July 2006 Dear ARTFOCUS Readers: Apologies for the lateness in getting this months edition online UP, but my computer had a meltdown that is now fixed. Contributors> to the July 2006 issue include OLIVER GIRLING, artist & curator with the engaging text from his Ashkenaz 2006 exhibit HOME/REPRESERNTATIONand CAROL SUTTON with an insightful review of ART CZAR, the new biography of CLEMENT GREENBERG. Regards Pat Fleisher webmistress @ ARTFOCUS ONLINE TORONTO Visual Art for Ashkenaz 2006 Home/Representation 6 Artists in and out of a tradition July 14- September 10,2006 York Quay Centre, Harbourfront Centre 235 Queens Quay West. Toronto, Canada Ruth Adler/circles Curated by Oliver Girling Whose culture is it? Is your culture my culture? Is ours the same as theirs? Am I my brother's keeper or his factotum? What does my sister have to say? Is Jewish art, especially of the figurative kind, oxymoronic, given the biblical proscription against idol worship? And on that subject, what is a Jew? In about the year 1167 Moses Maimonides's Guide for the Perplexed appeared, and the cat was out of the bag forever. An itinerant Jewish scholar, he'd left Cordova as a teenager, forced by a hard-line Islamic regime to choose between conversion, death or exile (he chose the latter). Living outside Cairo, he was a sometime quack for the Egyptian caliph and his harem, a dusty-foot philosopher, community worker and all-round wiseguy, had already acquired, by the time the manuscript appeared, a wide following in both the Jewish and Islamic worlds (he wrote mostly in Arabic) for the wisdom of his commentaries on the sacred texts. Sybil Goldstein/creek The Guide was a radical departure, in that he incorporated elements from the Jewish oral tradition as well as Aristotelian philosophy (considered anathema to Jewish thinking) with his textual illuminations. He identified pure imagination as an essential element in biblical prophesy, and figurative speech, rather than literal storytelling, as the prophetic writings' main form. He excoriated commentators who'd come before him, and proclaimed his own infallibility, in the process setting the table for generations of political philosophers, folk-singers, activist poets, art critics, media personalities, cranks, soap-box orators, demagogues and talking heads of every description. Larry Middlestadt/vertigo A crooked line runs from Maimonides to Spinoza, Hegel to Marx to Trotsky; to Clement Greenberg. We (artists) are all Clem's children, though we don't want to be. We're (all) also children of the Neo-Con philosophers, though we don't want to be. After Stalin had Trotsky murdered, there was an exodus of leftists from the Trotskyite Partisan Review, people like Greenberg and Norman Podhoretz, (spiritual father of the Neo-Cons). Where Podhoretz turned to the political right, Greenberg reinvented himself as a critical aesthete, a formalist unlike Roger Fry in that he incorporated analytical criteria strangely redolent of political discourse. In the Fifties, he encountered de Kooning's Women paintings, and he didn't like them. The term he coined for them was “homeless representation”, by which he meant abstraction with an incongruous figurative element. (He also thought Picasso's Guernica a failure for the same reason, and said of Henry Moore's sculptures that “they look like turds”). Still, it was a melancholy term, and a strange choice of words for art criticism. Shelley Adler/head Whose home was it in the first place, and how did it get lost? In the midst of the McCarthy period, was he thinking of The Partisan Review, and his lost friends and colleagues? Was he thinking of the lack of affordable housing, a hidden leitmotif in North America society, now beyond his critical purview? Was he thinking about himself: a non-practicing, Diaspora Jew not connected to any Jewish community, so twice homeless (and an amateur landscape painter, to boot; at least Barnett Newman made abstract pictures based on proportions stipulated in the Kabala). It wasn't Newman, though, who inspired the observations that led ultimately to his influential writings: it was Jackson Pollock's drip paintings of the Fifties, then Jules Olitski's lyrical abstractions in the Sixties. In spite of his avocation, in the best Maimonidean tradition Greenberg enforced a terrible orthodoxy about who would be allowed on the path, casting de Kooning and others into darkness and promoting those he considered to be enlightened. Though his critical influence has long since waned, he established the paradigm, allowing other gurus to take his place. What was the main idea? A kind of Trotskyism, permanent, aesthetic revolution along a linear path, so that each wave of new art brought the discipline