Monday, March 29, 2010
Montague: That's very interesting. Why?
Cage: Because you don't need it in order to hear it.
Montague: Just a minute, let me think about that a moment.
Cage: You have it all the time. And it can change your mind, making it open to things outside it. It is continually changing. It's never the same twice. In fact, and Thoreau knew this, and it's been known traditionally in India, it is the statement that music is continuous. In India they say: "Music is continuous, it is we who turn away." So whenever you feel in need of a little music, all you have to do is to pay close attention to the sounds around you. I always think of my silent piece before I write the next piece.
John Cage at Seventy: An Interview, by Stephen Montague
'According to Cage, it was seeing Robert Rauschenberg’s White Paintings that finally convinced him he had to move forward with 4′33″. These paintings consist of a uniform layer of white paint on canvases. In the words of Cage, these paintings “were airports for shadows and for dust, but you could also say that they were mirrors of the air.”'
Ben Judson, Image and Sound: Rauschenberg and Cage
Reflecting the flux of that which surrounds, the blank or empty form is dynamic in its simplicity.
Pushing Paper, we will provide the tools, you make your mark.
Monday, March 22, 2010
Monday, March 15, 2010
Saturday, March 13, 2010
Just as the ground has begun its spring thaw, Jackie covered 47 with an ice-like layer of white. Cracking gracefully at first, the delicacy of the handmade surface has gone the way of winter itself, slowly retreating. The rather sudden deterioration reveals a map-like surface, continents and islands coming to fruition. Something satisfies me as I crunch over the floor to and from the door to the office.
Of Many runs from March 12th to April 2nd 2010 at 47.
Saturday, March 6, 2010
Friday, March 5, 2010
I also played the press card. Free sandwiches and hanging out with Robert Gober, a pretty alright Thursday.
So I looked.
Burchfield seemed interested in painting shifting moments of time. Transitons between seasons, hours of the day, weather conditions - the titles of his works reveal these instants. In these transitory times the paintings become kind of moments of decay, inherent for nature, in the normal day by day. The pieces contain a human quality of longing to understand time, without answer. Gober also described Burchfield's interest in displaying multiple moments in a single painting (The Four Seasons 1949-60), and his practise of revisting past paintings. The watercolours become layered, combining panels of paper into single images. He contexualizes himself. Vatrines, journal quotes, doodles, they all work to build a history, but the works themselves propel his life along.
Shuffling through the show, we are reminded that entire architectural features were inspired by Burchfield's life. The circular rooms a particular desire, as marked by his writings, for a round gallery space to display his paintings. Embedded into one of the ceilings is an orion constellation (Burchfield's favourite) created by gallery lights. Displaying the stars during the day, shifting between night and day, this was my favourite, and not even part of the exhibition.
And then back to Toronto we go. On the bus and wondering, critic or viewer, academia or asthetics. Journalist I ain't, but 47 Representative is something. It is interesting, the private side of the press world, to be guided and explained to. A free art trip is a free art trip, and to see behind the curating curtain was good enough for me.
Thanks for the swag bag.