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English Reports Document generated on 09/25/2021 7:14 p.m. Vie des arts English Reports Cosmos Volume 43, Number 175, Summer 1999 URI: https://id.erudit.org/iderudit/53134ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this document (1999). English Reports. Vie des arts, 43(175), 70–79. Tous droits réservés © La Société La Vie des Arts, 1999 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 1/1 MONTREAL Copping's somewhat abstract sculp­ The human scale of Kahane's COSMOS: FROM ROMANTICISM -M tures is like looking at undulating individual sculptural works is even TO THE AVANT-GARDE i- forests and moss-covered mounds, more emphatic in the public art Montreal Museum of Fine Arts o GLASS ARTISTS rivers and light bouncing off ripples. commissions she conceived. These June 17th - October 17th, 1999 o. BREAK NEW A complicity exists between the include the Sculpture Wall Kahane We now live in a world where created for Mount Allison University FRONTIERS two artists's separate,yet kindred, images of sub-atomic particles and productions, as they invest the in Sackville, N.B. in 1961, Song of galaxies - the infinitely small and MAPPING THE FORM medium of glass with both personal the Earth at Salle Wilfrid Pelletier, incredibly large - are part of our WORKS BY BRAD COPPING aesthetic and the stamp of nature. Place-des-Arts in Montreal (1963), everyday experience. Not visible to \f\ La Mer for the Canadian Embassy AND KEVIN LOCKAU, Dorota Kozinska the naked eye, these images create a Galerie Elena Lee in Islamabad. Pakistan (1972), and certain anxiety, for they are accessed 1428 Sherbrooke St. W. The Forest for the Great Lakes by instruments whose ingenuity Call ANNE KAHANE: DUALITIES Forest Research Centre in Sault Ste. surpasses our natural perception of (514) 844-60091 Leonard & Bina Ellen Art Gallery Marie (1975). things. Cubism, Futurism, Vorticism till June 8 February 18 - March 20 Like Barbara Hepworth, Kahane's or even T. S. Eliot's The Waste Land In the 16* century, Italian arti­ During the Quiet Revolution in public art projects were quintessen- presented an altogether new frag­ sans woking with the famous Quebec, when abstraction dominated tially human, social and at odds with mented, discontinuous vision of the Murano glass forbidden un­ the avant garde, Anne Kahane was the concrete and steel 1% projects world yet ironically many 20* century der the pain of death to leave the working in a style that fused figura­ that now Utter our "planned" archi­ artists have sought to create the world island, so precious and guarded tion and social content. Her sculpture tectural landscape of Quebec and anew so as to manifest some inter- were the secrets of glass-making. has since been neglected by formalist Canada. More subtle, less generic, relatedness between all things. Born of fire, made out of and cast in historians immersed in avant garde Kahane's public projects were a Marshall McLuhan s Global Village sand, glass holds a fascination of a tautologies and values. Kahane's courageous effort to humanize the is now upon us, yet data quantifi­ artmaking process was simple. She pubhc and social context of art. Was cation and dissemination further assembled flat sections of steel or Kahane's sculpture from the 1950s distances and desensitizes us to our planks of wood and then carved and and 1960s less avant garde than that immediate environment at the same sometimes painted these assemblages of her contemporaries? One needs time as there is a convergence of cul­ to bring a certain warmth to social only to look at Paul-Emile Borduas' tures, information and knowledge. subjects. In Delegation (1957), tiny allegorical wood carvings from Why have so many artists sought to exhibited at the Venice Biennale in the same era to find a parallel almost embody notions of a "pure" universe 1958, heads, bodies and legs folk art language paralleling the at the same time as information sculpted out of a single block of dogmas of abstraction. compression continues to displace wood move forward in a collectivized direct experience? Kahane's Maquette for an Un­ mass. A sense that sculpture can play known Political Prisoner (1953) Kevin Lockau a role in heightening awareness of Coyote Trickster/Vermin made of copper tubing, plastic wood social and humanitarian concerns and bound together with wire is as very special group of artists. pervades this piece. Anne Kahane poignant a commentary on social commented on the work: "As it took The complicated process of cre­ and political injustice as could be a life of its own, I