closer to its pure, Platonic state: in painting, for instance, an insistence on flatness, anti-illusionism, affirmation of the picture-plane (vs. deep space). There's an obvious perversity about this idea when applied to art, which most often spirals chaotically forward, but in its time it was productive, if anti-historical. Howard Lonn/monument But in the 21st Century, we can't entertain the notion anymore of one single path that all art should follow; we live in a globalized society, and globally, art practices differ. Trotsky's permanent revolution has become the consumer capitalist imperative to perpetual consumption, with art behaving not much differently from all the other commodities. A funny thing happened, though, to visual abstraction on its way home: it began to admit imagery quite free from the sad, mid-Fifties “homelessness” that Greenberg disdained. In this show, we can see its new dynamic at work: in Ruth Adler's geometric abstractions, suddenly noses, hands, pods sprout. Howard Lonn and Larry Middlestadt grow horizon lines. Shelley Adler moves in the other direction, vapourizing a room full of people into paint, just as Badanna Zack vaporizes a cart into paper; Sybil Goldstein strips gravity from the rocks, water and trees of the familiar northern landscape. What home are these artists representing, and is it recoverable in plastic terms by the viewer? Consider each artist in turn. Badanna Zack/cart Ruth Adler's prints are a sprightly, graphic heart that pumps up the visual dynamic of the exhibition. She uses her wide-bed printer as both surface and support for her digitally produced images, which fly off the roller like a windstorm. There is no set distinction between pictures made in a fine-art context and those created for industrial application; but then again, the time between any original and its reproduction has been so curtailed by the digital revolution that all pictorial art may be moving in this direction. Sometimes there's a flash of Claude Toussaignant on steroids; in another, I catch Al Held's broken lines. And then that duck that consists of a duck-bill on an elongated sphere, and the pod guy wrapping himself around the lampshade. Shelley Adler is an oil painter whose recent production is mostly (but not always) the human head. Sometimes they're portraits, but more often they're containers for paint, colour, and composition. There are times a painting is worth doing and looking at for one colour alone, and the brilliant cadmium orange in two paintings here is a case in point. She reminds me why a figure of speech is like a figure in paint: imaginary, elliptical, allowing space for the viewer to complete the thought. And why Picasso defined a painting as the sum of destructions: in her painting of a dining room, by the time it's finished the guests have been wiped out by fast brushwork, and all that's left is the table setting. Sybil Goldstein paints the subjects that overwhelm the imagination of here: weeds around rocks, the fast-flowing stream, bending foliage, the sinister, seductive greens (which she always renders on a blue-grey ground). She's brave: how do you paint those subjects again? In fact, she does it by reversing the earth's polarity: if a rock weighs a few tons, in the water it turns into a bright block with no more visual weight than a dandelion head; if the water is flowing fast, it stops in its tracks to frame the rock. The pictures here are of a river she's known from childhood, and the effect isn't so much surreal as it is irreal, like places in the memory that are more urgent and vivid than the real thing. Howard Lonn has been comfortably moving between non-objective and representational painting for years, but he doesn't always know which way the painting will turn beforehand. Though he keeps a selection of images torn from media around his canvasses, they don't always get in, or they make their way in subliminally. But the scraped purple field over the yellow ground on his studio wall isn't less arresting than the golden, gesso-lid sun on a black ground in this show, though the first won't stay like that. But he's rediscovered a truth about painting's topicality: a fresh picture, whatever its subject, feels more like news that the news. Larry Middlestadt has been inventing landscapes that are partly pristine, partly based on real parks and avenues and waterways, really only during this decade, having previously been an abstract painter, and his transformative processes can be traced in the work. His “Niagara Falls” exists in quotation marks because it begins life as a non-objective picture, acquires a horizon with a watery fall, then because composition demands it, a diagonal bisection in the bottom part of