Howdy!
I ran into Leah Sandals' analysis of Papier11 after I wrote my piece. But I can always add more. First off, congrats to Ms. Sandals, hers is the first I've seen of anyone asking questions about Papier11.
Secondly, while it's nice to think that Papier11 was 'curated,' I think I might have a slightly used bridge to sell whomever gave her that quote. Given some of the galleries that were missing, I can only presume that they took whomever gave them the cash.
Third, if her figures are correct, then AGAC made more than $100,000 from fees received from dealers and probably another $30,000 from tickets to the VIP event. I can't imagine a tent and a catalogue (and while we're at it, a coat check) costing $130,000 for a weekend. So yes, while culture in Quebec is subsidized more than it is in Ontario Papier11 wasn't completely funded by the Quebec (or the Montreal) government. And a quick check of the logos at the back of the catalogue shows that in fact, The Quartier des Spectacles, Tourism Montreal, The Montreal Arts Council, and three parts of the Quebec government were among 33 organizations that helped. I would guess that total government funding was in the low five figures.
Actually, $28,500 from the Quebec government as Mme Christine St-Pierre announced here. And I also find it particularly intriguing that they decided to give as much money to the administrators and organizers as they decided to give to the artists. Do you really and truly believe that the people who run art galleries are as important and the artists?
Next, Galerie Graff, who participated in Papier11 is in fact an artist run centre. And Headbones Gallery made it all the way from BC.
But it definitely shows that Ms. Sandals consumes her culture from a completely different perspective than I do.
Thursday, April 21, 2011
Papier11
Howdy!
Over the weekend I went to see Papier11 (notice that there is no space in between the words 'papier' and the number '11.' A lot of people got it wrong) and was pleasantly surprised. There were a fair number of folk milling about. I saw a bunch of red dots on pieces and even saw some bigshots.
According to the press folderol (and here, and here too) pushed out by AGAC, they got almost 9,000 people. When I was there on Sunday I was told that 4,000 people had been there on Saturday, and somewhere, someone mentioned that they got 500 people for the swanky opening night do (although I strongly doubt that all 500 paid $125 to see it on Thursday night). Which means that, if my math is correct on Friday and Sunday they got about 2,250 each. Somehow, somewhere I have a strong suspicion that someone is fudging the numbers (especially since there was no turnstile, no one counting at the door, no piece of paper with chicken scratches on it - and now come to think of it, I went in and out three times on Sunday, does that mean I counted as three people?).
Also, at some point in my long storied career in the Montreal Arts world, I was told that about 4,000 people show up at the Belgo Building on a given Saturday (which is why I never go to the Belgo on a Saturday). So your guess is as good as mine if the Belgo was as full as it normally is on a Saturday, or if it would have been possible to look at the art because it was like a ghost town.
And if attendance increased by 45% from last year, why did sales only increase 39%? Was stuff cheaper? And speaking of sales, if my long division is good, each gallery grossed $18,289.47. Which if you presume a 50% commission means they net $9,144.74. Or slightly more than $3,000/day. I don't know how much AGAC charged for a booth, but that would cost some coin, and I'm certain that there were other incidental costs as well. My guess would be that the average gallery made about a $4,000 profit from the fair. If anyone has more concrete figures they would like to share, by all means don't let me stop you.
And then I am also stuck by the paucity of coverage of the fair. Most of it is hype, and that which isn't hype doesn't say a gosh darn thing. Listening to Jean-François Belisle talking about how 38 galleries come together to make a "common window" you'd think he had never been inside the Belgo Building in his life.
And while I'm at it, where were the booths for AKA, ARPRIM, Articule, David Astroff, de Bellefeuille, Bielik, CEIM, Atelier Circulaire, Clark, Han Art, Samuel Lallouz, Michel-Ange, MX, Alain Piroir, Plein Sud, Quartier Libre, Liliane Rodriguez, and Jean Pierre Valentin?
