Category Archives: Vancouver Island School of Art

Honouring Arts Advocate Dr. Shirley Thomson

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The headline Donor supports Venice Biennale’s Canada Pavillon caught my eye.  I’m fond of Venice  – one big art gallery, really! – and visited the Architecture Biennale in 2016.  (You can read a short post about my Biennale adventures here, and a brief description about the Canadian exhibition here.)

Venice Biennale site, image by T. Vatrt

Venice Biennale site, image by T. Vatrt

What is interesting about the $3 million donation to maintain the Canadian Pavillon at the Venice Biennale site is that the donor remains anonymous.   Instead, the patron wishes to honour a former director of the National Gallery of Canada, Dr. Shirley Thomson (1930-2010.)  Barbara Stead- Coyle (National Gallery of Canada Foundation) reports The donor wanted the focus to be on Dr. Thomson and Dr. Thomson’s time at the gallery.  

Among her many achievements, Dr. Thomson was the director of the National Gallery of Canada when it moved from an office building to its current (and stunning) purpose-built location along the Ottawa River.

Maman, Louise Bourgeois, 1999 National Gallery of Canada image

Maman, Louise Bourgeois, 1999 National Gallery of Canada image

National Gallery of Canada, T. Vatrt image

During her 1987-1997 tenure at the National Gallery, Dr. Thomson diversified the permanent collection, acquiring contemporary art, as well as important historical works.  Under her direction, the gallery purchased  Barnett Newman’s Voice of Fire (1967) in 1989 for $1.8 million.  It proved to be a highly controversial topic in Canada, outraging Conservative politicians, and sparking discussions amongst Canadians. How wonderful to have citizens talking about art!

Here’s a concise video by  National Gallery curator Annabelle Kienle Ponka  explaining the significance of this painting.

Voice of Fire, Barnett Newman, Winnipeg Free Press image

In addition to her degrees in fine art and history, Dr. Shirley Thomson received an honorary degree from Université Concordia in 2001.  This citation outlines some of her many accomplishments throughout her career, as well as at the National Gallery.  Besides diversifying the permanent collection with savvy purchases (imagine what Voice of Fire is worth today) she valued education and accesibility for all:  she initiated an internship program for university students, and began the Cybermuse program, which ensured the collection’s online availability.  In honour of the donation, the Abstract Expressionist space is now The Dr. Shirley L. Thomson Gallery.

Isn’t it refreshing to have an arts advocate honoured, instead of the usual Mr. and Mrs. Millionaire/Billionaire Memorial Gallery?  For a bit of insight into Dr. Thomson’s leadership style and personality, this interview with Rob Labossiere provides some insight into this remarkable woman.  Our thanks to the generous donor for maintaining the Canadian Pavillon at the Venice Biennale and for bringing Dr. Shirley Thomson to our attention.

Dr. Shirley Thomson, Ottawa Citizen image

Dr. Shirley Thomson, Ottawa Citizen image

 

Here’s an interesting idea….or two…..

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….courtesy of John Luna, who is giving a series of three lectures this month at the Vancouver Island School of Art.  (John reminds me of the writer, Adam Gopnik.  He has an encyclopedic knowledge of art, history, philosophy, literature….His lectures are dense, entertaining and fast-moving. I certainly didn’t understand all the references, but I enjoyed the experience!  The lecture was entitled “Empty glances: photography, painting, witness and imagination.”)

The first idea is pretty obvious, once you think about it….but it hadn’t ever occurred to me before. All of those still life paintings, and domestic scenes in Dutch painting of the 17th century are a direct result of the Protestant Reformation.  The Biblical scenes and the saints were left to the Catholics.  The Protestants, and the humanists, had to find new material.

The Putnam Foundation

Still Life by Pieter Claesz

The second idea came from a viewing of Vermeer’s painting Woman with a Pearl Necklace. ( I wasn’t familiar with this painting, and immediately thought of Girl with a Pearl Earring.)

Vermeer Woman with a Pearl Necklace

John pointed out that Siri Hustvedt, in Mysteries of the Rectangle, hypothesizes that this is a coded Annunciation painting.  I find that a fascinating idea.

As with all of Vermeer’s painting (all being a mere 36 in known existence) light, perspective, shadow, framing and editing are paramount.  The first time Ms Hustvedt saw this painting, she spent four hours looking at it.  It’s a hint, perhaps,  of what we might see if we gave artworks more time and attention.

 

 

Paradise Lost

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Paradise Lost at Slide Room Gallery

Paradise Lost at Slide Room Gallery

 

I was very happy that I stopped by the Vancouver Island School of Art a couple of weeks ago to see the art installation, Paradise Lost, by Xane St. Philip.

Xane’s installation completely transformed the gallery.  (If you haven’t been there, imagine an old school –and I do mean old school— building’s basement, dark and dingy, albeit with a few windows and doors….not the most aesthetically pleasing, or comfortable space.)

The space itself became a work of art.  Xane gave an artist’s talk, and explained some of the features of Paradise Lost.  He talked about colour theory, as espoused by Josef Albers.  He touched on the components of a classical garden, and he elicited participants’ responses to the title of the installation, Paradise Lost.

Just as the beauty of a garden is transitory, Paradise Lost has come and gone from the Slide Room Gallery at VISA.  I look forward to the catalogue, and I’ll never again look at that gallery space in quite the same way.

Paradise Lost at Slide Room Gallery
Paradise Lost at Slide Room Gallery
Paper cuts by Sarah Cowan for Paradise Lost
Paradise Lost at Slide Room Gallery
Paradise Lost at Slide Room Gallery
Paradise Lost at Slide Room Gallery