Judy Brayden wins Duncan’s Arts Trophy 2019

Judy Brayden wins Duncan’s Arts Trophy 2019

Judy Brayden (left) presented arts award by Duncan Coun. Carol Newington.

By Peter W. Rusland   photo: Peter W. Rusland

Arts and culture are a life-long labour of love for artist, teacher and volunteer Judy Brayden.
Her selfless commitment to exposing Cowichanians to creative expression of all types was publicly rewarded when Brayden earned the City of Duncan’s 23rd Perpetual Arts Award Dec. 2 in council chambers. “I was delighted,” the former Cowichan Valley Arts Council president said of the community award started by the former Cowichan News Leader Pictorial newspaper.
“The arts award means a lot to me.
“It was very touching to be honoured the same night as Phil Kent,” the former Cowichan Valley Arts Council president said of Duncan’s retired mayor named a Freeman of the City during Duncan’s inaugural meeting.
Brayden was also chuffed council’s coveted arts award is open to valley-wide public nominations saluting efforts by arts patrons, artists, and teachers — including late local choirmaster Peter Yelland, the award’s 2019 winner.
“I appreciate the city doing this award — and they don’t simply look only at Duncan (residents); that’s wise and wonderful,” Brayden noted.
Her award and maple-box keeper piece partly honours Brayden’s work on the Cowichan Valley Arts Council. CVAC among five valley arts councils including those in South Cowichan, Chemainus, Ladysmith and Lake Cowichan.The artist and former arts teacher joined CVAC’s board in May 2010 and became its president that summer.
Soon afterward, the busy arts council moved into the PORTALS gallery space fronting the Cowichan Community Centre’s lobby.
Brayden, 70, is not on CVAC’s board now — she retired in May 2019 — but is still an active arts council member.
“You can be entirely consumed by CVAC and proposals that come up.
“I just ran myself too hard and had to stop.”
Her long-running efforts helped CVAC’s 2019 shows in PORTALS, including young artists’ displays in the Arbutus Gallery.
Fostering young arts talent has “really been a thrust by CVAC as a service to our community.”
“We receive civic money and offer services to people of all ages.”
Brayden is proud of CVAC’s scholarship program, and its receiving of annual grants in aid from the Cowichan Valley Regional District’s respected arts-and-culture function.
“Each of our five subregional arts councils get a specific grant each year.
“CVAC gets the most because we’ve been around the longest,” she explained, noting CVAC’s 50th birthday next year.
That half century has seen thousands of multi-media artworks presented to countless culture vultures during the volunteer arts council’s annual Spring Arts Show, and other remarkable exhibits.
“It’s tremendous,” the Langley native said of CVRD arts funding.
That regional purse also sees grants applied for by various local groups spanning actors, musicians and other artists.
Brayden applauded “the energy of people who’s step forward” to help Cowichan’s arts and culture scene amid “thin budgets and thin human resources.”
“People step up and do the best they can with an open heart”.
“I’ve always taken the approach that we live in the (entire) Cowichan Valley, not just in small towns. We share, and what we give is used by everybody.”
Brayden also supports the Cowichan Valley Public Art Gallery project as outreach to bring more art — bringing global, national and local works— to valley folks and tourists.
“We all benefit when there’s art in the community.
“It’s not only visual art I’m interested in; I’m interested in working with people on problem solving too.“
Wide-ranging arts interests also saw Brayden win the Jeff Hunter Memorial Award last year.
Her kudos follow a productive life immersed in the arts.
Brayden trained as a secondary-school arts teacher, and focussed on printmaking and painting.
She left teaching in 2005, and finished a diploma in interior design that dovetailed with her business called All Facets Of Design.
“Now, I wouldn’t mind doing a retrospective show, or doing a big installation helpful to the community in collaboration with other artists.”
Meanwhile, Brayden is confident Cowichan is “on the right track” concerning a bright arts-and-culture future creating jobs and enlightening lives.
“The arts can only get better, and everyone can benefit from this.”

