Permanent Collection highlights
Arthur Shilling
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Arthur Shilling, Canadian (1941-1986), Portrait of a Young Boy, n.d., oil on canvas, 61 x 51 cm. Kitchener-Waterloo Art Gallery, Gift of Judy and Henry M. Knight, 1993. Reproduced with permission. |
Arthur Shilling was a prolific and successful artist originally from the Rama Reserve near Orillia, Ontario. His art was inspired by what he called "the beauty of my people," and he sought through his art to inspire pride and togetherness within the community of his childhood home. Shilling developed his bold colourful style as a form of personal expression that openly rejected any relationship to other popular styles of the 1960s, such as the abstract expressionism of Painters Eleven or the animal symbolism of the Woodland School.
After undergoing heart surgery in the 1970s, Shilling returned to Rama to fulfill his lifelong dream of building an art gallery there. He lived and worked at Rama for the rest of his life, but traveled widely to teach and to paint. In 1978, the National Film Board of Canada produced a documentary about Shilling titled "The Beauty of My People: The Life, Work and Times of Arthur Shilling." Shilling also wrote and illustrated a book for young readers titled "The Ojibway Dream" that was published posthumously. His two sons Bewabon and Travis who were 9 and 8 at the time of their father's death are now both successful artists.
Yousuf Karsh
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© Yousuf Karsh Yousuf Karsh, Canadian (b. Armenia, 1908-2002) Georges P. Vanier and Mrs. Vanier, 1962, 42.7 x 33.9 cm. Gift of the corporation of the City of Kitchener, 1980. |
Karsh emigrated to Canada from Armenia at the age of seventeen. His interest in photography started with his uncle, a skilled photographer who showed Karsh the foundations, marking the beginning of his life's work. After apprenticing with John H. Garo, Yousuf Karsh set up a studio in Ottawa. It was with his famous photograph of Winston Churchill, taken in the nation's capital in 1941, that the artist's name became internationally known.
This photograph from the KW|AG's permanent collection features two prominent figures of Canadian history. Major-General Georges P. Vanier served as Canada's Governor General from 1959 until his death in 1967. He was the first French Canadian to be appointed to this honorable role, beginning the tradition of alternating French and English speaking persons as Governor General. His wife, Pauline Vanier, was among one of the first to become a Companion of the Order of Canada for her dedicated humanitarian work.
For more information about the life and work of Yousuf Karsh, please visit karsh.org.
Rita Letendre
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Rita Letendre, Canadian, b. 1928, Yatar, 1979, serigraph, 72 x 50 cm. Kitchener-Waterloo Art Gallery, Gift of Mr. Hubert Saulnier, 1992. |
In the early 1950's, when Rita Letendre was a student in art school in Montreal, she met a group of artists called Les Automatistes. The group was founded by Paul-Émile Borduas whose personal philosophy was to be true to thyself above all else. For Borduas and Les Automatistes, this meant creating unconventional artwork that honoured the process and followed impulse from the subconscious. This way of thinking contrasted greatly to the precise, technical instruction Letendre was receiving through her formal education and it enticed her. She found that, although she could create a representational image when required, she much preferred to depict her subjects based on feeling and character.
Letendre left school and allowed her practice to align with her own sense of creative expression. She discovered that she works best while listening to music as it allows her to quiet her mind and focus purely on her canvas. Without preconceived notions of how the finished painting will appear, Letendre allows her intuition to guide her from one gesture to the next. She describes her process as 'zen', or 'in the moment' because she is not thinking about the past or the future but focusing only on each gesture as it is made.
Rita Letendre won the Governor General's Award in Visual and Media Arts in 2010, honouring her distinguished career achievement spanning more than five decades.
