Showing posts with label James Gordaneer. Show all posts
Showing posts with label James Gordaneer. Show all posts
Sunday, September 4, 2016
Thursday, October 4, 2012
James Gordaneer at Winchester Galleries Modern
" Rebound "
James Gordaneer
October 6 - 27, 2012
James Gordaneer is important for expressionistic
painting in Canada. He has also been very influential as a teacher. He
makes things connect, on and off canvas.
In the summer of 2011 Gordaneer became ill, and not until
November could he resume the serious production of art. Twenty of the
works which he then painted comprise this October 2012
exhibition.
Gordaneer’s spontaneous method furthers the abstraction of
his gestural realism. A debt is revealed to Abstract Expressionism –
especially that of de Kooning and Gorky. Gordaneer first saw their
work in 1959 by which date he had significantly developed under the
tutelage of Karl Schaeffer, Jock Macdonald and other notable artists.
Teaching art and visiting museums in Europe also contributed to
Gordaneer’s development.
Saturday, October 6, 2012 2 pm – 4 pm
Winchester Galleries Modern
758 Humboldt St
Monday, May 21, 2012
Mark Laver – Rural Disasters - photo review – opening day
Winchester Galleries Modern
758 Humboldt St.
May 12 to June 12, 2012
Sunday, May 9, 2010
James Gordaneer: "A Life in Painting" -by Debora Alanna
Art Gallery of Greater Victoria
9 April - 6 June 2010
Jim Gordaneer teaches us bravery. His innate ability to dwell on his passion conspicuously drives and inspires his continued investigations. Mettlesome, Gordaneer distinctively scrutinizes plenty of genres over the decades of his production and produces unique paintings throughout the barrage of influences. Samples of his paintings on show at the AGGV are glimpses into a lifetime of accomplished dialogue embodied in canvas and board. Serious introspection presents through experimental abstraction jostling figurative reflection and using colour palates pertinent to various decades of approach. Prosaic subjects of comedic banality endear us to this work.
We are privy to Gordaneer’s droll commentary and understated constructs that unpretentiously probe flattening Modernism through his ’60 and ‘70s paintings. Puzzles of painterly parts stabilize delineated surfaces. He recalls the emotional conspiracy of Bacon’s smears and the Synthetic Cubist abandon of Gorky, indicating homage while gathering a personal, diverting vocabulary of style.
Gordaneer grumpily imposes a transfer of colour field doctrine with greyed palates and dismayed regard in the structured figures of Hortense (1985) and Rufus (1986). Waitress ll (1984) and Circus Series: Black Wire (1985) are shifts in his consternation, with cerulean optimism outweighing staidly chairs and playful deranging of pink and orange figures that revive Gordaneer’s recurring circus theme, enlivening his love of figuration. Gordaneer incarcerates this Post- Painterly Abstraction discipline through Beacon Hill Series: Band Stand (1987).
Paintings based on undulating philosophical conversations with Raymond Lorens, domineer Licence, The Harpist and Bass Player and Violinist (1993). Gordaneer’s topological figures twist and stretch, harmonizing coloured stripes or synchronize waves of geometry. Here, there is a revival of pure colour and brash figuration that earnestly discards the presumptive wake of art history’s duress. The drama of this work stages a mind-shift for Gordaneer.
Subsequent paintings rearrange his painted vocabulary, embracing neoexpressionist sensibilities, liberating the figures from outlines in favour of multi-layered constructs. Gordaneer’s results are confident and mischievous. He teases and invigorates the images of Sailor and The Umpire (2005), charging the delivery with belief.
The 2009 paintings have changed perspective. Looking down on an assemblage of body parts and excited elements of abstracted forms, Gordaneer punctuates the work with thriving, sophisticated idea proclamation. Gordaneer dares to confront a life of learning and transports his understanding to synergized observations, with sketches and ultimately master works. Rising above past ideology, he raises his investigative intensity and allows his imagination to ascend.
9 April - 6 June 2010
Jim Gordaneer teaches us bravery. His innate ability to dwell on his passion conspicuously drives and inspires his continued investigations. Mettlesome, Gordaneer distinctively scrutinizes plenty of genres over the decades of his production and produces unique paintings throughout the barrage of influences. Samples of his paintings on show at the AGGV are glimpses into a lifetime of accomplished dialogue embodied in canvas and board. Serious introspection presents through experimental abstraction jostling figurative reflection and using colour palates pertinent to various decades of approach. Prosaic subjects of comedic banality endear us to this work.
We are privy to Gordaneer’s droll commentary and understated constructs that unpretentiously probe flattening Modernism through his ’60 and ‘70s paintings. Puzzles of painterly parts stabilize delineated surfaces. He recalls the emotional conspiracy of Bacon’s smears and the Synthetic Cubist abandon of Gorky, indicating homage while gathering a personal, diverting vocabulary of style.
Gordaneer grumpily imposes a transfer of colour field doctrine with greyed palates and dismayed regard in the structured figures of Hortense (1985) and Rufus (1986). Waitress ll (1984) and Circus Series: Black Wire (1985) are shifts in his consternation, with cerulean optimism outweighing staidly chairs and playful deranging of pink and orange figures that revive Gordaneer’s recurring circus theme, enlivening his love of figuration. Gordaneer incarcerates this Post- Painterly Abstraction discipline through Beacon Hill Series: Band Stand (1987).
Paintings based on undulating philosophical conversations with Raymond Lorens, domineer Licence, The Harpist and Bass Player and Violinist (1993). Gordaneer’s topological figures twist and stretch, harmonizing coloured stripes or synchronize waves of geometry. Here, there is a revival of pure colour and brash figuration that earnestly discards the presumptive wake of art history’s duress. The drama of this work stages a mind-shift for Gordaneer.
Subsequent paintings rearrange his painted vocabulary, embracing neoexpressionist sensibilities, liberating the figures from outlines in favour of multi-layered constructs. Gordaneer’s results are confident and mischievous. He teases and invigorates the images of Sailor and The Umpire (2005), charging the delivery with belief.
The 2009 paintings have changed perspective. Looking down on an assemblage of body parts and excited elements of abstracted forms, Gordaneer punctuates the work with thriving, sophisticated idea proclamation. Gordaneer dares to confront a life of learning and transports his understanding to synergized observations, with sketches and ultimately master works. Rising above past ideology, he raises his investigative intensity and allows his imagination to ascend.
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