Brayden’s current work aimed at PORTALS is dubbed Dissenters’ Story: The Story of Father & Son Dissenters.
The 3-D installation creation, inspired by Hardy Lee Scott and his son, involves pieces of writing “that you react to. They’re quotes from the father’s FBI file and from the son’s draft board appeal,” she explained.

Paint it Black

Paint it Black

Paint it Black

by Cyndie Lack (BFA, MAC)
. . .

On the subject of painting Sir Winston Churchill once said: “At one side of the palette there is white, at the other black, and neither is ever used neat” (https://winstonchurchill.org/the-life-of-churchill/life/artist/painting-as-a-pastime/).

Painters have long been told to avoid straight-from-the-tube black or to use it most sparingly. While this conventional advice remains sound for many practitioners, artists of this century continue to challenge, reject and even massacre things conventional. Gone too is the image of the artist working in stoic isolation (though in reality many still do, like it or not). Large scale public art projects have made art into a team sport by necessity. Scientists and others from what were once regarded as distinctly different areas of endeavour are now routine players on team art.

Years ago I was intrigued to learn of the once “blackest black,” an artificial mineral pigment called spinel black named after the natural mineral spinel. It was said to be the pigment used to coat stealth bombers. As a paintings conservator I’ve yet to require an ultra deep black for colour matching, but out of curiosity I purchased a small quantity from my favourite London artists’ colourmen, L. Cornelissen & Son.

Fast forward to 2019, the year that MIT engineers developed a blacker black with only 0.005% reflectance of incident visible radiation, or to put it another way, a material that absorbed 99.995% of visible radiation aka “light” (http://news.mit.edu/2019/blackest-black-material-cnt-0913).

From a first glance at the press release, one might conclude that this material represented an entirely new technology, but carbon nanotubes were first identified in the early 1990s. Subsequent innovations have been in the particular way the superfine nanotube particles are created, and hence the extent to which light is absorbed. Black is not a colour per se but a substance that absorbs light, however black pigments available to artists reflect a small percentage of light. Carbon nanotubes reduce this percentage to minuscule levels.

An earlier innovation, “Vantablack” (vertically aligned nanotube array) with its 0.035% reflectance was developed in 2014 by Surrey NanoSystems, UK. Anish Kapoor outraged the art world by striking a deal for his exclusive use of Vantablack. Social media was littered with objections, some hostile, and a seemingly irresistible urge to take a pop at Kapoor persists. A 2016 fake news piece saw Kapoor’s monumental 2006 sculpture Cloud Gate with its famously reflective surface disappear in a shroud of Vantablack.

But then along came Vantablack Vbx2, also produced by Surrey NanoSystems and so went Kapoor’s short-lived monopoly of the blackest black. Vbx2 was utilized by architect Asif Khan for his 2018 winter Olympics pavilion in Pyeongchang, South Korea.
Vantablack Vbx2 is used in the automotive industry. Incidentally, the volume of pigment usage by the automotive industry is of critical importance to the art world by maintaining market demand for quality, highly lightfast pigments. As with many manufactured goods, Chinese production offers reduced costs but with a possible tradeoff in quality and dubious disclosure of composition. Artist material manufacturers are at the mercy of market forces in their access to raw materials such as pigments, which may be suddenly discontinued. Furthermore, a supply change means months of extensive testing to ensure the newly supplied material meets quality standards for art materials. This is well described by Golden Paints CEO Mark Golden in his article “Manufacturing Artist Paints: Keeping Pace with Change” (GCI Newsletter: Conserving Modern Paints, Fall 2016).

In yet another intersection of art and science, and a rebuke to Kapoor, MIT’s ultra black was utilized by MIT artist in residence Diemut Strebe. Strebe collaborated with Brian L. Wardle, Professor of Aeronautics and Astronautics and Director of necstlab and Nano- Engineered Composite Aerospace Structures (NECST) Consortium, along with team members Luiz Acauan and Estelle Cohen. The resulting installation titled The Redemption of Vanity is a 6.78 carat yellow diamond coated with the new black and presented at the New York Stock Exchange September 13 – November 25, 2019. In this context, “presented” is not quite the right word since the whole point was the visual disappearance of the brilliant cut diamond. The symbolic-charged venue of the NYSE venue added a wealth (pun-intended) of meaningful layers of interpretation.