the picture. He's summoned the spirit of Dorothea Rockburne, she of the folded-canvas golden sections, to invent an ur-Niagara Falls out of the fog of paint. Badanna Zack, the sculptor in the show, has worked for many exhibitions in that lightest of all media, papier-mâché (she also works in the medium of wrecked cars in her outdoor installations). Her work demands infinite patience and craftsmanship, and long hours in her own studio both to make the work and to store it (objects cast from real life may be light, but they're voluminous). She is, then, the most home-bound of artists, and because she doesn't paint or fix the newspapers she uses in her casting, the surfaces of the objects function as a newspaper diary of their making. The woodblock spilling cart in this show could be Mother Courage's rig. Not one of the artists qualifies for the fishmonger's bounty ($25,000.00 for artists under 40). They have no more in common than proximity to Elmgrove Avenue, literal sisterhood. metaphoric brotherhood, a cinderblock studio on Dupont, septuagenarians, affinity for big skies and made-up horizons. They are Ashkenazi and, figuratively speaking, artists, as they have been at least since Cairo, 1167. # # # #

Art Czar: The Rise & Fall of Clement Greenberg Author/Alice Goldfarb Marquis English / Hardcover: 321 pages MFA Publications Spring 2006/ Boston Museum of Fine Arts List Price: $35.00 USD or $26.46 CND / ISBN: 0878467017 Greenberg still awaits a propitious biography Review by Carol Sutton Alice Goldfarb Marquis starts off the book ART CZAR , displaying a clear dislike of the man who is the subject of her biography, Clement Greenberg (January 16, 1909- May 7, 1994); contrary to her claim in the Prologue that she thinks her account is ‘fairer’ than previous biographies on Greenberg. The chapter Who Am I? begins with Clement, the son of Dora Brodwin and Joseph Greenberg, who had moved from the Bronx, New York, for a six year stay in Norfolk, Virginia, as a five year old boy beating a large bird to death. "Greenberg also recalled the incident but explained it quite differently: he was afraid of the big bird, so he killed it with an axe." Marquis relates this to Jewish immigrant fear, while the Florence Rosenfield biography on Greenberg gives more coverage to this incident as an illustration of " the love/hate: paradox implicit in Clem's intense response to sensuous experience: animals made him "drunk" with pleasure, and that he bludgeoned one of them to death, prefigured an adult personality prone to similar paradoxes." On the other hand I interpret the direct 'barnyard' approach to the problem of overcoming his fear of the large goose, as life training, a la St. George slaying the dragon, when years later, Clem took on the slaying of dim taste or rather the decline of taste, when it comes to the appreciation of aesthetic quality. An example of the author's negativity includes comments on Greenberg's art education and shaky art history, particularly related to the essay, Towards a Newer Laocoon. One example, "As for his own art education, there is sparse evidence of any formal studies, nor do his datebooks record any visits to the many libraries or archives New York had to offer. Before 1955, his quick swing through Europe on the eve of the Second World War and his 1954 museum hopping with (Helen) Frankenthaler appear to be his only firsthand experience of art not available in North America." Marquis runs down Greenberg's essay, American Type Painting ..."as the morning line of a racing tipster's treating artists as though they were race horses, Greenberg identified this one as having early promise and then fading, another who continues to develop, and still another who performs inconsistently but may yet excel." She criticizes Greenberg's taste when he chose to reprise a one-person exhibition of Barnett Newman he had curated almost a year earlier at Bennington College. In that catalog, he had challenged viewers: "If you are color-deaf, you will focus on the stripes, which, indeed were the only motifs visible in those super-size canvases. " This glaring comment by Marquis to me is quite telling. Evidently to Marquis, if it is not visible, then it is not there. Marquis cannot seem to respond to Greenberg's own hard won take on art, that art's emotive power, its intuitive feel, can overtake pure visual elements and she completely fails to understand Greenberg's quest for a more inclusive way to 'look' at art. As critic Ken Carpenter outlines in The Canadian Encyclopedia, "Greenberg's interpretation of "Modernist Painting" (1961) with its definition of "optical" (i.e., indeterminate) space became the governing concept in discussion of artistic modernism throughout the