October/November - Heritage
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Ed Schleimer, German-Canadian, b. 1949, Self Search VI: The Golden Dreamer, 1984, oil on canvas, 170 x 130 cm. Kitchener-Waterloo Art Gallery, Gift of the Artist, 1993. |
Ed Schleimer - Self Search VI: The Golden Dreamer
"In laundering the fabric of our spirit and title, the community will emerge whole, intact and secure in tradition with the promise of a healthy, open, future for our kids & as a beacon, example, and hope for humanity and the planet." -Ed Schleimer
This month's selection, a painting by local German Canadian artist Ed Schleimer, coincides with international celebrations of German history and culture. As the annual Oktoberfest unfolded locally, the world observed the 20th Anniversary of the fall of the Berlin Wall. And the Kitchener-Waterloo Art Gallery opened a group exhibition of artists living in Berlin.
In an attempt to emphasize the benefit of creative thinkers on an evolving urban landscape, Building Berlin showcases artists who have been critical in shaping that city's cultural character in recent years. As Kitchener continues to grow, Ed Schleimer plays a similar role in our community's development. The portrait, Self Search VI: The Golden Dreamer, authentically epitomizes Schleimer as the Contemplative, the Creative, the Visionary.
Well-versed in the history of this region, Schleimer has spent a lifetime envisioning a brighter future. His unique and inspired vision for Kitchener, complete with schematics of a canopied downtown core, emphasizes quality of life and spiritual renewal; a vision that accentuates and expands upon the best aspects of our shared past.
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Jesús Carlos de Vilallonga, Canadian, b. Spain, 1927, Portrait, 1970, oil on masonite, 40.1 x 30.5 cm. Kitchener-Waterloo Art Gallery, Gift of Dr. Jacques Bellefeuille, 1992. |
September - The Heroes Journey
Jesús Carlos de Vilallonga - Portrait
Portrait by Jesús Carlos de Vilallonga in currently on display in Being Magnified: Heroes and Villains from KW|AG's Permanent Collection until August 2010. The exhibition illustrates comparative mythologist Joseph Campbell's theory derived from his life long analysis of myth, that following ones bliss leads to self actualization. He believed that myths have at their basis the knowledge of our potential to live extraordinary lives, to be the heroes of our own stories by following the trail of that which sparks enthusiasm within us. Being Magnified is a collection of extraordinary characters that have, in their own unique expression, magnified their inner truth and realized their heroic potential.
Throughout his career, Jesús Carlos de Vilallonga has created fantasy landscapes and magical beings which fall perfectly within the scope of Joseph Campbell's mythological analysis. In this context, Vilallonga's Portrait illustrates artistic or creative genius. A magnificent swirl of colour bursts forth from the top of the head, becoming more distinct and delineated as it spreads through the body and is injected into the hand. This creative force defines the artist as she becomes at once the creator and the creation, morphing the ordinary into the extraordinary through the expression of inner knowledge.
August - Sense of Wonder
John Ward - Hosta #1
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| John Ward, Canadian, b. Ireland, 1948, Hosta #1, 1992, acrylic on canvas, 213.5 x 244.1 cm (7' x 8'). Kitchener-Waterloo Art Gallery, Gift of the Artist, 1993. Image courtesy of the artist. |
"[My paintings are] about a feeling rather than being just depictions or descriptions
...I see them as a vehicle for some kind of magical quality, a mystical sense."
- John Ward
Canadian painter, John Ward, began his career painting hyper-realistic cityscapes while living in Toronto. When he moved to the countryside north of Toronto, his work reflected this environmental change. His canvases, once muted urban scenes, became explosive larger-than-life examinations of nature. Consumed by the affective qualities of the natural world, he was compelled to communicate its magic.
Even through the distancing media of the internet, the beauty of Hosta #1 is translated with potency. Imagine standing in front of this 7 x 8 foot canvas with its grand presence and vitality as it calls into perspective your personal relationship with nature.
Hosta #1 was chosen as this month's highlight from the permanent collection as a complement to the theme of wonder reflected in the exhibitions currently on display. Much like the artists in Some Kind of Wonderful: the 4th KW|AG Biennial, Ward activates our sense of wonder by shifting our usual perspective, causing us to pause and contemplate familiar subjects anew.
July - 'The Momentous Pinnacle'
Tony Urquhart - Hero!