To be clear, carbon nanotube blacks were never destined for the shelves of artist supply stores. Their application requires highly specialized technology, so how should we interpret Kapoor’s deal? I doubt that these ever blacker blacks are discernible to the human eye anyway. They are designed for aerospace and military applications, and would not work as robust coatings for outdoor sculptures. Kapoor’s preoccupation with reflections and voids are long-standing, and while I have not personally seen any his black-coated sculptures, I would guess earlier black coatings adequately conveyed his intention. The bad PR for Kapoor opened another gateway for discussions about art and science and more unusually, artists’ rights of access to materials.

P.S. While many fascating books about colour and pigments reside on my bookshelves, I recommend a 2016 publication The Secret Lives of Colour by Kassia St. Clair, which was a gift from a dear friend Andrea Bowes, a conservator for the Edmonton Arts Council (https://www.edmontonarts.ca).

“Comedian”  (the banana heard around the Art world)

“Comedian” (the banana heard around the Art world)

In December, 2019, a banana made news headlines.

The banana in question, a work by contemporary artist Maurizio Cattelan was presented by international Art gallery owner, Emmanuel Perrotin, at the 2019 Art Basel Miami Beach exposition.

A conceptual piece; “Comedian” made an impact as sudden and irresistible as seeing someone slip on a banana peel and topple in spectacular fashion to the ground (my apologies…I just could not resist). Crowds of people lined up for an opportunity to take selfies with the piece, and within days, parody images were being posted on the internet by people far and wide.

Part of the energy behind the reaction to this piece is, no doubt, the reported price paid for 3 editions: $120,000.00 (US) for the first two sold, and $150,000.00 for the third.

The buyers claim to understand that the perishable objects themselves hold little value, but that the concept and the accompanying certificate of authenticity are where the true value resides (not to mention the ensuing fame for everyone involved).

This story strikes me as all too familiar: “artist” produces something baffling, “buyer” pays astronomical price, gasps of disbelief and media headlines follow. (Who among us doesn’t enjoy feeling a little outrage now and then…like yelling at the game referee who appears not to see the transgressions of the visiting team?)

However, in the current media environment of seemingly continual disinformation warfare (i.e.: “Fake News”, propaganda, lies, etc.), I find myself casting a critical eye towards that which I would previously have accepted without question. In this particular case I have trouble believing the high prices reportedly paid for this work.

Having people believe you paid $120,000.00 for something would imply that you are so wealthy that such an amount might be considered “disposable”. Having people believe a gallery received $120,000.00 for the sale of a work would imply that the gallery is “special”…perhaps only for the rich and famous. Having people believe that anything a particular artist produces is worth $120,000.00 (US) or more to somebody somewhere implies that the artist’s other “work” might also be worth huge amounts of cash.

But what if none of that were true? What if the “story” that everyone seems so willing to believe turned out to be a carefully constructed and concealed lie? Those involved in the transaction; the artist, the dealer and the buyers benefit directly in one way or another from the mere idea of such vast sums changing hands (whether the sums reported are correct or not).

Over a third of a million dollars US for 3 bananas and less than one roll of duct tape?….call me cynical…call me jaded….just don’t call me late for dinner.


– Dorian Melton CVPAG Newsletter Editor, PR Chair

Dorian and Jock’s excellent adventure

Dorian and Jock’s excellent adventure

On a sunny day in October, Jock and I hopped aboard the Crofton ferry to Salt Spring Island as I was scheduled to give a noon-hour talk as part of the SSNAP (Salt Spring National Art Prize) exhibition. On that day, a group of people touring in 6 vintage British automobiles also boarded our ferry and it was my pleasure to take some photos of the vehicles as we crossed.

On the way home, we stopped in the Seaside Restaurant by the ferry terminal in Vesuvius Bay and spent some quality time in the sunshine on their balcony overlooking the water, from where one can see the ferry coming from quite a distance.