English-speaking world." Marquis does give credit to Greenberg with this comment, "And while other critics may have expressed preferences for different kinds of art, Greenberg alone offered a theory for how new art develops." But sentences later she chides him, "This demeaning of subject matter and reduction of painting to mere materials foreshadowed Greenberg's next new thing: the Color Field painting of Morris Louis, Kenneth Noland, Jules Olitski, and especially, despite her rejection of him, Helen Frankenthaler. Popular Clem bashing in the past always used this litany of 'Color Field' names, but she includes others championed by Greenberg on the O.K. list, such as Hans Hofmann, of whom Clement wrote a monograph, Barnett Newman, "whose work left him "exhilarated", and Mark Rothko "who makes me think of Matisse." Just as I think she is kind of getting positive, Marquis then counters with a slight in the next paragraph, a sort of unspoken roaming voice, that leaves me unsure of exactly where her footing on Greenberg lies. "In his art criticism, he recoiled from the emotional baggage borne by Surrealism or Expressionism and wavered between a complicated theory and plain gut reaction, his "eye", to support the cool abstract art to which he was instinctively drawn." The book picks up when Marquis stops dealing with Greenberg's personal life and starts writing about his relationship with the American political and literary quarterly Partisan Review, which published Greenberg's first essay, Avant-Garde and Kitsch in 1939 , followed byTowards a Newer Laocoon, In 1940. Marquis text really shines as it zeros in on his written words and published essays and on anything to do with Jewish heritage or Yiddish language. Other strengths by Marquis are on her coverage of Greenberg's own poetry and artwork. Care is given to Clements's correspondence, his personal datebooks, diary entries, famous postcards and detailed descriptions of the complex exchange of letters with his friend Harold Lazarus . Marquis probes Greenberg's writings and ponders his sources. " His writings and often, his conversations conjured an unseen enemy lurking somewhere in the shadows, perhaps a figure from his childhood, most likely his father, unremittingly prodding him forward, demanding that he justify himself and still finding him inadequate." Credit is given to him grudgingly,"Greenberg deserves due credit for the triumph of American art after the Second World War, but American prosperity and access to higher education contributed much..". Carol Sutton/ portrait of clem Those hoping this new book on Greenberg delves into what made Clement Greenberg the critic he became, will be happy with insights on Clement's family, early roots and the forging of himself as a blend of what Marquis calls, " Kant's philosophy and Trotsky's politics." But for those who wonder how Clement developed his clear eye this book does not offer any new insights. When I once asked him, 'How did you hone your eye? ",Greenberg answered me with this, 'Well, when I was a customs clerk, (for the U.S. Customs Service, 1939) I would go to museums or galleries during my lunch hour and walk into a gallery, and ask myself -'what painting here captures my eye? then I would gravitate to that painting. And I also trained myself never to read the labels first, and then ask myself, 'What qualities drew me to this painting over all the others in this room? And just why is this painting holding my attention and enriching this experience? " I wish the title of Chapter VI would have been Notions of Quality rather than A View from the Summit, but then the author need a premise of a rise, from which to afford the fall,Things Fall Apart, which compliments her ending chapter title, In the Postmodern Wilderness. Alice Goldfarb Marquis' book is typical of American authors xenophobic blinders with regards to the artists of Canada. She mentions only one, Jack Bush. While previous biographies on Greenberg have left Canada out in the cold entirely; by contrast Marquis does cover his trips to Canadian cities and the Emma Lake Workshop. She writes, "In retrospect, Greenberg trip across Canada at the beginning of 1964 seems dreary, an aimless ramble through a barren frozen landscape, less a journey than a flight from intolerable challenges in New York. After Winnipeg and Calgary, he stopped in Vancouver and Seattle, then continued on to San Francisco where he most likely visited artists or galleries. " And later writes "an enlightened art public of Western Canada", a fancy description indeed for what were largely wheat farmers and ranchers living in towns like Moose Jaw or Swift Current, battling bitter winds and sub-zero temperatures in prairie villages