Overall Papier11 seems alright, but there's something inside me that is repelled by the crass commercialization and the hordes of consumers descending like locusts on "Art" because of the quote; special occasion unquote. I'd much prefer to see Art be a regular part of people's lives.
- Rant Off.
Over the weekend I went to see Papier11 (notice that there is no space in between the words 'papier' and the number '11.' A lot of people got it wrong) and was pleasantly surprised. There were a fair number of folk milling about. I saw a bunch of red dots on pieces and even saw some bigshots.
According to the press folderol (and here, and here too) pushed out by AGAC, they got almost 9,000 people. When I was there on Sunday I was told that 4,000 people had been there on Saturday, and somewhere, someone mentioned that they got 500 people for the swanky opening night do (although I strongly doubt that all 500 paid $125 to see it on Thursday night). Which means that, if my math is correct on Friday and Sunday they got about 2,250 each. Somehow, somewhere I have a strong suspicion that someone is fudging the numbers (especially since there was no turnstile, no one counting at the door, no piece of paper with chicken scratches on it - and now come to think of it, I went in and out three times on Sunday, does that mean I counted as three people?).
Also, at some point in my long storied career in the Montreal Arts world, I was told that about 4,000 people show up at the Belgo Building on a given Saturday (which is why I never go to the Belgo on a Saturday). So your guess is as good as mine if the Belgo was as full as it normally is on a Saturday, or if it would have been possible to look at the art because it was like a ghost town.
And if attendance increased by 45% from last year, why did sales only increase 39%? Was stuff cheaper? And speaking of sales, if my long division is good, each gallery grossed $18,289.47. Which if you presume a 50% commission means they net $9,144.74. Or slightly more than $3,000/day. I don't know how much AGAC charged for a booth, but that would cost some coin, and I'm certain that there were other incidental costs as well. My guess would be that the average gallery made about a $4,000 profit from the fair. If anyone has more concrete figures they would like to share, by all means don't let me stop you.
And then I am also stuck by the paucity of coverage of the fair. Most of it is hype, and that which isn't hype doesn't say a gosh darn thing. Listening to Jean-François Belisle talking about how 38 galleries come together to make a "common window" you'd think he had never been inside the Belgo Building in his life.
And while I'm at it, where were the booths for AKA, ARPRIM, Articule, David Astroff, de Bellefeuille, Bielik, CEIM, Atelier Circulaire, Clark, Han Art, Samuel Lallouz, Michel-Ange, MX, Alain Piroir, Plein Sud, Quartier Libre, Liliane Rodriguez, and Jean Pierre Valentin?
Overall Papier11 seems alright, but there's something inside me that is repelled by the crass commercialization and the hordes of consumers descending like locusts on "Art" because of the quote; special occasion unquote. I'd much prefer to see Art be a regular part of people's lives.
- Rant Off.
Gotta love that local TV!
Howdy!
Last week over at CTV Montreal Todd van der Heyden interviewed Denise Buisman-Pilger because she has a show up at the Mile End Gallery, until the end of the week. But someone really should mention to him that he could ask some less fluffy questions.
Last week over at CTV Montreal Todd van der Heyden interviewed Denise Buisman-Pilger because she has a show up at the Mile End Gallery, until the end of the week. But someone really should mention to him that he could ask some less fluffy questions.
Wednesday, April 20, 2011
Raji Sohal takes on Thomas Hirschhorn
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Gotta love Ms. Sohal. Over at the Art21 blog, she's got a gig doing something called Calling from Canada, where she talks about things arty and Canadian. Last week she wrote about going down the 401 to see the latest exhibit at the Power Plant.
Apparently she didn't like it much. But all was not lost, she also got to see a BYOB at Gallery TPW which she liked a bunch.
Gotta love Ms. Sohal. Over at the Art21 blog, she's got a gig doing something called Calling from Canada, where she talks about things arty and Canadian. Last week she wrote about going down the 401 to see the latest exhibit at the Power Plant.
