November 9, 2009 by pictorialpropaganda
I had a conversation recently with the person responsible for Acquisitions at the National Gallery of Canada Library and Archives. She wanted to buy 3 copies of Picturesque Views of the Quartier for their collection. However, when she followed the links to purchase through lulu.com, there was a screen asking her to sign up for a binding legal Membership Agreement. Not only is she reticent to sign up as an individual for this legally binding agreement on behalf of her institution, but the online ordering system conflicts with the systems of acquisitions that the institution has set up for ordering publications (primarily from traditional dealers). As print-on-demand and “creator driven” online services seems to be the direction in which many artists and small publishers are moving, it will be interesting to see whether the institutions that collect them will be able to adjust their modes of working.
While one could be tempted to attribute her reticence to a generational opposition to online practices, this would be a misleading assumption. It is not that she is opposed to ordering online due to a discomfort with technological change. She purchases regularly through sites that do not require purchasers to sign legally binding membership agreements or to provide personal data on behalf of an institution that will “retain any of your Personal Data only for so long as is reasonably required to fulfill the purposes for which it was collected.”
There is little reason why lulu.com needs to gather the personal membership information from purchasers other than for the purpose of datamining. On other sites (such as abebooks.com) membership is an option for purchasers rather than a requirement. The lulu.com model of ecommerce positions purchasing as a service, “a service to enable Users to publish, and other people to purchase, digital content in on-line,” In this way, the company capitalizes of off both ends of the transaction through hidden fees associated with it (shipping) and datamining “to conduct research, to contact you, to contact those who purchase your Content (if you have selected to use the Lulu Thank You Note program) and to improve Lulu services,” as a potential method of monetization of a “free” service.
The end result of this transaction is that I will order the books for her on my creator’s account at lulu (they already have my data, but then they are also providing me with a service of POD publishing). I will ship them to the NGC and then I will invoice them separately, likely including a premium for my time.
The end conclusion? They would rather pay the creator more money than give lulu the data in exchange for a “free” service.
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September 14, 2009 by pictorialpropaganda
Click here for the Perfect-bound paper-back book
And here for the PDF download
This book includes a critical essay on Elizabeth Simcoe by Denis Longchamps, and has been added to the list of required readings for Cynthia Hammond’s, City as Palimpsest graduate seminar at Concordia University.
I wanted to try out print on demand online publishing, as a recent iteration of democratic distribution of information, so here is the result from Lulu.com : a little pocket book that resumes my encounters in the Quarties des Spectacles in 2008. I think it looks pretty nice and the response so far has been positive. As far as the POD experience goes, overall I was pleased with how easy the Lulu interface handled my files, and it was a fairly painless process. Shipping prices to Canada are exaggerated, and although the user forums promise that this will be resolved soon, I wanted to make sure that a download was available as another shipping-free option (although I recommend the paper experience). I kept the costs as low as possible but you can still contact me if you want to make a trade for it.
Description : Elizabeth Posthuma Simcoe (1762-1850) was an early tourist passing though Montréal she traveled with her husband on his way to found the city of Toronto. Felicity Tayler and Denis Longchamps study the relationship between Simcoe’s picturesque watercolours and the present-day touristic development in the heart of downtown Montréal. For more history on the project, search Simcoe or Quartier des Spectacles on the blog.
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February 17, 2009 by pictorialpropaganda
The environment as a processor of information is propaganda. Propaganda ends where dialogue begins.” — Marshall McLuhan, Quentin Fiore. The Medium is the Massage. (Toronto : Bantam Books, 1967), 142
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January 12, 2009 by pictorialpropaganda
17 October 2008, Market Square, Saint John
John Christopher MILES (1832-1911), View at Sheffield, On the St. John River, c. 1885, oil on canvas. 50 x 91.5 cm Saint John Art Club Collection, presented in 1917 by Mary M. Woodman, 1995. New Brunswick Museum Collection, accession no. A65.A22 (Reproduced from an email message to the artist from P. Larocque, September 22, 2008) Traded for support and driving from a to b.
John Marshall and his retired donkey Huey on the last farm remaining outside of the Saint John city limits. He tells me the rural communities have slowly evolved to become suburbs for commuters. John farms beef cattle and is also the coordinator of the Continental Drift International Short Film Festival and Third Space Gallery. A busy and diversified guy committed to a progressive cultural life in a city defined by conservative history and a monopoly of industry. I was struck by his generosity of spirit – and his willingness to drive me everywhere on my short visit to the city and then all the way to Sackville. On my way out of town I left behind the painting by JC Miles in a window installation and thought it would be best that it stay in Saint John as per the historical facts. The pastoral view remains with John and his livestock.
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November 4, 2008 by pictorialpropaganda
Owens Art Gallery - Research on the Collection
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October 26, 2008 by pictorialpropaganda
17 October 2008, Market Square, Saint John
John HAMMOND (1843-1939), Evening, Saint John, New Brunswick, c. 1886, oil on canvas. 62.3 x 75.3 cm. Purchase 1989. New Brunswick Museum Collection, accession no. 1989.71.1 (Reproduced from an email message to the artist from P. Larocque, September 22, 2008)
I spent the week at the Tantramar Motel. Every morning I would make the bed and leave the room. When I came back little had changed. Perhaps I would have a new towel, but the bed had always been remade. Today I left the John Hammond from Saint John behind for the bed maker.
The note says:
Please accept this painting in thanks for your invisible labour this week.
It is a painting of Saint John in 1886.
I made it there last week before I came here.
Kind regards,
Felicity
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October 25, 2008 by pictorialpropaganda
18 août 2008, Cirque du Soleil, siège sociale internationale
GAGNON, Clarence. Granges, 1926. Monotype sur papier japon, 18.0 x 22.5 cm (image); 20.1 x 24.9 cm (feuille). Musée des beaux-arts du Canada, Ottawa. Accession no. 3397. (Reproduit de Art Canadien : Catalogue du Musée des beaux-arts du Canada, Ottawa Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : Musée des beaux-arts du Canada, 1994. p. 17.)Traded to be willed to the Owens Art Gallery.
