Lately and to come ...
Remember what I was saying not so long ago about getting to it when I get to it? Well, here I am, apologizing again, but, as they say, it is what it is, so I'll leave it at that.
Some things I've been up to lately, in no particular order:
The press preview for the AGO's Julian Schnabel show, Art and Film, was Thursday, and I was given some time with the great man, which resulted in this hastily-cobbled interview, in the paper Friday. As it turned out, I dropped in on Julian -- who's actually a pretty mellow dude, all things considered; we had pizza and hung out -- in the midst of the installation, which he took an active part in, jumping on cranes and steadying enormously heavy sculptures (his) with his bare hands.
Anyway, likeable or not, that leaves the work itself to talk about, which I'll be doing in print Thursday; it seems vaguely futile -- what's left to say about Julian Schnabel, artist? -- but also necessary, in the sense that he's taking up a whole floor of our city's scant contemporary art space, and why, exactly, is that?
Meanwhile, Sunday I wrote about Joanne Tod's compelling installation, "Oh Canada -- A Lament," (above) and its odd placement at the way-off-the-art-world-map Canadian Warplane Heritage Museum. Less a hot political potato than a question of art world snobbery for the overly literal, methinks -- the project is the embodiment of Tod's commitment to paint the portrait of each and every soldier who dies in Afghanistan; current body count, as of yesterday, 152 -- the piece is nonetheless a quietly complex meditation on the nature of such quagmires, and their human cost. Maybe it's just me. What do you think -- should "A Lament" make its way to a major art institution, or is its home among the military?
Anyways, onward. Busy times coming up. Stay tuned.