Apparently she didn't like it much. But all was not lost, she also got to see a BYOB at Gallery TPW which she liked a bunch.
Two completely different paths to the same job
Howdy!
Last week David Moos announced he was ditching the AGO to go into private practice. Last year Alain Lacoursière announced he was ditching the police force and going into private practice.
In both cases, said "private practice" is in fact being an independent art adviser. Hmmm, as Leah Sandals points out, Jessica Bradley did something similar, by opening an art gallery. And on this side of the border, I've been told that René Blouin, Pierre-François Ouellette also opened art galleries after working for the government.
But only Alain Lacoursière got his own TV show. Take that! Ontario independent art adviser!!
Last week David Moos announced he was ditching the AGO to go into private practice. Last year Alain Lacoursière announced he was ditching the police force and going into private practice.
In both cases, said "private practice" is in fact being an independent art adviser. Hmmm, as Leah Sandals points out, Jessica Bradley did something similar, by opening an art gallery. And on this side of the border, I've been told that René Blouin, Pierre-François Ouellette also opened art galleries after working for the government.
But only Alain Lacoursière got his own TV show. Take that! Ontario independent art adviser!!
Armand Vaillancourt not getting the love
Howdy!
Earlier this month over at Curbed San Francisco the took a poll of their readers for the Least Favorite Piece of Public Art in San Francisco. And "Quebec Libre" by Armand Vaillancourt (which is also on Bullit, a kick ass movie if their ever was one) came in second.
"Legs" at Embarcadero station. 473.400 votes
"Vaillancourt Fountain" at Justin Herman Plaza, aka "Quebec Libre." 409.275 votes
"Cupid's Span," along the Embarcadero. 211.650 votes
The United Nations Plaza Fountain. 103.275 votes
"Transcendence," aka "The Banker's Heart" at 555 California. 76.500 votes
(Don't ask me how you can get .275 of a vote, but all I did was multiply the percentages against 1,275. The number of votes. And then copy/pasted the results.)
Via Flickr:
Québec libre ! is a concrete fountain sculpture by Quebecois artist Armand Vaillancourt, installed in the Embarcadero Center in 1971.
C'mon guys what gives? There's no need to be haters.
Earlier this month over at Curbed San Francisco the took a poll of their readers for the Least Favorite Piece of Public Art in San Francisco. And "Quebec Libre" by Armand Vaillancourt (which is also on Bullit, a kick ass movie if their ever was one) came in second.
"Legs" at Embarcadero station. 473.400 votes
"Vaillancourt Fountain" at Justin Herman Plaza, aka "Quebec Libre." 409.275 votes
"Cupid's Span," along the Embarcadero. 211.650 votes
The United Nations Plaza Fountain. 103.275 votes
"Transcendence," aka "The Banker's Heart" at 555 California. 76.500 votes
(Don't ask me how you can get .275 of a vote, but all I did was multiply the percentages against 1,275. The number of votes. And then copy/pasted the results.)
Via Flickr:
Québec libre ! is a concrete fountain sculpture by Quebecois artist Armand Vaillancourt, installed in the Embarcadero Center in 1971.
C'mon guys what gives? There's no need to be haters.
Tuesday, April 19, 2011
L'art pour briser l'indifférence in two minutes and fifteen seconds
Howdy!
I'm kinda annoyed at myself that I missed this exhibit. Especially the two paintings in the corner at the 0:21 mark.
I'm kinda annoyed at myself that I missed this exhibit. Especially the two paintings in the corner at the 0:21 mark.
The Window by Henri Matisse in two minutes and twenty seconds
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I hope in my heart of hearts that Detroit Institute of Arts Director Graham Beal can actually talk for more that 2:20 on The Window by Henri Matisse.
Heck, I could talk for more than 2:20 on The Window by Henri Matisse.