Boltenhouse Museum, Sackville
Saturday included tea and cookies with Mrs. Spatz at the house that was built by her grandfather in the 1920s. She grew up in Sackville but moved away with her husband to Buffalo where she became very involved with the Albright-Knox Gallery. But her husband always said they would retire to Sackville. She is willing her art collection to the Owens Art Gallery (she has some very nice prints by Dali, Miro, Whistler and Goya as well as paintings and sculpture from contemporary Atlantic artists). I left her with one of my paintings of the Quebec landscape to will to the Gallery along with her other well documented works.
Mrs. Spatz continues to be actively involved at the Owens Art Gallery and was instrumental in opening the Gallery to the greater Sackville community with the Friends of the Owens Art Gallery. Symbolically, the “town side” doors were reopened and the John McEwan sculpture was put in place. Another example of the flexible boundary that exists as an interface between the university community and the people who live in Sackville.
She told me many stories about her ancestors. She is the last in the line of a Yorkshire settler family that came over at the end of the 18th century. The Boltenhouse Museum of local history has a full room of artefacts that she has donated to them. She has no children and feels a great responsibility to honor the history of her family and of Sackville.
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October 25, 2008 by pictorialpropaganda
It is very hard when you are standing out on les aboiteaux of the Tantramar marshes not to think about the original Acadian settlers who’s labour created the lush farmland that became Sackville. This slightly raised land is one of the three original Acadian settlements in the area. It was an island before the Tantramar River was diked to drain it for very fertile farmland.
This morning I visited with the residents of the current farmhouse for some tea and a look at the freshwater side of the river that is dammed at the highway.
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October 24, 2008 by pictorialpropaganda
24 October 2008, Town Hall, Sackville, NB
Ethel ODGEN (1870-1902), Untitled (Cliff), oil on canvas. 21.1 x 30 cm. Owens Art Gallery collection, Sackville, Accession no. 1999.135 (Reproduced from reference material provided by J. Tisdale, 20 October 2008).
Outside the Sackville Town Hall at the main intersection.
Rob McCosh came to see me and gave me a granola bar. We also had a discussion about lobster prices which apparently are down to the price of bologna. Its a luxury food, and if people are feeling threatened by the financial crisis they stop buying lobster. The lobster stocks get stuck at the distributors because no one is buying. Distributors go out of business and the prices of lobster plummet. Rob was saying that in the past lobster used to be the poor man’s food. Bologna was what the rich kids ate because the processed meat cost more.
Chris Ricketts came by and we talked about Canadian Studies with Tom Sherman, Mount Allison was the first university to offer a program after the Centennial celebrations in the late 1960s.
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October 24, 2008 by pictorialpropaganda
22 October 2008, Save Easy, Sackville, NB
Ethel ODGEN (1870-1902), Untitled (Landscape), oil on mahogany board. 21.1 x 13.7 cm. Owens Art Gallery, Sackville, Accession no. 1999.118 (Reproduced from Atque Ars : Art From Mount Allison University 1854-1989. Sackville : Owens Art Gallery, 1989, 14).Traded for gift certificates to the Marshlands Inn
Lorena LeBlanc embodies an interesting reflection on gender, labour and class within the Sackville university environment. She lives in the nearby francophone community of Shemogue and is the custodian of the Owens Art Gallery and the Fine Art building on the Mount Allison campus. I think she has been working there for twelve years. A few years ago, she got tired of being invisible to people who only recognized her custodian uniform and decided to get an art history degree. It allowed her to combine her interest in art, history and women’s issues. The degree will also make her eligible for higher paying administrative positions on campus.
Her union contract allows her to take two courses per semester with one year off to go to class full time. Although higher levels of administration encourage her, middle management offers some resistance asking what her intentions are in taking the courses. Custodial staff has been cut down significantly in the last few years (Lorena used to be in charge of cleaning only one of the two buildings) so I imagine they are concerned with who will do the cleaning while Lorena is off learning.
I lectured on relational aesthetics and public art in one of the classes Lorena is taking this semester, and later on had the good fortune to get to know her a bit better. She is incredibly kind and brought me a care package of fresh fruit and soaps to make me feel better while traveling. Also she overheard me wondering where to get supplies for a performance on Saturday night and surprised me by going to get them in anticipation of my needs. Finally, she gave me gift certificates to the Marshlands Inn, the “fancy” restaurant in town so that I could have the experience of this famed Victorian inn before I left Sackville. Thank you Lorena.
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October 23, 2008 by pictorialpropaganda
This week in Sackville I am painting images of the town and of the surrounding countryside that were painted in the late 19th century by the artists John Hammond and Ethel Ogden. Ethel was quite an accomplished and innovative painter for her short life but the only recognition she received in her time was a short mention in the local paper of her china painting.
There is an unconfirmed story of a relationship between the two of them that has surfaced occasionally this week. There is some evidence that Ethel may have been instrumental in bringing Hammond to Sackville in 1893 with the Owens Art Collection. She studied under him in Saint John and then continued as a colleague in Sackville. The extent of the relationship is not clear, but he was her teacher and mentor and they would have gone out together to do plein air landscape painting. Many of ther compositions are uncannily similar. Ethel died at a young age of tuberculosis but before this Hammond had married someone else.
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October 23, 2008 by pictorialpropaganda
On Tuesday I also met a man who had moved to Sackville 40 years ago to work for Wildlife Services. He stopped and talked to me for a while about the land in the paintings I had made. We talked about the change in land use over the last hundred years away from agriculture and about the history of the different settler groups in the area. He told me that once you get out on the marshes there are big skies – you can see 360 degrees.
