ArtSeenEdmonton

To commemorate the last day of the Icons of Modernism show at the AGA, I wanted to talk about what it means to be an icon, the premise of this NGC-lent show. The show included works by Cezanne, Braque, Leger, Matisse, Picasso, Dali, Duchamp, and Mondrian-to name a few (most). Yet the works included were not the works these “iconic” artists are famous for, either being lesser-known works, or works in a style not generally associated with the artist (think Picasso Classical-style etchings). By bringing in these lesser-known works, the curator is explicitly confronting the word “icon”. Combining the well-known name with an unknown work brings about a moment of confusion - what about the work is iconic? The name associated with it? The style it is done in? Or is it only singular works that can be/ are iconic?  A second level of questioning that the exhibition brings up, and one that isn’t so apparent,  is who makes an icon? The show is built on the premise that these artists are in some way already considered iconic within the canon of art history. But who or what is the deciding factor of someone becoming iconic? The word icon assumes a long-lasting importance. Yet there are contemporary artists who some consider to be iconic in their time who end up being virtually forgotten in the future. An example I can think of is from a book I recently read, Ross King’s The Judgment of Paris. This book highlights the age before Impressionism largely through the work of the most important painter of the day, Ernest Meissonier. Meissonier was widely regarded as the most important painter of his time, yet now he his barely skimmed over in nineteenth-century art history. Other artists’ status seems to wax and wane through time, being of a different degree of importance to different generations of artist’s. A good example is Raphael, who has been regarded as both a Renaissance master and a sentimental professional. Are either of these artists iconic? Why or why not? Does the word “icon” have a fluidity to it, can it change through time? Who decides when and where someone is important enough to be considered iconic? This show looked at artists who worked less than a hundred years ago. Has enough time passed for them to truly considered iconic? Their influence on modern and contemporary art is easily traced, but what of their influence on art 400 years from now? When does their past importance become unimportant in the future? I raised a lot more questions in this post than I maybe meant to, but I really don’t have all the answers. Or any at all. But hopefully this will make you think about the idea of “icon” a little bit more, instead of taking art exhibits at face value. Because even if a show doesn’t explicitly address the idea of “icon” like Icons of Modernism does, someone is making decisions about the importance of artists and works by putting them on display. 

Today at 2:30 I’m giving a tour of the China’s Imperial Modern: The Painter’s Craft exhibit at Gallery A, Telus Centre,  University of Alberta. Don’t miss it!  (But if you do, because this is totally last minute, I’m giving two more tours on June 2 and 9. Other student co-curators will be giving tours every Saturday at 2:30 until July 14)

Art can be political. Obviously. But sometimes we (well, I am really only speaking for myself) don’t realize the effect our government has on art and culture in our city, province, and country. Yes, this is another blog post about the current election going on inAlberta. But I am not here to bash one political party and throw my support outlandishly towards another. I just want to iterate how politics does effect how you live your life, no matter what industry you are in. Previous to this election, I wasn’t overtly interested in politics. I admittedly voted for the political party I did because everyone else seemed to be. Since I started my career in the arts and culture industry inAlberta, I have taken a little more notice of what is going on in the province. I can’t say this is specifically because of a certain job that I have, but many factors including becoming a homeowner and an interest in local media. All I am here to do is to encourage people to become educated voters. This means taking the time to read each party’s platform, reading about your candidate specifically, and keeping track of campaign news. For those of us who are working in the arts and culture industry, and for people who support a burgeoning arts and culture community, this is extremely important.Albertais historically politically conservative, anybody can tell you that. This means there has been less of a focus on the growth of arts and culture inAlbertaby the governing body. For the arts and culture to flourish, government support is crucial. Most of our major art and culture institutions inAlbertaare non-profits that depend on government grants to operate. What I am asking for you to do, especially if you care about the continuance and growth of a vibrant arts and culture industry inAlberta, is to educate yourself on what each party’s platform is in regards to the importance of art and cultural support by the provincial government. There is going to be an Arts Forum held in the Jefferson Room at the Prince of Wales Armoury tomorrow night at 7:30, sponsored by the Professional Artist’s Coalition of Edmonton. Each party is sending a candidate to talk about and defend their party’s arts platform. Following is the link to the P.A.C.E. website, which has directions to the Armoury, as well as links to each party’s platform. Please Vote! Arts Forum - http://www.pacedmonton.com/ AlbertaParty - https://d3n8a8pro7vhmx.cloudfront.net/albertaparty/pages/287/attachments/original/1332790825/Alberta_Party-Platform-Election_2012.pdf?1332790825 Liberal - http://www.albertaliberal.com/files/Yes%20-%202012%20Election%20Platform.pdf PC - http://www.albertaliberal.com/files/Yes%20-%202012%20Election%20Platform.pdf NDP - http://www.albertaliberal.com/files/Yes%20-%202012%20Election%20Platform.pdf Wildrose - http://www.wildrose.ca/policy/policy-green-book/