recognized it as a ating glass art involves patience and found anywhere in the 1950s, yet it delegation and proceeded to bring perseverance, as well as the accep­ achieves its effect without leaving this idea forth." The rough, untreated tance of the risk of an accident to the human subject behind. Exhibited texture of the wood, akin to Baselitz's which the fragile medium is prone at the Institute of Contemporary Arts recent neo-expressionist sculptures, at every step. in London, England, Anne Kahane's seen in Kahane's Broken Man 1 Two outstanding glass artists are Maquette, along with works by Reg (1965) is a paraphrase for social Georges Méliès now on display at Galerie Elena Lee, Butler, Lynn Chadwick and Barbara Six drawings "A Trip to the Moon injustice. One feels exterior forces (Square in the Eye)", 1902 in an exhibition that challenges our Hepworth won an award from among pressing onto the exposed, abstract, Watercolor, ink on paper notion of the medium. Brad Copping 3500 submissions from 57 countries. Coll. Bibliothèque du film. wood. Cinémathèque française, Paris and Kevin Lockau belong to a group Seen within the current cultural of contemporary Canadian glass context, Anne Kahane's wood sculp­ Cosmos: From Romanticism artists, which also includes people tures still stand the test of time, and to the Avant-Garde, organized by a like Susan Edgerley, Dan Crichton, are better understood and appreci­ curatorial committee headed by and Jeff Goodman, connected with ated by the pubhc than the codified, Pierre Théberge, now Director of the Sheridan College in Oakville, Ont., conceptual commonplace obfusca- National Gallery of Canada and Jean where Halifax-born Lockau is an tions that typify the post-Modernist Clair, former Director of the Musée instructor. Veteran of numerous ex­ post-production aesthetic. A recent Picasso and Guy Cogeval, newly hibitions, he creates works imbued portfolio of six abstract, Matisse-tike appointed Director of the Montreal with an atavistic symmetry, sculptures polychrome woodblock prints by Museum of Fine Arts addresses many that seem to be inhabited by some Kahane titled Suite pour Benoit of these questions by sub-dividing primeval spirit. Combining glass with (1997), included in the Leonard & the art of the past two centuries into such materials as fur and tar, Lockau Bina Ellen Art Gallery show give us a seven themes: Nature and the Cosmos; has cast life-sized glass canines, glimpse of Kahane's current artistic The Promised Land; The Voyage to the eyeless and mute, but, nevertheless, production. Recontextualizing her Poles, Beyond Earth; The Moon; eerily lifelike. innovations with carved wood and Imaginary Cosmologies; The Foun­ A very different sensitivity is ex­ metal assemblage motifs, this show dations: The New Jerusalem and hibited by Brad Copping, one of the reaffirms Kahane's place as an atyp­ To Infinity and Back. An ambitious most promising young glass artists in ical innovator of the modernist epoch undertaking whose timeframe begins Canada, whom gallery owner, Elena in Quebec sculpture. Intuitive, playful in 1801, the assertion is that the Lee, calls "the next François Houdé." and inventive, Anne Kahane's art artist's search for meaning has been Like Lockau, Copping combines glass finds its form in the materials. Her affected by the very real frontiers of with other materials, in his case, aesthetic is social and humane. time, space and geography that hu­ wood, and he also draws his inspi­ mankind explored from then till now. Summer White, 1953 John K. Grande Alongside paintings of the earth and ration from nature. Looking at Wood with paint, 96.5 x 53 x 18.5 cm National Gallery of Canada, Ottawa the heavens by artists as divergent 70 I VIE DES ARTS N°17S as Odillon Redon, Mark Tansey, OTTAWA DONIGAN CUMMING: John Martin and Piet Mondrian and BARBER MUSIC including rare vintage pho­ DAUMIER Canadian Museum of tographs from Daguerre to Ead- National Gallery of Canada Contemporary Photography weard Muybridge to NASA, Cosmos June 11 - September 6 May 21- September 19,1999 addresses the way we have mapped It's summer in the cities and The exhibition of photography, this earth, outer space, the constel­ people are on the move. They come documentary film, and sound mat is lations, the stars and the solar sys­ from as far as you can imagine. the work of Montreal artist, Donigan tem. Does this reaffirm a vision of Tourists are the people who give a Cumming, wiU chaUenge commonly an Earthly Paradise emphatically city a sense of its place in the world.
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