This morning I went walking on les aboiteaux (a system of dikes and sluices) originally built by the Acadians before the Grand Dérangement. Its is amazing to feel the history of that labour under your feet as you trudge along among the nettles and burs and the long grasses. Aside from a few shell casings and some rusty barbed wire it is true you can imagine you are in another time and place (just don’t look in the direction of the highway).
The Tantramar River itself is mysterious to me as its current red mudflats were once a river so deep that Sackville was an important shipbuilding centre. The absence of that water is disconcerting and I feel that I need to understand its dissapearence better. Similarly I am curious that the Acadian culture is so strong in the surrounding towns in this area but in Sackville it seems absent.
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October 22, 2008 by pictorialpropaganda
22 October 2008, Mount Allison University, Sackville, NB
John HAMMOND (1843-1939), Three figures at Boat House, oil on board. 17.2 x 28.1 cm. Owens Art Gallery Collection, Sackville. Accession no. 2003.20 (Reproduced from reference material provided by J. Tisdale, 20 October 2008)
I painted up at the University today in the central courtyard. Met a few students and some faculty. A lot of the students were from small towns or remote areas across the country who had spent some time in the larger cities but then chose to come to Mount Allison because they felt Sackville was a more livable environment. There was a different feeling up here than in the centre of town. I became more aware of the difference between the University community and the people who live in Sackville. What someone called the town-gown paradox.
Apparently around 12 years ago the town council decided to change the nature of the economic base of the town, to move it away from the manufacturing that was a large part of the economy and put more emphasis on cultural activities and tourism. It seems that this shift to a bedroom community caused the main street to die as people did all their shopping in other towns or in Moncton. Recently there has been some attempts to reverse this and bring businesses back to Sackville but apparently the University community and the townspeople don’t always agree on how to do this.
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October 21, 2008 by pictorialpropaganda
Rob McCosh and his crew from the Louisberg Pipelines have been tearing up and replacing the sidewalk on Bridge Street since I arrived. I see them each morning on my walk into town. They suggested that I write my phone number in the wet cement and that’s how we got talking. Rob is a story teller he comes from Miramichi where he says that there is a long tradition of storytelling for entertainment. He’s told me some good ones while the rest of his crew was working… I said I hoped he was the boss otherwise they’ll think he’s lazy. By the end of the conversation, I had gotten his phone number.
Rob told me he used to drive salt trucks in Toronto in the winters and would come back to work on the roads in New Brunswick in the summer. He commented on the two different paces of life, Toronto being all about rushing around, but he said that after the summer season he was tired of waiting for the little old ladies to cross the street and get out of the way and was ready to go back to a faster place. Continue Reading »
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October 21, 2008 by pictorialpropaganda
21 October 2008, Save Easy, Sackville, NB
Ethel ODGEN (1870-1902), Untitled (Landscape), oil on mahogany board. 21.1 x 13.7 cm. Owens Art Gallery, Sackville, Accession no. 1999.118 (Reproduced from Atque Ars : Art From Mount Allison University 1854-1989. Sackville : Owens Art Gallery, 1989, 14).
21 October 2008, Save Easy, Sackville, NB
John HAMMOND (1843-1939), Landscape, oil on wood panel. 18.8 x 33.9 cm. Owens Art Gallery Collection, Sackville. Accession no. 1985.39 (Reproduced from reference material provided by J. Tisdale, 20 October 2008)
Spent the afternoon painting outside the Save Easy in the centre of Sackville. It is the grocery store and there is lots of traffic. I was next to the main entrance and near where people wait for taxis to pick them up. Met lots of people on the sidewalk, and there were others inside who peered through the window behind me.
In particular it was nice to meet the waitress who served me dinner at Patterson’s Family Restaurant the night before. She was with her family and they seemed to be running errands together. Her husband did most of the talking and her son showed me his red shovel. It made me wonder if I had left a good tip, if I had been a courteous customer… I don’t think she remembered me, but she seemed pleased that I remembered her.
Had two tentative offers for trades – one from a paramedic who took the time to truly understand the subtleties of the performance. He made a joke about offering his paramedic services in exchange which I thought would have been an interesting possibility, but when I asked him if he would pose for me in his uniform for a picture he was less comfortable.
The other was from a political science student originally from Vancouver who offered me some marijuana in exchange. I felt uncomfortable about the idea that I would have to post this exchange publicly on the blog, so it was my own personal boundaries that prevented this exchange. Continue Reading »
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October 20, 2008 by pictorialpropaganda
In the 18th and 19th century Canada, and in the United States, much of art was seen as ‘women’s work’ . Men it seems, were much too busy with business or making a mark on the new land to bother with culture… By the end of the 19th century cities in eastern North America enjoyed an active cultural scene; but still much of our vision of early Canada is seen through the eyes of gifted young women artists who, as the wives and homemakers, did watercolours and paintings in their ’spare’ time. In short the burden of culture was often thrust upon the shoulders of the educated women of early Canada. they played their role well. It is unfortunate that some of the ‘Macho’ attitude toward culture remains part of Canadian life today” — Virgil Hammock, Art at Mount Allison (Sackville : Sackville Art Association and Mount Allison University, 1977) , 5.
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October 17, 2008 by pictorialpropaganda
17 October 2008, Market Square, Saint John
John Christopher MILES (1832-1911), View at Sheffield, On the St. John River, c. 1885, oil on canvas. 50 x 91.5 cm Saint John Art Club Collection, presented in 1917 by Mary M. Woodman, 1995. New Brunswick Museum Collection, accession no. A65.A22 (Reproduced from an email message to the artist from P. Larocque, September 22, 2008)
17 October 2008, Market Square, Saint John
John HAMMOND (1843-1939), Evening, Saint John, New Brunswick, c. 1886, oil on canvas. 62.3 x 75.3 cm. Purchase 1989. New Brunswick Museum Collection, accession no. 1989.71.1 (Reproduced from an email message to the artist from P. Larocque, September 22, 2008)
Spending time at the mall, reproducing landscape paintings from the New Brunswick Museum’s collection.