in a land of a thousand lakes. He would make many trips to Regina and summertime visits to Emma Lake Artists' Workshops, 230 miles due north; already, he had met with 24 of the Regina artists the previous summer." Most telling example of her opinion of Canada- "Of course, the very fact that Canada had to bring in an American authority to describe the work of its own painters indicated a certain provincialism." # # # # REVIEWER Carol Sutton is a USA- born Toronto artist, who was a good friend of Clement Greenberg. Her art can be viewed online ar http://www.ccca.ca , http://www.carolsutton.net and www.galleryone.ca EDVARD MUNCH BY PETER WATKINS THE NORWEGIAN EXPERIENCE DVD & Exhibit Review by Al Orensanz The Canadian-produced film "Edvard Munch" by Peter Watkins has all the ingredients to have been a segment of the celebrated PBS documentary series, "American Experience". There are many elements in common: They both depart from significant individuals or groups that reflect and have influenced a time of our recent history and social fabric up to the present. The "Edvard Munch" by Peter Watkins is a masterpiece of period history, from the middle of the 19th century (he was born in 1863) to the middle of the 20th century. (He died in 1944). Norway is depicted breaking away from an immobilized past and going through the spasms of the modern age. And that national tremor, sometimes a generational earthquake, is not characterized by anybody better than Edvard Munch. Here are the differences with your average "American Experience" installment. While the American narratives can be wrenching and excruciating they all have a kind of sublimated end. The episodes of PBS are built most often as necessary, hesitant sometimes, steps in a process that leads sooner or later to a diffuse common good; the growth pains of nation destined to bring about a universal truth. In the case of "Edvard Munch" the national odyssey and the personal drama keep sinking further into a sea of darkness bringing everything into a dark night and desolation. Well, "Edvard Munch" will definitely never make it into "American Experience", but it makes it into a significant survey of the world human drama of modernity. There is the personal drama of Edvard Munch and his family in Oslo, and there is the background of the Strip of Oslo where the social life is carried on and presented on a regular basis. Both move parallel and walk into different directions: one towards its extinction, the other toward the forefront of the modern psyche. Edvard Munch navigates both lanes and brings both of them into an ocean of negation, darkness and terror. Through this almost two hours of mesmerizing sequences, Edvard Munch and the main characters, both children and adults, keep looking at us, the audience, involving us in a dialogue or better say into a radical questioning. They are not challenging us, but avidly and persistently observing us and dragging us into their ghostly realm Their gaze is oblique and engaging. It is as if Munch, Mrs Heiberg and the other main characters are driving us into a caravan of self depreciation and making us creatures of a strange, dark behavior in need of pathological attention. It is very relevant to note that this DVD has come to the market concurrent with the exhibition at MoMa in New York, "Edvard Munch. The Modern Life of the Soul", curated by Kynaston McShine. It opened on February 17 and will close on May 8,2006. It is a major show, maybe the most relevant show of the year at MoMa because of the amount of works shown of a single artist, the amount of scholarship and the educational concurrent programs that accompany the exhibition. It is very pertinent to see the paintings in synchronism with the movie. The Edvard Munch of Peter Watkins moves around some of the key works of Munch; and those works are precisely the ones that the MoMa visitor gets to see face to face. The paintings and prints at the show in midtown New York are emblematic icons of the 20th century in Europe. They appear mesmerizing and cryptic in themselves. They are endowed with the ambivalence of every art masterpiece. The actual art object is always a codified statement that defies a linear reading. The movie, instead, gives us a vision of the process of the painting accessible to most everybody. Everybody can follow a movie, but most people have lost the ability to penetrate beyond the canvas to understand the artist’s anguished process and the sequence of that process. The narrative of the movie and the narrative over the walls of the museum move along two different and diverse levels of understanding. Keynote works included are Inger, The Sick Child, Puberty, The Kiss, Madonna, The Scream, Death in the Sick