As is well known; being an artist involves pain, suffering and possibly an entire lifetime of debilitating existential angst…this day turned out to be a welcome exception.


– Dorian Melton CVPAG Newsletter Editor, PR Chair

City of Duncan’s Perpetual Arts Trophy

City of Duncan’s Perpetual Arts Trophy

Photo: Addie Brown poses with Duncan’s Perpetual Arts Trophy soapstone carving “The Passion”. Addie’s great, great grandfather, C.A. (Bob) Howard, was a Freeman of the City.
– photo by Peter W. Rusland

by Peter W. Rusland

Surprised and humbled is how many local artists, patrons and teachers react when realizing they’ve won the City of Duncan’s Perpetual Arts Trophy.
“I’m flattered to think all my efforts did not go unnoticed,” Cowichan choral master and singer Peter Yelland said after earning the 2017 trophy. “But I didn’t do (teaching and leading choirs) for those (awards) reasons.”


Photo: Cowichan choir master Peter Yelland is presented the City of Duncan’s 2017 Perpetual Arts Trophy by then-councillor Michelle Staples. – photo by Peter W. Rusland

The city’s 22nd-annual Perpetual Arts Trophy will be presented at City Hall on Dec. 2.
Concerti Singers’ choir leader and teacher Sheila Johnson, and her late husband Jim, won the 2018 award.
Sheila, and many others involved in the arts, is proud of the trophy saluting those who expose locals and tourists to valley arts and culture of all genres.
“We’re all under the umbrella of the arts,” Johnson said.
Cowichan boasts one of Canada’s highest per-capita arts ratios that includes visual art, music, dance, drama and writing.
Like Yelland, Sheila was delightfully surprised to win Duncan’s prized arts award after being lured by friends to the City Hall ceremony where the recipient is announced.
“Jim was not one for publicity,” she said of her modest husband and noted singer, “but he would have liked winning this award.”
“I was really honoured to receive it last year. You just carry on day to day doing what you do and suddenly I was being recognized.
“My life is directing my choirs, and it was wonderful realizing people in my community appreciate that.”
The arts award is now endorsed by the Cowichan Valley Arts Council. The award was created in 1997 by the now-defunct, arts-friendly Cowichan News Leader Pictorial newspaper.
The winner receives a piece of original local art.
The honour is presented annually in chambers during Duncan’s December inaugural ceremony.
The winner is privately picked by Duncan councillors from among public nominations. That person or group is presented the arts trophy, alongside winners of the city’s sports trophy, Scroll of Honour, and Freeman of the City honours.
Names of arts trophy winners are mounted on a plaque in council chambers’ lobby, and on the base of an imposing soapstone trophy piece titled “The Passion”.
That work was carved by local artist Eric Knoll in 1997.
The trophy’s first recipient was Leslie Sjoberg of the renowned Cowichan Music Festival and Friends of the Cowichan Theatre.
Her honour heralded many other winners including Medford Singers founder Bev Medford (1999), painter Pat Fischer (2000), late Cowichan Theatre manager and culture-vulture Roger Sparkes (2002), Cowichan Secondary School art teacher and artist Lynda Faulks (2003), Duncan master painter E. J. Hughes (2004), music impresario Longevity John Falkner (2005), First Nations artist Stuart Pagaduan (2009), multi-media artist Glenn Spicer (2010), Cowichan Folk Guild founders Deb Make and Mike Ballantyne (2011), and filmmaker Nick Versteeg (2014).
Nomination papers are available at city hall and online until nominations close each year in late September.

What is an Art Gallery?

What is an Art Gallery?

photo credit: Kirsty Kelly

ART AND LIFE: GALLERIES BRING THEM TOGETHER

by Rebecca Hazell

Do you own a pair of jeans? Eat from dishes? Live in a dwelling? Then you have contact with art. Someone designed those jeans, dishes, homes, and though they may call themselves clothing designers, artisans or architects, what these people do is make practical art that allows you to enjoy and appreciate your life.

Art galleries do the same thing: they too beckon you to enjoy and appreciate your life.