It was the longest time that I have spent in a mall since I was a teenager. Although I met many people (including the former president of the 100 year old Saint John Art Club) and was made aware of a strong connection between the people of Saint John and the land surrounding the city, it was the strangeness of the mall space that left the strongest impression. I am left wondering about the implications of culture as a consumable inherent in its inclusion in a mall – while it does take the Museum (or the Library) to the people, do people consume culture or actively create and participate in it? Equally, the atrium as a public meeting space is fiction as it clearly employs classic behavioural controls in order to encourage circulation and short-term use of the space in proscribed ways. Continue Reading »
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October 16, 2008 by pictorialpropaganda
Opened up a dialogue with Saint John this evening on a community radio program called Serf City at CFMH 107.3 FM (free, public access to the airwaves for anyone who may be interested in being on the air). Thanks to the host Mark Leger and producer Mike Parker for asking me to share the airwaves with them and the community of Saint John.
http://serfcitysj.mypodcast.com/
and on Facebook
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October 6, 2008 by pictorialpropaganda
This fall, Pictorial Propaganda will retrace the history of the New Brunswick Museum and the Owens Art Gallery from Saint John to Sackville. As they both can claim to be the “oldest” – the oldest continuing museum in the case of the former, and the oldest university art gallery for the latter, I am interested in these histories and its impact on artists and artistic taste in the region. In Saint John, I will set up a portable easel and reproduce landscape paintings from the New Brunswick Museum’s collection in the recently built tourist attraction of Market Square. In Sackville, I will reproduce landscape paintings from the Owens Art Gallery’s collection in various locations that reflect the daily movements of the town’s inhabitants. This will open a space for dialogue between myself and the local residents, they’ll even have a chance to trade something with me for one of the paintings that result from the performance. It is an opportunity to slow down time, create intimacy with strangers and to subvert the systems of global capitalism that are at work around us.
Third Space / Tiers epace …. Struts Gallery …. Owens Art Gallery
Les mythes qui nous ont transporté ici
Cet automne Propagande Picturale retracera l’histoire du Musée du Nouveau-Brunswick et du Owens Art Gallery de Saint-John à Sackville. Tous les deux s’annonce comme le « plus ancien » – le plus ancien musée toujours actif dans le cas du premier et la plus ancienne galerie d’art universitaire dans le cas du deuxième. Je m’intéresse à ces histoires et leur impact sur les artistes et le goût artistique de la région. À Saint-John, je m’installerai avec mon chevalet portable afin de reproduire des paysages de la collection du Musée du Nouveau Brunswick dans le « Market Square, » récemment aménagé pour les
touristes. À Sackville, je reproduirai des paysages de la collection du Owens Art Gallery dans plusieurs lieux représentant l’itinéraire des résidants de la ville. Cela me permettra d’entreprendre un dialogue avec les résidents, qui auront également la chance d’échanger quelque chose contre une de les peintures résultant de la performance. C’est l’opportunité de ralentir le temps, de crée une intimité avec les inconnus et de subvertir les forces économiques de la mondialisation autour de nous.
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August 30, 2008 by pictorialpropaganda
18 août 2008, Cirque du Soleil, siège sociale internationale
GAGNON, Clarence. Cépuscule sur le Côte-Nord, 1924, Huile sur toile. 77.0 x 81.6 cm. Musée des beaux-arts du Canada, Ottawa. Accession no. 3178. (Reproduit de Art Canadien : Catalogue du Musée des beaux-arts du Canada, Ottawa Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : Musée des beaux-arts du Canada, 1994, p. 16.)Traded for a basket of organic vegetables.
Emily is an organic vegetable farmer at the Ferme cooperative Tourne-Sol in Les Cèdres, Québec. They provide CSA (Community Supported Agriculture) baskets to city-dwellers and sell their produce at the Sainte-Anne-de-Bellevue market and at Finnegan’s market in Hudson. She proposed to trade an abundant basket of fresh organic produce in exchange for a painting. I made a ratatouille and reflected upon the labour and dedication involved in making vegetables grow. (Note : she was surprised to learn that this is what I think about when I eat her vegetables, I guess I was supposed to be enraptured by the amazing flavours. After all, the flavours were amazing).
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August 18, 2008 by pictorialpropaganda
Everything at the Cirque du Soleil is dedicated to the spectacular… Pictorial Propaganda is a decidedly un-spectacular performance.
On Aug 19, 2008, at 10:32 PM, felicity tayler wrote:
Subject : Pictorial Propaganda at the Cirque du Soleil
Dear Service citoyenneté – Action culturelle,
Thank you to the Service citoyenneté – Action culturelle for the opportunity to perform Pictorial Propaganda at the Cirque du Soleil International Headquarters. I would also like to extend my appreciation for the support shown to Dare-Dare. Members of the Action culturelle team were welcoming and instrumental in creating the right environment for the performance. The rain held off and despite a strong wind, it was a pleasant afternoon of painting. More than one Cirque employee was surprised to discover that I was not painting the building in front of me as it appeared, but found instead that I was reproducing one of two Clarence Gagnon paintings of Baie-Saint-Paul, QC. Most of the people were involved in their daily routine as a result the time to chat was short but sweet. All in all, it was an engaging experience to be at the Cirque and among the employees.
