri Matisse are prevalent. Weeks admired Shapiroʼs work, and claimed her talent was among the best he had seen as a teacher. Shapiro is a Victoria resident, and has exhibited in one person and group shows throughout the Pacific Northwest in numerous public and private art galleries from the 1980ʼs to the present. Shapiro says, “Art is the dance you do with life.” Her life is a testament to her paintings, which are supremely confident and vibrant expressions - zany, passionate, beautiful, wild.
March 1 to April 3, 2010 2170 Oak Bay Ave. Victoria, BC Canada
A Group Art Show by 8 local female artists, both acclaimed and emerging: Jody Bauche, Becky Julseth, Chelsea Lowe, Carla MacLean , Bryn Meadows, Andrea Norris, Emiko Takeda & Moira Thomas
Opening Reception: Friday February 26 8-11pm 2516 Douglas St. Victoria BC, Canada
1)What is more important to you? The subject matter, the composition or structure? I believe that in visual art, composition and structure is generally more important than subject matter. In certain projects I have done the subject matter is very important in others it it is less, but I have never done a piece of art where the weight, flow and balance was not the most important aspects driving the creation of the art.
2)Is the title important for you? Yes. A title can determine the mood and depth of a piece of art as well as completely change the way it is viewed. The artist lessLIE uses poetic plays on words in alot of his titles and it keeps his audience intrigued by giving them more to think about. Even leaving an art piece untitled can be loud statement itself, suggesting that visual aspects of the art states everything the artist was trying to communicate.
3)Should art be created to withstand the test of time or is it more realistic to create works that eventually wears away? I think that there is a place for both timeless art and era specific art. There are types of music that are timeless and types of music that seemed to only be popular during certain periods and as peoples ideals and interests changed so did their taste in music. But that does not mean that the music was not important during its time of popularity. And I think the same can be said for visual art. But in traditional and indigenous arts such as Salish art I think the goal is to be timeless. The reason that people still practice indigenous arts is because the foundation left by our ancestors are still incredibly inspiring. And I hope that if people look at my art hundreds of years from now they will still be inspired to carry on the Salish traditions.
4)Do artists create art to have their ideas validated or so that they can be accepted? I can't speak for other artists but acceptance is not the driving force behind my creation. I would continue to do create art even if there was no one in the world to see it. But that being said it is still very pleasing for your art to be accepted and admired. And it is especially gratifying when an artisit you look to for inspiration enjoys your work.
5) Why do you do what you do ? The power that drives me to create seems to be beyond myself. It is something that has always been in me and never leaves my spirit. I think it is life itself. And if you let life flow through you, then creation is bound to happen.
Spectacular beauty, incredible artistry, glorious landscapes, magical abstracts, and amazing details – all captured “Through the Lens” for our latest fine art show at the Coast Collective Gallery. Works by over 20 local photographers, using digital and film, traditional and manipulated images, printed on a range of media. It’s a breathtaking show!
IMYGRATE IS A MIGRATION OF ARTWORKS. Artists from Canada, USA, Germany, Portugal, Indonesia, Malaysia, Japan, Argentina, Israel, Brazil, Australia, India, Netherlands, Sweden and Italy Send Their Artwork On A Road Trip Across Canada.
Opening February 19th, 2010 • 8:00pm @ Olio Artists Co-operative / Gallery Visit www.anteism.com for info & gallery hours. Admission $1.00 donated to Fisgard Mural Concern.
-What is your artist background? born in Seoul, Korea studied Photography in Korea -How do you describe your work? focused on human development and its surroundings: buildings, nature, and people. -Who are the living artists you find more interesting? Jeff Wall -Who are the no longer living artists you find most interesting? Max Ernst/ Marcel Duchamp/ -Should art have a social/political message? Yes. It should and yes, it shouldn't -Why do you do art? to find myself as a social being
This collection of his Jean Cocteau-like sketches, features multiple self-portraits, as well as images of Leonard Cohen’s homes in Montreal and on the Greek island of Hydra, “are all little fragments of Cohen family history.” Cohen spent countless hours drawing, both for himself and with his children – Adam and his sister, Lorca – purely as creative exploration. “I always just loved trying to find the shape of things,” Leonard Cohen has said. “I never thought of them as something to exhibit. I always thought of them as kind of notes – a kind of personal journalism.”
Leonard Cohen’s drawings have appeared publicly only four times before – at the opening of the Richard Goodall Gallery in Manchester, England, in the summer of 2007, in conjunction with the Luminato Festival in Toronto this past spring and then on the West coast at the Linda Lando gallery in Vancouver.
Feb. 11 to 28, 2010 2184 Oak Bay Ave. Victoria, BC Canada
Color And Culture Practice and Meaning from Antiquity to Abstraction by John Cage Published by the University of California
From Publishers Weekly
In this searching, dazzlingly illustrated investigation of the experience of color in the West, Cambridge University art historian Gage explores color as a language of emotions, psychological meaning and religious significance. His 14 scholarly yet accessible essays, accompanied by 223 plates (more than half of which are in color), are full of arcane and wondrous lore, from ancient Rome's cult of purple (a hue associated with the ruling elite) to the symbology of rainbows, perceived correspondences between colors and music, and color symbolism in heraldry and alchemy. Certain themes re-emerge, such as the impact of color scientists Goethe and Newton on artists like Turner and Surat, and the popular notion of the Orient as a repository of colored, exotic stimuli and attitudes. The magnificent plates range from a fourth-century Egyptian mummy portrait to the color experiments of Kandinsky, Mondrian, Helen Frankenthaler, Sonia Delaunay, Kenneth Noland and Josef Albers.
Copyright 1993 Reed Business Information, Inc.