But you might think, “Oh, art. That’s just stuff on walls. It has nothing to do with me. Besides, I can’t even draw a straight line.” In school, you might have doodled on margins but felt that math and science were the real things. In an art gallery, you learn otherwise, and your world gets bigger and more interesting.

Here’s what art galleries do and how they do it. They do have stuff on walls, and often in the middle of the floor (sculpture), and sometimes even on the ceilings (installations). Some art nowadays includes writing or music or video. Some invites you to get inside it or interact with it. Every piece of art is like a window on a new world that says, “You could see in this new way! Come in and laugh or cry or be annoyed or puzzled, and ask questions!”

Galleries serve everyone, too. Children ‘get’ art right away unless they’ve been misled to believe that drawing a straight line defines an artist. (The secret all artists know is to use a ruler—there’s lots of math and science in art.) They know that art is both play and work in happy balance. Nowadays, galleries offer many ways for children to participate in both making and understanding art as a way of leading fuller, more creative lives—art is a form of problem solving that engages both brain hemispheres.

Galleries serve every age group, of course. Young parents bring babies to be surrounded by colour and to enjoy the calm of a place dedicated to appreciating instead of rushing; so do savvy grandparents who want to broaden their grandchildren’s world. And walking through a gallery instead of a mall is more entertaining and likely less expensive!

Galleries also offer programs that show us how to see and experience more fully both inside them and when we go back home: they are a celebration of what makes us human. Such programs, and the art they illuminate, open vistas into seeing every moment of our lives as new and amazing.

So, a gallery does many things: it hosts, it helps, it informs, it inspires, it challenges us to grow bigger and to appreciate life.

There are different kinds of art galleries. A commercial gallery represents a handful of artists and promotes and sells their work. It’s basically a private business, so entry is free. Another kind of gallery is member-run by artists. It’s partly commercial, and it may offer excellent programs to the public. These galleries showcase members’ art, which is a great way to expose local and emerging artists to the public eye, but members pay to participate in shows and then hope for sales. Often these shows are free, too.

A third kind is a public gallery. It is funded by a broad general membership, not an association of artists. It is also partly funded by government in countries like Canada where art is recognized as a true form of wealth and as part of their heritage. A public art gallery hosts traveling exhibits of international status and also creates a collection that represents the best of local and international art. So you don’t go there to buy but to enjoy. Public galleries pay artists; they honour what artists contribute to society (and we wish all artists could be honoured in this way). They also run educational programs, host special events, store archival materials, and sometimes offer cafes and gift/book shops. Yes, you often pay to get in, especially for traveling shows, but you pay more for a movie with treats. And members receive free admission or steep discounts on exhibits and programs.

Some galleries, usually the National Gallery of (name of country), or the (name of city) Art Gallery, are government owned and operated, with supplemental memberships. They exhibit the best of their country’s or city’s art and run on the same lines as public art galleries. You generally pay to get in there, too, but the cost helps support all those galleries and their programming and shows.

There is one last kind of gallery: an art museum. Often found in major cities, they generally focus on a particular kind of art like Asian or modern or First Nations or medieval European. They are similar to public galleries and offer the same services. Sometimes they are privately owned but are open to the paying public. Wealthy art lovers have often founded that kind and filled them with their private collections of really famous art, often from previous centuries.

But it doesn’t much matter what kind of gallery you go to: just go! Discover your inner artist, who is begging for attention. Your life will be enriched beyond measure.

. . .

Canada Day at Maple Bay, 2019.

Canada Day at Maple Bay, 2019.

CVPAG had a booth at the 2019 Maple Bay Canada Day Parade and festivities. We laughed, we cried (ok, not really), we made new friends, signed up some new members and added to the number of signatures on our petition to support building a Public Art Gallery in the Cowichan Valley.

 

CVPAG Programming Committee meeting / May 9, 2019

CVPAG Programming Committee meeting / May 9, 2019

Programming Committee meeting to discuss our upcoming show: The Suitcase Project (see poster for details).
See how much fun we are having? It is always energizing having such conversations with creative people!