There are two paintings that were produced during the performance. One was a scene selected specifically by two members of the Action culturelle team. These paintings can be considered as documentary traces of the actions taken during my performance, rather than an art object in and of itself. The performance piece itself is about creating relationships between others and myself or between different moments in time. As such these “painting-traces” are offered in exchange as part of a relationship building process. Continue Reading »
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August 17, 2008 by pictorialpropaganda
The idea of merging culture with the economy isn’t new, but the recent discourse surrounding it is… Increase innovation and creativity, the argument goes and the profits will follow… Culture, as collapsed into the creative industries means ‘not the traditional fine arts, nor the modernist cultural industries like cinema and radio, but instead the newly minted and digitized professions that shape the lightweight, complex, ephemeral, ever-changing aesthetic experiences of the hyper-mediated city.’ Nevertheless, the traditional arts continue to play a significant role, for along with the vast flows of immaterial goods – software, IP, experience, entertainment – come the material façades.” — Kirsty Robertson, “Crude Culture” Fuse Magazine, (31.2): 2008, 14. Quoting Brian Holmes. “One World One Dream” Continental Drift : The Other Side of Neoliberal Globalization. Accessed 19 August 2008. http://brianholmes.wordpress.com/2008/01/08/one-world-one-dream/
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August 15, 2008 by pictorialpropaganda
Felicity Tayler, artiste en arts visuels, utilise l’archétype du tableau de paysage pour créer des liens avec autrui. Elle s’intéresse également aux icônes nationales ainsi qu’aux systèmes économiques et de valeurs. Par ce fait, elle voit cette opportunité comme une redistribution des richesses au sein du milieu culturel contemporain…
Felicity Tayler is a conceptual artist who uses the archetype of western landscape painting as a premise to create relationships. She is also interested in national icons, economics and value systems, and as such she welcomes this opportunity to redistribute wealth within the contemporary cultural milieu…. Continue Reading »
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August 10, 2008 by pictorialpropaganda
…arts may have an allotted span of life and may be attached as forms of self-expression to particular regions and particular types of mankind, and that therefore the total history of an art may be merely an additive compilation of separate developments, of special arts, with no bond of union save the name and some details of craft-technique.” — Oswald Spengler, The Decline of the West (New York : Modern Library, 1932), 24
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23 mai 2008, Espace Mobile, Vox, Montréal
Elizabeth SIMCOE, “St Helene – Montreal” Cahiers d’esquisse de Elizabeth Simcoe, 1792-1796. Panorama 58-59. Bibliothèque David M Stewart. Fonds Simcoe.
It rained. I was outside for 20 minutes in the Place de la Paix before it poured rain and I had to run inside.
The square is an interesting place. It seems to be so empty. Constructed like modernist sculpture with space in the middle but nothing to encourage people to fill it. Despite this, it is a space that has a great deal of movement and variety. Everything from skater kids using the curb for tricks, or students from the nearby university residence playing soccer in the middle, to the street-involved population stopping for a rest or to congregate and pass some time.
In the brief time I was there I met a woman who I see coming in and out of the peep shows down the block. She has some prison tattoos. She spoke so softly, but wanted me to know that she thought the pink painting of the mountain view was “really pretty.” It began to rain and she disappeared before I could offer it to her.
I also watched from afar as one of the women I met the first day out was “courted” by a man in a car. In the end she didn’t go with him. But later I think she was accosted by another man on the block, he had ripped open the front of her dress in front of everyone and she was really angry. When I first met her, she told me that she paints to express her emotions to the universe.
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Every day last week I ate a tasty sandwich from L’Épicerie d’importations MAIN (the first Middle Eastern grocery store in Canada, opened in 1903). This is how I met René, Thérese, and Mustafa. They work very long hours and seem to never leave the store. They wanted to see me painting but couldn’t take time off to find me a few blocks away. So I did an extra day for them in the Place de la Paix directly across the street. Unfortunately there was rain, but René did bring his camera for a few photos before I had to run for cover.
René not only makes great sandwiches, he is also the editor of an online magazine latinosenmontreal.com, reporting on all things Latino in the city – such as the Électro Tango event at the SAT a few days ago. He said he found the techno-tango mix a bit weird, and some of the dancers lacked passion, but the last couple were really impressive to watch.
Despite my non-Latinoness, René wants to put pictures of me up on his site. As long as he keeps me out of the “Chicas lindas” category I’m ok with it. I take many pictures of other people so it was amusing to take pictures of him taking pictures of me.
I should be writing this post in French as that is the language we used most frequently. But everyone who works at this grocery speaks French, English and at least one more language. So we switched around a lot.
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05 mai 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, View of Montreal. ca. 1792. Watercolour. Archives of Ontario, Simcoe Family Fonds, F47. Reference code F47-11-1-0-58. (http://www.archives.gov.on.ca Accessed 10 May 2008 ) Given for stories and time and the chance to hear Montagnais spoken for the first time in my life.
À l’instant même où je m’installais dans l’espace, un homme se reposait sur un des blocs de béton. Il est resté avec moi durant toute la durée de la performance. Quelques passants ont cru que je peignais son portrait. Ce monsieur était accompagné de son fils. Après une demi-heure à partager l’espace, nous avons commencé à dialoguer. J’ai leur demandé s’ils aimaient la peinture paysagiste. Le monsieur a répondu “Je suis un paysage.” Quand j’ai demandé de clarifier sa déclaration, il a ajouté “Je suis toujours dans la nature.” Il avait un bon sens de l’humour. Lorsqu’il parlait, il passsait parfois du français à un langage que je ne connaissais pas. L’homme m’a dit que c’était du Montagnais, sa langue d’origine. J’ai lui dit que c’était la première fois dans ma vie que j’entendais le Montagnais. Son fils m’a dessiné une carte m’indiquant l’emplacement d’une murale, un portrait d’un Chef Montagnais. Cette œuvre se trouve sur la rue St-Hubert.