Room, The Dance of Life. # # # # NOTES The film Edvard Munch with Geir Westby as Edvard Munch and Gro Fraas as Mrs. Heiberg, was originally shot on 16mm and has been digitally re-mastered to High Definition from a nw 16mm interpositive struck from the original negative held in Stockholm.1976/Norway-Sweden/color/English, Norwegian and German dialogue/174 minutes. This review is based in the DVD edition put out by NRK. The exhibit Edvard Munch. The Modern Life of the Soul. The Museum of Modern Art., New York, February 17 - May 8, 2006. Catalogue 256 pages. Fully illustrated, with an introduction by Kynaston McShine. REVIEWER Al Orensanz is Director of the Angel Orensanz Museum in the Lower Eastside, New York & Editor of Artscape Magazine # # # #

25 Canadian Artists on Arctic Adventure in July ARCTIC QUEST 2006 - MAKING ARTISTIC HISTORY TORONTO: July 22, 2006, twenty-five contemporary artists will mark the 100th anniversary of Amundsen’s 1906 navigation through the Northwest passage with a journey of their own. Participating artists A-Z Robert Amirault,Kim Atkins,Anthony J. Batten,Heidi Burkhardt,RoseMarie Condon,Paul Gauthier,Kathy M. Haycock,Sandra Henderson,John Joy,Ana Jurpik,Jack Koca, Margaret Ludwig,Linda Mackey Rhonda McDonald,Karole Haycock Pittman, John Stuart Pryce,Val Russell.Brigitte Schreyer,Gerald Sevier ,Maurice Snelgrove,Lynn Soehner, Andrew Sookrah,Mary Wagler,W. David Ward,and Spencer Wynn During a twelve-day voyage from July 22 to August 3, 2006, the group Arctic Quest will record their impressions on canvas, paper and film as they visit remote Arctic communities,flying from Ottawa to the East Coast of Baffin Island,then travelling on a ship crossing Davis Strait to the coast of Greenland to the northern tip of Baffin Island, to Cornwallis Island & concluding the voyage at Resolute Bay, before flying back to Ottawa. On their return they will participate in an ambitious program of exhibitions, film, workshops, lectures, student exchanges and historical projects, all planned to coincide with International Polar Year taking place 2007-9. Arctic Quest was conceived by artists Linda Mackey of Toronto, Kathy Haycock of Eganville, Ontario and Bonnie Levinthal of Pennsylvania. The exciting adventure is inspired by artists who went before: artists accompanying the early European voyages of discovery, Group of Seven artists A. Y. Jackson, Lawren Harris and Fred Varley, as well as more recent artists Doris McCarthy and the late Dr. Maurice Haycock, all of whom went to the Arctic to paint and were profoundly influenced and infected with a passion for the North. Following in their footsteps and creating a path of their own, the 25 contemporary artists intend to interpret and share their passion for the Arctic between North and South, from East to West. They hope to draw attention to northern issues such as climate change, sovereignty and the fragile environment, and encourage and stimulate artistic expression by Inuit youth. Arctic Quest was officially launched in January 2005 by Doris McCarthy and astronaut/Arctic photographer Roberta Bondar at Toronto’s First Canadian Place. This past spring participating artists donated paintings, and corporate sponsors contributed a variety of items, to be auctioned for fundraising. On March 25 Sotheby’s Auction House raised over $55,000 during a gala event at the historic Arts and Letters Club in Toronto. A painting of Pangnirtung Fiord donated by Doris McCarthy brought $6,000 which is destined to assist young and emerging Inuit artists. Supporters of the project include the Office of the Governor General of Canada, Parks Canada, Indian and Northern Affairs, Government of Norway, International Polar Year Secretariat, Toronto Star, Sotheby’s, and numerous art and outfitting suppliers. Art education and the Ontario Lieutenant Governor’s Twinning Initiative were already in progress during the past school year and will be expanded next fall. The group hopes to bring about the restoration of an historic building in Pangnirtung for use by local and visiting artists. The building was built in 1926 by Maurice Haycock and Lud Weeks of the Geological Survey of Canada (see ‘The Geological Survey’s First Arctic Research Station’, Canadian Geographic Magazine April/May 1991). Arctic Quest will create a culturally and historically important body of artwork. The touring exhibitions of contemporary, historical and Inuit art and educational programs will provide an exciting insight on the Arctic for Canadians and international audiences. Exhibition venues have already been confirmed in Vancouver, Toronto and Philadelphia PA, USA with additional exhibitions in the planning stages. 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