I hope in my heart of hearts that Detroit Institute of Arts Director Graham Beal can actually talk for more that 2:20 on The Window by Henri Matisse.
Heck, I could talk for more than 2:20 on The Window by Henri Matisse.
Follow up on Margareth Christopoulos and whatshisname.
Howdy!
Last month I posted about my favorite Quebecois art thieves. Well it appears that Jean-François Talbot, Sylvie Dubuc and Alain Dumouchel not only got theirman thieves, but they recovered the stolen art as well. Although in the interim it looks like Mzabab Bennani aged three years and became Aissam Freidji.
Congrats!
Last month I posted about my favorite Quebecois art thieves. Well it appears that Jean-François Talbot, Sylvie Dubuc and Alain Dumouchel not only got their
Congrats!
Monday, April 18, 2011
Papirmasse getting good press
Howdy!
Earlier this month Kirsten McCrea, the brains behind Papirmasse got a great writeup in Seven Days.
Earlier this month Kirsten McCrea, the brains behind Papirmasse got a great writeup in Seven Days.
Ummm, does Rishard Rhodes time travel?
Howdy!
I caught this fanboy piece on Dessin à dessein last Friday. But what really caught my eye was the opening line "Here’s the perfect complement to Papier 11, the not-to-be-missed works-on-paper fair happening in Montreal from April 14 to 17."
As you can tell from the URL (http://www.canadianart.ca/online/see-it/2011/04/14/dessin/ - thanks WordPress!) it was published on April 14. Which means he wrote that line before Papier11 happened. Hmmm. How do you know a show is "not-to-be-missed" if you haven't seen it? Or how did he see it before it happened? And while I'm at it he also he misspells the name of the fair as well, too.
I caught this fanboy piece on Dessin à dessein last Friday. But what really caught my eye was the opening line "Here’s the perfect complement to Papier 11, the not-to-be-missed works-on-paper fair happening in Montreal from April 14 to 17."
As you can tell from the URL (http://www.canadianart.ca/online/see-it/2011/04/14/dessin/ - thanks WordPress!) it was published on April 14. Which means he wrote that line before Papier11 happened. Hmmm. How do you know a show is "not-to-be-missed" if you haven't seen it? Or how did he see it before it happened? And while I'm at it he also he misspells the name of the fair as well, too.
Roald Nasgaard asks some questions
Howdy!
The dude who curated the exhibit The Automatiste Revolution: Montreal 1941–1960 two years ago writes a hefty essay in the most recent issue of Canadian Art magazine that wanders all over the place asking why Quebecois (and by extension Canadian) art gets such short shrift in every other country in the world except Canada.
Unfortunately he doesn't have any answers, and in certain places it sounds like he's complaining that his show didn't have a more significant impact.
The dude who curated the exhibit The Automatiste Revolution: Montreal 1941–1960 two years ago writes a hefty essay in the most recent issue of Canadian Art magazine that wanders all over the place asking why Quebecois (and by extension Canadian) art gets such short shrift in every other country in the world except Canada.
Unfortunately he doesn't have any answers, and in certain places it sounds like he's complaining that his show didn't have a more significant impact.
Friday, April 15, 2011
Old Personal Canadian Art Discovery
Howdy!
I think I've know about Gordon Young's work for something like seven or eight years. I even have one of his paintings. But I was really pleased (for a variety of reasons) to discover that that he is now represented by Galerie de Bellefeuille.
But if I was his dealer I'd strongly suggest adding a middle initial to his professional name.
I think I've know about Gordon Young's work for something like seven or eight years. I even have one of his paintings. But I was really pleased (for a variety of reasons) to discover that that he is now represented by Galerie de Bellefeuille.
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| Irresistible Treats, Oil on canvas, 18½ x 17" image courtesy Galerie de Bellefeuille |
But if I was his dealer I'd strongly suggest adding a middle initial to his professional name.
Gotta Like the Bureau d'art public Montréal
Howdy!