Ils sont tous les deux de la réserve Uashat mak Mani-Utenam, près de Sept-Îles. J’ai demandé si c’était loin de Montréal. Il a répondu quelques heures par auto… et cinq jours par canoë! Nous avons tous rient et l’homme m’a raconté que jadis ses parents faisaient le voyage en canoë de Sept-Îsles à Sainte-Anne-de-Bellevue dans les années 1950… Continue Reading »
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16 mai 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, Isle au Soeurs, July 31. ca. 1796. Watercolour. Archives of Ontario, Reference code F 47-11-1-0-262. (http://www.archives.gov.on.ca Accessed 02 May 2008 )
I’m facing the Living Monument Project. A mural pained by a coalition of sex workers and allies. It was created in 2003 in honour of the 60+ in Vancouver who were murdered or no longer to be found. A lot of people from the Native Friendship Centre (on the corner of Ontario and St-Laurent) also took part, as many of the women who were murdered were aboriginal. Since then it has been mostly covered over with graffitti but you can still see the original skyline peeking out over the top… Continue Reading »
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14 mai 2008, Espace Mobile, Vox, Montréal
Elizabeth SIMCOE, “Montreal – St Helene” Cahiers d’esquisse de Elizabeth Simcoe, 1792-1796. Panorama 56-57. Bibliothèque David M Stewart. Fonds Simcoe.
Je suis au Complexe Guy Favreau, important infrastructure du gouvernement canadien à Montréal. Ici, on trouve les bureaux de Passeport Canada, Justice Canada, Statistiques Canada, Santé Canada. C’est aussi un des lieux identifiés comme cible potentiel des terroristes après le 11 septembre…
This is at the Complexe Guy Favreau, an imposing architectural presence of the Federal Government in Montréal (here we find the offices of Passport Canada, Justice Canada, Statistics Canada, and Health Canada among others). It was also one of the possible targets for terrorism identified after 9/11… Continue Reading »
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13 mai 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, View near Montreal. ca. 1792. Watercolour. Archives of Ontario, Simcoe Family Fonds, F47. Reference code F47-11-1-0-60. (http://www.archives.gov.on.ca Accessed 10 May 2008 ) Traded for a critical analysis.
Denis Longchamps is doing his PhD in Art History on the sketchbook imagery of Elizabeth Simcoe (1762-1850). He is arguing that the sketches she made all along her journey through Upper and Lower Canada in the 18th century were done in order to further the colonialist project of her husband, Lieutenant Governor John Simcoe. Denis’ research has been an integral part of the development of this phase of Pictorial Propaganda in the Quartier des spectacles. My research has been based on his astonishing indexing of all of her sketches among disparate collections on Canada and Europe, as well as his scholarly view of her work as colonialist propaganda.
Despite all appearances of conflict of interest, Denis has offered to make a critical analysis of Pictorial Propaganda (as it reproduces the original watercolours of Elizabeth Simcoe) within the context of his own PhD research.
Posted in Bibliographie / Bibliography, Culture, Nature humaine / Human nature, Paysage / Landscape, Échanges / Exchanges | 2 Comments »
13 mai 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, View near Montreal. ca. 1792. Watercolour. Archives of Ontario, Simcoe Family Fonds, F47. Reference code F47-11-1-0-60. (http://www.archives.gov.on.ca Accessed 10 May 2008 )
Aujourd’hui, nous nous sommes installés dans l’espace public récemment réamennagé situé devant l’église Saint James United. Quelques membres du Centre de jour St-James* m’ont accompagnée pour peindre en plein air. Un gros merci à Anne-Marie, Bernard, Daguy, Daniel, Christine, Jacques, et Zurich (notre Groupe des Sept) qui ont passé une belle après-midi avec moi en partagent leur créativité.
Cette expérience était moins importante pour mes propres rencontres avec le public, il s’agissait plutôt d’une opportunité de mettre en valeur les activités culturelles de la communauté de Saint James United qu’elle ne rend pas toujours visible… Continue Reading »
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A dinner party hosted by François Dion as a trade for Arthur HEMING, The Bear Hunter, 1910 (see below).
The dish we had is called “cochinita pibil”. It is a specialty of southern Mexico, Yucatan and around there. It was my second try, nothing like the one I had in Mexico, but I thought it was fun to share something in development, like an art practice. This was not about “performing” mastered skills. And I liked my evening. — F. Dion
A delicious home cooked meal, a gracious host and good company. Thanks to Kim Waldron, Jean-Michel Ross and Christopher McLeod for sharing the evening… Continue Reading »
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05 mai 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, View of Montreal. ca. 1792. Watercolour. Archives of Ontario, Reference code F 47-11-1-0-58. (http://www.archives.gov.on.ca Accessed 02 May 2008 )
Il pleuvait ce matin et j’ai dû attendre que la nature me permette de sortir. Lorsque la pluie a finalement cessé, je me suis installée sur un terrain vague située à l’intersection du boulevard Saint-Laurent et de la rue Sainte-Catherine. Il y avait déjà beaucoup de gens autour, comme des touristes, des itinérants, etc. Plusieurs d’entre eux m’ont demandés ce que la ville plannifiait construire sur le site que j’occupais. Je leur ai répondu que je croyais qu’un édifice pour les organismes culturels à but non lucratif y sera bientôt construit. Ils ont tous été soulagé d’apprendre « qu’au moins ce ne serait pas un autre maudit condo.” Continue Reading »
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Ce lieu-là surpasse encore tous les autres en beauté : car les isles qui se rencontrent dans l’emboucheure de ces deux fleuves (le St-Laurent et la Rivière des Prairie), sont autant de grandes et de belles prairies, les unes en long, les autres en rond, ou autant de jardins faits à plaisir, tant pour les fruits qui s’y rencontrent, que pour la forme et l’artifice dont la nature les a préparées, avec tous les agremens que les Peintres peuvent representer dans leur païsage.” — Jérôme Lalement, Relations des Jésuites, 3, année 1663, p 28 cité dans Jean-Claude Marsan, Montréal en évolution, (Montréal : Éditions Fides, 1974), 31
…par conséquent ce fera un jour un pays tres-propre pour eitre la situation d’une grande et grosse ville. Jérôme Lalement, Relations des Jésuites, 3, année 1663, in The Jesuit relations and allied documents travels and explorations of the Jesuit missionaries in New France, 1610-1791 : the original French, Latin, and Italian texts, with English translations and notes, vol 48, p 168 (Early Canadiana Online)
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Begin forwarded message:
From: “D.L. Epstein”
Date: April 27, 2008 11:38:55 AM EDT (CA)
To: “felicity tayler”
Subject: Re: Café Cléopatre
oh yes, Randy’s transformations were something to behold then, I don’t know if his standards have been maintained, but to see him as a man and then again in drag it was really incredible to see. Yes, I think Cleo’s is now something akin to an urban ruin, so popular a term amongst the sociological set. I haven’t been since that night with my friends about two years ago, but other nights I’d been before then were equally low-key. In fact, I’ve only seen one drag queen perform there ever. Continue Reading »
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05 avril 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, Montreal from the west. June 30, 1796. Watercolour on wove paper. Library and Archives Canada, Accession no. 1938-223-11. (http://www.collectionscanada.gc.ca Accessed 29 March 2008 ) Traded for two books on the history of Montréal.
