Last week, I walked some trails in Algonquin Provincial Park. It was muddy, and the insects were awful but the scenery was spectacular. Here are some of my favorite shots.
Last year, I visited Algonquin Provincial Park for the first time and was blown away by its beauty. For those unfamiliar with the park, here is a little info on it:
Established in 1893, Algonquin Provincial Park is the oldest provincial park in Canada, and, at almost 3,000 sq miles, it is roughly one and a half times the size of Canada’s smallest province. It has over 2,400 lakes, countless streams, and about 1,000 species of plants. Unfortunately, it also has about 7,000 species of insects, some of which are a huge pain in the ass.
Owing to its beauty, the park has long attracted artists, among them national treasures such as Tom Thomson (who drowned in the park) and Lawren Harris (one of my personal favorites). Creatives have, and always will be drawn to the place. It even has its own art gallery.
For adventurous types, there’s almost no limit to how deep you can travel into the wilderness. For the rest of us, there’s highway 60. It runs through the southern part of the park, and all along it, are a series of trails. They are very well marked, and provide amazing views and photographic opportunities.
I can’t wait to visit again.
ABOVE: Joel-Peter Witkin, Still Life, Marseile, 1992, black and white photograph
I dig the macabre, watch creepy movies, and enjoy creepy art. Of all the creepy art I’ve seen – and I’ve seen my fair share – none is creepier than that of photographer Joel-Peter Witkin. Seriously. The picture shown here is about the safest I could find. If you want to see more, google him, but be forewarned, he is definitely not safe for work.
As with most disturbing art, Witkin’s work openly confronts death, but it does so while questioning other things such as morality and body image. Academically, within each piece are odes to the histories of photography and art itself. Technically, everything appears aged, and each photo reads like a Baroque painting.
Beyond imagery, I think what draws me to the work of Joel Peter-Witkin is the artistry itself, because, if you can look past its general gruesomeness, the composition and overall mood of his photography is spot on. Other images found on the internet may be more disturbing, but they’re not necessarily art. Joel-Peter Witkin is an artist, and a talented one at that.
ABOVE: Granda Moses, 1969 postage stamp based on her painting ‘The Fourth of July’
Born in Greenwich, New York on September 7, 1860; Grandma Moses (then known as Anna Mary Robertson), was raised alongside nine brothers and sisters, and left home at the age of 12 to work for a wealthy neighboring family. At 27, she met and married, and shortly thereafter, began having children of her own.
Over the years, she and her husband continued to work for the wealthy, until they were finally able to purchase a farm of their own. After losing him to a heart attack in 1927, she continued working until 1936, then retired and moved in with one of her daughters.
While she had been creative all her life, and she often made embroidered pictures for friends and family, it wasn’t until she was 78 that she began painting. Her folksy, rural themed artworks, quickly gained attention, and in 1940, she had her first solo exhibition titled “What a Farm Wife Painted.” It was around this time that the press dubbed her Grandma Moses.
In her time as a professional artist, Grandma Moses was awarded two honorary degrees, and was presented with an award for outstanding accomplishment in art by President Harry S. Truman. In 1951, the National Press Club named her one of the year’s five most newsworthy women.
Grandma Moses passed way in 1961 at the age of 101. Her works can be found in numerous collections around the world, among them, the Metropolitan Museum of Art in New York City, and the Hirshhorn Museum and Sculpture Garden in Washington DC. Her painting ‘Fourth of July’ is part of the White House art collection.
ABOVE: David Hockney, A Bigger Splash, 1967, acrylic on canvas, 95.5 x 96 x 1 inches, Tate, London
ABOVE: Edward Hopper, Ground Swell, 1939, oil on canvas, 36 x 50 inches, National Gallery of Art, Washington DC
ABOVE: Vincent van Gogh, Fishing Boats on the Beach at Les Saintes-Maries-de-la-Mer, 1888, oil on canvas, 25.6 x 32 inches, Van Gogh Museum, Amsterdam
ABOVE: Claude Monet, Poppy Fields near Argenteuil, 1875, oil on canvas, 211 x 29 inches, The Metropolitan Museum of Art, New York
ABOVE: Pablo Picasso, On the Beach, 1937, oil, conté crayon and chalk on canvas, 50.7 x 76.4 inches, Solomon R. Guggenheim Museum, New York
ABOVE: Cahyo Ramadhani, Hand Prints in Pettakere Cave at Leang Prehistoric Site, Maros
Although known and used by locals for a long time, the Pettakere cave in Indonesia wasn’t “officially” discovered until 1973. Once found, archaeologists falsely assumed that the tropical air would have faded the artworks, so they estimated them to be about 10,000 years old. In 2011, the crust which had formed atop the paintings was examined, and a new estimate of 35,000 to 40,000 years was given. Today, they are widely believed to be the oldest artworks in the world.
The imagery inside the cave consists of multiple hand prints and a painting of a hog deer. It is believed that the palm prints were placed there to ward off evil spirits while people slept. The significance of the deer is unknown.
Also unknown, is whether the imagery and style arose independently in Indonesia, or was brought there by early humans leaving Africa.
“It allows us to move away from the view that Europe was special,” said lead archaeologist Maxime Aubert. “There was some idea that early Europeans were more aware of themselves and their surroundings. Now we can say that’s not true.”
BELOW: Georgia O’Keefe, Nature Forms – Gaspe, 1932, oil on canvas
Georgia O’Keeffe had a long and storied career that spanned many decades, so a full accounting of her life and work would be a tall order for any institution. That said, the people who put this exhibition together tried, and for that they deserve credit. This show isn’t perfect, but it’s still pretty good. Here are my thoughts:
There are a lot of pieces on display, and for the most part, they are shown in chronological order. While I would have liked to see more cityscapes (as they are my favorite of her works) there are at least a few key pieces from each phase of her artistic journey. Interspersed throughout, are numerous photographs of O’Keeffe, posing, and at work in her studio. These bring context to the exhibition, and being shot by the likes of Ansel Adams and Alfred Steiglitz, are exceptional on their own.
While walking through the galleries, I overheard a couple complaining that there were only “6 flowers in the show.” While this is true, the quality of what is on display is pretty impressive. O’Keeffes craft is really tight, and her paintings are very well made. You can rarely spot a pencil line in her work, which shows a strong attention to detail, and a labor intensive practice. She wasn’t whipping these things off, she was taking her time.
In terms of imagery, the retrospective does an excellent job of highlighting some of O’Keeffes many influences, namely abstraction and minimalism – her simplest works are quite calming. In terms of palette, her greens, whites and blues really pop. Her reds, not so much.
Pleasantly, there is a Canadian connection to all this, that being her painting “Nature Forms – Gaspe”. It was, by far, my favorite piece in the exhibition. It’s small, and tucked into a corner, but judging by the murmurs around it, seemed to impress everyone who saw it – not just me.
All said and done, this is a fairly well thought out exhibition, that while lacking some blockbuster pieces, gives a good accounting of the life and work of one of the 20th centuries greatest artists. If you’re a fan of her work, I highly suggest you go.
Georgia O’Keeffe is at the Art Gallery of Ontario until July 30, 2017.