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| Tony Urquhart, Canadian, b. 1934, Hero!, 1961, woodcut, 30.2 x 22.6 cm. Kitchener-Waterloo Art Gallery, Gift of the Artist, 1992. |
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Perfection is unattainable, but attempts and theories on bettering oneself will always exist. No transformation comes to absolute completion but change can reach a pinnacle within our own experiences; a pinnacle Nietzsche calls the overman. Perhaps a hero unto himself, Nietzche's overman supersedes the blindness inherent in following a doctrine that has become meaningless. The overman therefore epitomizes effort and labor; a struggle that is inherent in Tony Urquhart's Hero! in which the protagonist's laboured emergence can be sensed within the work. The lack of the hero's human form, what seems to be a carcass underneath the suit can be attributed to the allusion of Nietzsche's idea that the overman is beyond human. The corporeal body, as well as the notion of faith, has been shed in order to reach the human apex - a belief in oneself, rather than searching meaning elsewhere. However, reaching this climax has not ended the pattern of repetition, a notion that the overman welcomes. It has become a part of an eternal metamorphosis. The overman creates his own fate through the choices he makes, deeming life's recurring events bearable. - Maya Atsiz, Curatorial Intern |
| Tony Urqhart was born in Niagara Falls, Canada and undertook his art studies in Buffalo at the Albright Art School and the University of Buffalo. His vocation also includes a teaching career at various Universities across Canada. His art is marked by a wide-scope of different media such as landscape painting which he pursued in the 1960s. His sculptures are epitomized mainly with his symbolic boxes which focus on the cycle of life; from birth all the way through to rebirth, a theme which is apparent in this artwork. |
June - 'The Moment of Convergence'
Stanley Lewis - Metamorphosis II
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| Stanley Lewis, Canadian, 1930-2006, Metamorphosis II, 1965, stonecut, 45.6 x 60.9cm. Kitchener-Waterloo Art Gallery, Gift of Mr. Yvan Dubuc, 1994. |
Indeed metamorphosis occurs, as in the seasons, so in the nature of human existence. A more existential perspective of this natural phenomenon is best characterized in Franz Kafka's Metamorphosis, albeit change does not necessarily have to occur in nihilistic circumstances. In Gregor Samsa's situation transformation manifests itself out of a gloomy situation and results in an even more dismal and catatonic state, reaching an end in his bleak demise. Despair that is felt in alienation can however transform into something more beautiful as is depicted in Stanley Lewis' Metamorphosis II. This work does not necessarily stray to either end of the emotional spectrum, but similar to the neutrality of indifference, portrays a sense of stillness inherent within transformation. Nothing epic is depicted but rather a slow sense of movement towards something different and better, parallel to the change experienced by human beings throughout their lives. This work portrays the necessity of change, as can be remarked about Kafka's work, in which a man who tried to stop the nature of transformation felt the ramifications when metamorphosis crept upon him suddenly instead of gradually, and left him helpless and more isolated than before, in the body of a cockroach. Change is inevitable, positive change, however, is a choice individuals make as well as a matter of perspective, where even alienation can become enjoyable solitude. - Maya Atsiz, Curatorial Intern
French Canadian artist, Stanley Lewis, pursued his artistic training in Montreal. He attended the School of Art and Design at the Montreal Museum of Fine Art, where later in life he taught as well. He studied under Jacques de Tonnancour and Dr. Arthur Lismer, a member of the Group of Seven. His interest in different facets of art included sculpting, printmaking as well as photography. Aside from his schooling in Montreal, he also pursued higher education in Florence and Mexico. His works of art have been exhibited in various parts of the world, such as Florence, Israel, New York, Mexico and Paris.