David contacted me on this blog to make a trade, see his comment here. He’s an art historian with a particular interest in architecture. He has worked as an archivist at the Canadian Centre for Architecture and used to write a column on Montreal architecture for the Gazette.
When I asked him what he thought about the changes to the Quartier des spectacles he said “well, its going to be big.” Meaning that that the scale of development is on a much larger scale in this period and generally controlled by large corporations, ultimately driving out the “little guys” like smaller organizations or family-owned businesses. Its a reflection of late capitalism and the idea of expansion as progress.
We have enough history behind us that we should be able to recognize previous cycles of development and failure inherent to the growth of cities since the industrial revolution… Continue Reading »
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Art production and acts of generosity are fundamentally generative, but nonlinear, expenditures of time and resources. In this way they contradict the accepted functions of production and utility that are associated with meeting societies basic needs, or the process of its expansion. Each could therefore be seen as potential processes of liberation from the inevitable progress of production…Arguably, it is around this kind of expenditure or value system that culture is defined, arising out of the surplus or excess generated by a society. — Kate Fowle and Lars Bang Larsen “Lunch Hour : Art Community, Administrated Space, and Unproductive Activity” in What We Want is Free : Generosity and Exchange in Recent Art. Ed. Ted Purves (Albany, NY : State University of New York Press, 2005), 17
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Cahiers d’esquisse de Elizabeth Simcoe, 1792-1796. Bibliothèque David M Stewart. Fonds Simcoe.
J’ai visité la bibliothèque David M. Stewart au musée Stewart situé sur l’Ile St-Hélène. Les éléments de la collection de cette bibliothèque privée ont été rassemblés afin de refléter les intérêts littéraires du gentilhomme typique du XVIIIe siècle.
La collection inclue quelques journaux et et cahiers d’esquisse de Mme Simcoe. J’ai passé un bel après-midi à regarder ses aquarelles originales.
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I made a visit to Stella today to pick up some copies of their excellent bilingual independent magazine ConStellation. I had a warm welcome, and as usual enjoyed reading their literature. The magazine is full of strong writing, insights and multifaceted nuances, with a very professional presentation. It generally makes me think about what it means to be human and working – and the commitment it takes to publish your own voice. Continue Reading »
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05 avril 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, Montreal from the west. June 30, 1796. Watercolour on wove paper. Library and Archives Canada, Accession no. 1938-223-11. (http://www.collectionscanada.gc.ca Accessed 29 March 2008 ) – image 1 and 2
Elizabeth SIMCOE, Montreal from the west. June 30, 1796. Watercolour. Archives of Ontario, Reference code F 47-11-1-0-265. (http://www.archives.gov.on.ca Accessed 29 March 2008 ) – image 3
Lorsque je prenais ces photos sur le boul. St-Laurent, j’ai rencontré Yvon. Il m’a informée que la Ville à l’intention de démolir tous les édifices de l’autre côté de la rue. Selon lui, c’est un ménage du quartier nécessaire. À cela, Je lui ai demandé s’il souhaitait même la disparition du Montreal Pool Room. Il m’a répondu qu’on peut y manger de très bons hot dogs. Ensuite, il m’a raconté comment il s’est installé dans le coin, il y a de cela plusieurs années. Il m’a avoué qu’à 12 ou 14 ans, il s’est associé à une gang de rue. En y repensant, il a trouvé cette vie malheureuse. Tous les membres de son ancienne gang a déménagé dans le coin de Beaubien et il est le seul à avoir resté dans le quartier.
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Under capitalism, all is spectacle. Branding is the antithesis of neighbourhood. How can the symbolic language inherent to branding adjust to a process that includes the local community: the residents who study and work in a neighbourhood, plus the daily flux of permanent and temporary occupants.” — dAb Collective, “Urbanism versus Branding for Montréal’s Quartier des spectacles” Fuse Magazine 29, no 3 (2006), 24.
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Le Quartier des spectacles est une des composantes de la nouvelle image de marque de Montréal axée sur la culture et la mise en valeur de son activité créatrice. Il s’agit de la plus récente phase de son développement économique. Je m’intéresse en particulier à l’opinion des gens concernant l’impact socioéconomique et environnemental de ces changements.
The Quartier des spectacles is part of Montréal’s re-branding through culture as a “creative city.” This is the most recent of many phases of economic development in the city’s history. I am interested in public opinion on the impact (socioeconomic and environmental) of these changes.
Continue Reading »
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February 12, 2008 by pictorialpropaganda
14 February 2008, The Sweetest Little Thing, Struts Gallery, Sackville
HAMMOND, John. September, Sackville, N.B. 1913. Oil on beaverboard. 76.3 x 110.9 cm. National Gallery of Canada, Ottawa. Accession no. 67. (Reproduced from Canadian Art : Catalogue of the National Gallery of Canada Ottawa. Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : National Gallery of Canada, 1994. p. 83.)