They seem to be getting their feet wet over at Facebook. Posting something once/day, and hey sometimes it's even interesting, kind of like this set of pictures from a Cooke-Sasseville studio visit.
They seem to be getting their feet wet over at Facebook. Posting something once/day, and hey sometimes it's even interesting, kind of like this set of pictures from a Cooke-Sasseville studio visit.
Thursday, April 14, 2011
So for how long will he be considered a "Montreal" artist?
Wednesday, April 13, 2011
Set aside an hour
Howdy!
Peter Schjeldahl, the New Yorker's Art Critic gave a talk at the School of Visual Arts sometime in the past. And it made it onto iTunesU.
Three words: He is awesome. Click here to download it and watch it.
Peter Schjeldahl, the New Yorker's Art Critic gave a talk at the School of Visual Arts sometime in the past. And it made it onto iTunesU.
Three words: He is awesome. Click here to download it and watch it.
New Personal Canadian Art Discovery - Walter J. Phillips rocks my world
Howdy!
Somewhere about two weeks ago I was in Ottawa, and I ended up at the other art gallery there - the Ottawa Art Gallery - not quite as well known as The National Gallery, but thankfully it doesn't have any insecurities.
While I was there I saw their exhibit Of Earth and Sky: Prairie Artists in the Firestone Collection of Canadian Art. And it was the first time in my life that I had ever seen any paintings by Walter J. Phillips (why do I always want to write J. Walter Phillips?)
I had only known him as the name behind some gallery out west, but it had never occurred to me to ask who was Phillip J. Walter. And boy do I feel stupid. After seeing his work, all I can say is I want more, more, more.
Thankfully Canadian Art magazine came through in a pinch.
Somewhere about two weeks ago I was in Ottawa, and I ended up at the other art gallery there - the Ottawa Art Gallery - not quite as well known as The National Gallery, but thankfully it doesn't have any insecurities.
While I was there I saw their exhibit Of Earth and Sky: Prairie Artists in the Firestone Collection of Canadian Art. And it was the first time in my life that I had ever seen any paintings by Walter J. Phillips (why do I always want to write J. Walter Phillips?)
I had only known him as the name behind some gallery out west, but it had never occurred to me to ask who was Phillip J. Walter. And boy do I feel stupid. After seeing his work, all I can say is I want more, more, more.
Thankfully Canadian Art magazine came through in a pinch.
Monday, April 11, 2011
Does this mean that Jaince Nadeau drinks while she draws?
Howdy!
Over at Drink n' Draw Montreal, they have a very nice bilingual interview with award winning chilren's illustrator Janice Nadeau.
Over at Drink n' Draw Montreal, they have a very nice bilingual interview with award winning chilren's illustrator Janice Nadeau.
Last Chance on Jacques Hurtubuise
Howdy!
In case you haven't heard, there's a tremendously spectacular and thoroughly amazing exhibit up at the Maison de la Culture Frontenac. It's called Entre la soie et l'encre, cinq décennies d'impression, and it features a bunch of prints by Jacques Hurtubise. [And don't even get me started on Jacques Hurtubise's wikipedia pages...]
The Maison de la Culture Frontenac is at 2550 Ontario E, and it is open from 13h to 19h on Tuesday, Wednesday and Thursday. 13h to 17h on Friday and Saturday. And this week is your last chance to see it. Run don't walk, ok?
In case you haven't heard, there's a tremendously spectacular and thoroughly amazing exhibit up at the Maison de la Culture Frontenac. It's called Entre la soie et l'encre, cinq décennies d'impression, and it features a bunch of prints by Jacques Hurtubise. [And don't even get me started on Jacques Hurtubise's wikipedia pages...]
The Maison de la Culture Frontenac is at 2550 Ontario E, and it is open from 13h to 19h on Tuesday, Wednesday and Thursday. 13h to 17h on Friday and Saturday. And this week is your last chance to see it. Run don't walk, ok?
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