May - 'Emergence'
Ray Mead - Untitled
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| Ray Mead, Canadian 1921-1998, Untitled, 1989, acrylic on paper, 81 x 102cm. Kitchener-Waterloo Art Gallery, Gift of Mr. Ronald Steinberg, 1995. |
Ray Mead's work, Untitled incorporates the notion of binary oppositions suspended in an inert existence. When viewing this work we are enveloped in oblivion of red formations, mimicking the nature of clouds - a view most are familiar with. However, the abundance of red eliminates our full sense of familiarity and adds a tinge of abstraction to the space. The two suspended circles can denote a variety of different concepts such as the constant renewal of life as well as the repetitive nature of existence as we know it, as denoted in the seasons. Within this repetitive nature we find binary oppositions and the very placement of these two circles defines the notion of alienation. Devoid of any interaction with the background these circles sit alone on top of a red sea. If indeed this work is read as opposing concepts suspended in isolation, one would suspect its counterpart, acceptance, to surface; a notion that will follow once a metamorphosis has gone underway. - Maya Atsiz, Curatorial Intern
Ray Mead, a British immigrant, who was born in 1921, came to Canada during World War II and returned to Hamilton after the war. Having been schooled in draughtsmanship and painting, he decided to pursue a career in art and has become one of the greatest contemporary painters of Canada. The peak of his career took place during his association with the Painters 11 in the 1950s and followed with countless exhibitions. During his lifetime Mead has created an array of extraordinary abstract paintings, such as Untitled, which evoke a multitude of emotions as well as contemplation.
April
Monica Tap - The Road to Lily Dale I
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| Monica Tap, The Road to Lily Dale I, 2006, oil on canvas, 203 x 251 cm. Kitchener-Waterloo Art Gallery, gift of the artist, 2008. Image courtesy of the artist. |
The Gallery is pleased to invite Toronto-based artist Monica Tap as the guest-of-honour at an Open House on April 6 from 7-9 p.m. Tap will publicly donate her work, Road to Lily Dale I, to KW|AG's permanent collection, the first donation since the lifting of the moratorium. River Grand Chronicles invites selected artists to respond through their own artistic practice to the Grand River as either a conceptual or literal figure in visual storytelling. Its frontispiece River: Grand!, features contemporary and historical works that are reflective of the river's influence.
Intrigued by the landscape paintings and spiritualism of Homer Watson, Tap retraced paths frequented by Homer Watson during the late 19th century. Digital video created during her expeditions provided source imagery for her final paintings. The Road to Lily Dale I and The Road to Lily Dale II are two of this series of video-based paintings which premiered at KW|AG in the 2007 exhibition, Monica Tap: séance (River Grand Chronicles #2). The Road to Lily Dale I will be incorporated into exhibitions featuring permanent collection works scheduled within the next two years.
March
Claude Tousignant - Bleu, jaune, rouge
"I find that if I don't use a hard edge, the form is not complete - it's not crisp, it's not efficient." - Claude Tousignant
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| Claude Tousignant, Canadian, b. 1932, Bleu, jaune, rouge, 1971, acrylic on canvas, 290 x 290 cm each, Kitchener-Waterloo Art Gallery, Gift of Dr. Jacques Toupin, 1995. |
World renowned Montreal artist, Claude Tousignant, is a leading figure in modern art. A student during the formative years of the Abstract movement, he developed his style in response to the American Abstract Expressionist and Action Painters like Jackson Pollack and Franz Kline. Influenced also by Pop Art, his goal was to make abstract art part of the mainstream consciousness. He adhered closely to the ideals of the Montreal movement, Les Plasticiens, who objectified painting instead of painting objects.
Tousignant's paintings are characterized by geometric, hard-edged areas of solid colour. He believes in the use of pure form and pure colour to deduce the absolute. It is not surprising that his favorite subjects in school were visual art and geometry, as his work is a perfect marriage of the two. This month's feature from the permanent collection, Bleu, jaune, rouge, is an example of his exploration of colour theory. He creates movement and tension in his canvasses through the strategic placement of contrasting colours in concentric bands, pulling the eye to the centre of the work and back to the outer edge.
Fellow Montreal artist, Cynthia Girard pays homage to Tousignant's art in her painting Colonized (to cut wood) which was on view at the Kitchener-Waterloo Art Gallery as part of the exhibition Anthem: Perspectives on Home and Native Land from January 15 to March 22, 2009. That Tousignant art has affected culture is apparent as he has been appointed Officer of the Order of Canada and recipient of the Prix du Quebec. He is currently being honored with a major retrospective at The Musée d'art contemporain de Montréal until April 26, 2009. Visit Musée d'art contemporain de Montréal for more information on the retrospective and its complimentary virtual exhibition.2
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