In Memoriam – Will Datene

In Memoriam – Will Datene

Photo: © Will Datené

WILL DATENÉ 1948-2018

We are deeply saddened by the death of Will Datené on Monday November 5, 2018, while out exploring the West Coast’s light with his camera. Internationally-known photographer, teacher and mentor, Will was a founding member of Friends of the Cowichan Valley Public Art Gallery and fully committed to the creation of a world-class public art gallery and cultural centre for the Cowichan Valley.

Born in Aachen, Germany, Will emigrated at the age of 10 with his family to live in New York City. In 1968 he moved to Canada.

Will studied at The New School: a New York City university which was established in the early 20th C to offer students studies in multi-disciplinary academic and creative contexts, achieving new ways of viewing the world and social problem-solving. Here, Will joined alumni such as John Cage, Jasper Johns, Eleanor Roosevelt, Marlon Brando, Jack Kerouac, Christopher Hitchens and other seminal 20th C and contemporary artists, thinkers and innovators. Will’s professional career began as first assistant to 3 top fashion photographers, followed by work with a commercial product photography studio.

In Canada, Will studied in the BCIT Professional Photography Program, and taught professional photography with North Island College, and Continuing Studies photography courses, Camosun College. Latterly, Will’s creative work focussed on stock photography, represented by Age Fotostock (Spain/New York), First Light (Toronto) and Superstock (Florida).

To this beholder’s eyes, Will’s photographic vision is uncannily luminous and mystical. It juxtaposes earthy engorged colour with poignantly realized black and white tones. The affect is a rendering of — strangely classical — romantic decadence. A stack of antiquary books, for instance, piles melancholy green-decayed light on classically-gilded book leaves. A rooster flaunts violently erotic saturated hues. A Dog’s dark molten eyes mirror his Friend’s empathic gaze to the beholder. Adrift in sun motes issuing through a derelict doorway, the anachronism of a young cowboy clutches time’s breath.

This lyrically dark psychological stain shifts into Will’s other ludic voice, as seen in the CVPAG Society’s logo: a dog with a bone who playfully escapes the picture frame.

Authentic, warm and delightful as a person, Will Datené’s “passion and vision” emerge as a clear ethic “to seek out a more just, beautiful and better-designed world.”

Written by Wendy Robison

The Beholder’s Share — Colour

From: Kandel, Eric R. The Age of Insight; The Quest to Understand the Unconscious in Art, Mind, and Brain, From Vienna 1900 to the Present. NY, Random, 2012, pp.103; 341-6

“Klimt’s new style also incorporated another modern idea – that of the beholder’s share, the viewer’s relation to art. . . .

Color is uniquely important in the primate brain, much as face and hand representations are, and that is why color signals are processed differently in the brain than light and forms.

We perceive colors as possessing distinct emotional characteristics, and our reaction to those characteristics varies with our mood. Thus, unlike spoken language, which often has an emotional significance regardless of context, color can mean different things to different people. In general, we prefer pure, bright colors to mixed, dull colors. Artists specifically modernist painters, have used exaggerated color as a way to generate emotional effects, but the value of that emotion depends on the viewer and the context. This ambiguity with respect to color may be another reason why a single painting can elicit such different responses from different viewers or even from the same viewer at different times. Color also enables us to discern objects and patterns by enhancing figure-ground discrimination.

. . . our brain perceives forms largely through luminance (brightness) values, like those seen in black and white photographs. Color, therefore, can be used – indeed was used by Van Gogh and later artists – not simply to depict the natural surface of objects, but also to express a wide spectrum of emotion in new and more vivid ways. . . . Particularly important is the fact that we perceive an object’s color as much as 100 milliseconds before its form or motion. This difference in timing is analogous to the fact that we perceive the expression of a face before we perceive its identity. In both cases, our brain processes aspects of the image that relate to emotional perception more rapidly than aspects that relate to form, thus setting the emotional tone for the form – the object or the face – confronting us. . . .

Artists have long intuited the separation between color and form, often forsaking aspects of one to emphasize those of the other. . .allow[ing] the viewer to dedicate more of the brain’s limited attentional resources to the perception of pure color . . . their explosive chromatic range exerts an unprecedented emotional thrust.”