Dear Highest Bidder,
Thank you for your interest. By placing your bid on this work, you and I have agreed on the value of supporting cultural activity in Sackville through the Sweetest Little Thing (100% of your bid goes directly to the fund-raiser). We have found something that we share in common.
Now lets talk about some more precise details. Although it may appear that you have bid upon a landscape painting of Sackville in September, I regret to inform you this painting is in fact, a fake. Instead you have actually bid upon your participation in the public art performance “Pictorial Propaganda” (ongoing since 2006).
Continue Reading »
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October 13, 2007 by pictorialpropaganda
Why did discussions around landscape in Canada before the 1960s tend to champion national difference and distinctiveness, often under the banner of exceptionalism, while more recent debates have focused on issues of colonial power and dispossession, transnational crossovers, and regional idiosyncrasy? What relevance do traditional landscape tropes have in a world of vastly altered political, technological, demographic, and environmental circumstances? And if traditional tropes continue to persist, what does it say about the relationship between contemporary realities and the the authority, power, and influence of conventional understandings of nationhood?” — Beyond Wilderness : The Group of Seven, Canadian Identity, and Contemporary Art. John O’Brian and Peter White Eds. (Montreal : McGill-Queens University Press, 2007), 6.
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October 10, 2007 by pictorialpropaganda
01 septembre 2007, Au quai,
25e Symposium international d’art contemporain de Baie-Saint-Paul
KRIEGHOFF, Cornelius. The Habitant Farm, 1856. Oil on canvas. 61.0 x 91.5 cm. National Gallery of Canada, Ottawa. Accession no. 2036. (Reproduced from Canadian Art : Catalogue of the National Gallery of Canada Ottawa. Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : National Gallery of Canada, 1994. p. 387.) Traded for the editing of French texts on this blog.
Ce troc fut conclu dans le nouvel espace “public” récemment établi devant l’Église Saint-James United au cœur du centre-ville de Montréal. Pendant plusieurs décennies (depuis 1926), la façade historique de l’église était cachée derrière des commerces. En 2006, la façade fut restaurée, on peut imaginer que ce travail est lié au projet de renouvellement économique de la rue Sainte-Catherine et du Quartier des spectacles. En dépit des programmes de soutien offert par l’église aux sans-abris et aux groupes à faibles revenus, nous voyons très peu les membres de ces populations défavorisées dans ce nouvel espace public… possiblement parce que leur présence n’est pas appréciée dans les clichés des touristes. Pour préserver une belle image, les mendiants restent sur le trottoir de l’autre côté de la rue. Comme ça les amateurs de la photographie pourront leur offrir quelques sous en passant.
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September 30, 2007 by pictorialpropaganda
30 september 2007, Peinture fraîche // Fresh Paint, Dare-Dare, Montréal
HEMING, Arthur. The Bear Hunter, 1910. Monochrome oil on canvas. 42.6 x 30.9 cm (image); 49.8 x 36.2 cm (canvas). National Gallery of Canada, Ottawa. Accession no. 218. (Reproduced from Canadian Art : Catalogue of the National Gallery of Canada Ottawa. Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : National Gallery of Canada, 1994. p. 116.) See also / Voir aussi
This painting continues to be a popular favourite with three people interested in it today. One woman asked me if I would add some blood on the hunter and a few drops dripping off the mouth of the bear.
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September 30, 2007 by pictorialpropaganda
29 september 2007, Peinture fraîche // Fresh Paint, Dare-Dare, Montréal
JACKSON, A.Y. Baie Saint-Paul, 1923. Oil on wood. 21.3 x 26.7 cm. National Gallery of Canada, Ottawa. Accession no. 6959. (Reproduced from Canadian Art : Catalogue of the National Gallery of Canada Ottawa. Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : National Gallery of Canada, 1994. p. 197.) Traded for a drawing of flowers from Paris.
I repainted this for Karen Spencer. In exchange, she offered me a drawing from her residency in Paris. At that time we had been out of contact for a while and I missed her. I feel her drawings are similar to my paintings – they are both physical manifestations of ephemeral practices.
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September 29, 2007 by pictorialpropaganda
29 september 2007, Peinture fraîche // Fresh Paint, Dare-Dare, Montréal
JACKSON, A.Y. Baie Saint-Paul, 1923. Oil on wood. 21.3 x 26.7 cm. National Gallery of Canada, Ottawa. Accession no. 6959. (Reproduced from Canadian Art : Catalogue of the National Gallery of Canada Ottawa. Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : National Gallery of Canada, 1994. p. 197.) Voir aussi.
Dans l’environnement de friche urbaine de Peinture fraîche /Fresh Paint à Dare-Dare (et l’absence de paysage pastoral), j’ai décidé de recopier quelques toiles populaires qui font déjà partie de ma production. La documentation de cette toile a été prise dans l’installation de Michel Simonsen.
Curieusement, j’ai rencontré un peintre qui a passé plusieurs années à peindre les paysages de Charlevoix. Continue Reading »
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September 29, 2007 by pictorialpropaganda
25 August, 2006, La Centrale Galerie Powerhouse,
Vente trottoir, boulevard Saint-Laurent, Montréal.
JACKSON, A. Y. October, Twin Butte, Alberta, 1951, oil on canvas. 64.2 x 81.5 cm. National Gallery of Canada, Ottawa. Accession no. 6456. (Reproduced from Canadian Art : Catalogue of the National Gallery of Canada Ottawa. Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : National Gallery of Canada, 1994. p. 284.) Traded for a proof of a photograph that was acquired by the Collection prêt d’oeuvres d’art du Musée national des beaux arts du Québec, in 2003.
The photograph, entitled Les grands herbes, has a patch of trampled grass in the centre of what appears to be a wild field. When I asked Marie-Christine Simard what had made this impression in the grass, she replied that Christine Major had been the cause. Now I have a lovely reminder of the both of them embodied in the work.
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