Takashi Murakami: The Octopus Eats Its Own Leg

Takashi Murakami:  The Octopus Eats Its Own Leg

Vancouver Art Gallery (VAG) until May 6, 2018

Vancouver Art Gallery – a gallery view.

What’s not to like about the Takashi Murakami exhibition now showing at the Vancouver Art Gallery:  explosions of colour, images that puzzle and engage and the sheer exuberance of some of the works.  I came to the show as a fan having previously attended a retrospective at the Brooklyn Museum in 2008.

In the intervening years I have learned just how complex the context for Murakami’s practice is.  A first-time viewer may be confused as to whether or not one is admiring the work of a thoughtful artist, a successful production manager, a showman or a businessman.  In fact all of these roles are in play when you consider the following key elements that impact Murakami’s work:

  • his traditional, formal Japanese art education (a PhD from the Tokyo National University of Fine Arts and Music)
  • his concern about Japan’s loss of its core cultural values post World War II
  • the historically close association of commercialism and contemporary art as major department stores in Japan (early 1900s until early 2000s) housed art museums and thus provided public access to contemporary art
  • his financially rewarding association with the luxury Louis Vuitton brand between 2002 and 2007
  • the pop culture of Japan that includes animation (“anime”), comic books (“manga”) and science fiction with Japanese folklore ever present (magical monsters and spirits).

Kaikai Kiki Company Ltd. – studio view

Murakami’s approach to the creation and production of his ideas does not take a back seat to those of the late Andy Warhol nor Damien Hirst, to name a few.  Warhol’s studio was referred to as “the factory” where he engaged any number of artists to produce his ideas.  For his part, Murakami has created “Kaikai Kiki Company Ltd” with over 100 people in offices and studios in Japan and New York.  Murakami describes himself as a conceptual artist – collaborating with a large and sophisticated crew of artists and technicians.  He is very up front regarding the collaborative nature of his works and, unlike Warhol and Hirst, he recognizes and identifies members of his team and has them sign their names to the works.  Like Warhol and Hirst he has a larger-than-life presence.

In response to what Murakami saw as Japan mindlessly mirroring Western culture, he developed an artistic style of expression he labeled Superflat.  Beginning in the late 80s, he began adopting and expanding anime and manga styles in the context of the no-holds-barred approach of the evolving contemporary art scene in the U.S.  Superflat artists, in mocking Japan’s addiction to consumerism, sought to have the country regain its individuality.  One of Murakami’s iconic Superflat images is Flower (Superflat), 2003, whereby he warns that Japan is becoming just like other nations – an identical flower in a bouquet, losing her individuality.

Flower (Superflat), 2003

Another of Murakami’s iconic Superflat images is his psychedelic, multi-faceted alter ego, Mr. DOB, a signature animated figure that continues to morph into various guises in his work since first introduced in 1993.  Mr. DOB is a multi-dimensional and multi-functional figure.  The “D” and “B” become its ears and the “O” becomes its nose and mouth.  The sculptural version shown below was created in 1999 and the character assumes a prominent role in the large-scale animated piece Tan Tan Bo Puking – a.k.a. Gero Tan, 2002.

DOB in the Strange Forest (Blue DOB), 1999

Tan Tan Bo Puking – a.k.a. Gero Tan, 2002

It has taken me some time to piece together all that is happening in the explosion of images and colours in his work.  Having a second chance to see another exhibition of his work at the VAG was like reconnecting with an old friend.

Multiple Mr. DOBs

When you take time to move past the detail, the craftsmanship, the actions portrayed and the vibrant colour palette, there are works that speak to broader contemporary issues while still drawing on the past.  A major shift occurred in Murakami’s approach when he undertook a vast conceptual project – a 24-paneled, 100-metre long painting, 500 Arhats (2013) – to pay homage to those who perished in Japan’s tragic earthquake, tsunami and related nuclear disaster at Fukushima on March 11, 2011.

In this initial work he portrays 500 wizened and grotesque arhats, Buddhist religious figures who normally ”…stay in the mountains, practicing religious austerities, only appearing after a fire, tsunami, earthquake, or some other disaster has occurred, as a kind of a rescue team”.

In the VAG exhibition you are able to get a sense of the workmanship, the magnitude and the emotional power of the larger work by experiencing the 10-panel 100 Arhats (2013) which is on display and was also inspired by the 2011 Fukushima disaster.  As a viewer, one is taken aback by the sheer scale of the work as well as drawn in to the myriad details of each panel.

100 Arhats (2013)

Overall, the wow factor of all of the works on display is tremendous and the exhibition is bound to create even more fans of the over-the-top, highly marketable, brilliant superstar that is Takashi Murakami.


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rRemai mModern: Saskatoon, Saskatchewan

rRemai mModern: Saskatoon, Saskatchewan

The new Remai Modern art museum is an impressive architectural statement on the banks of the South Saskatchewan River in Saskatoon (population slightly less than 300,000). This new addition to Canada’s cultural scene signals a bold adventure for the arts community in the city and the province.  Full disclosure – I was born and raised in Saskatoon and our family home was situated just across the river from where the new gallery is located.

What is remarkable is that this small prairie city has been blessed with extremely civic minded and generous benefactors who have contributed significant financial resources and important works of art for the benefit of the citizens of Saskatoon. In the 1960s it was Fred Mendel whose financial support and gifts of unique art works led to the creation of the Mendel Art Gallery.  During its 51 years of existence the gallery built a permanent collection of more than 7,500 works of local, regional and national significance.

The new arts champion for the city is Ellen Remai who has already invested $53 million in the new gallery’s construction, new art works and programming, and has committed $50 million more over the next 25 years.

The stunning 130,000-square-foot building with it’s spacious exhibition galleries, a theatre, a restaurant and a glass-walled function area overlooking the river and the city will be a real asset to the cultural and social life of Saskatoon.

Four Times Sol LeWitt Upside Down, Version Point to Point – Haegue Yang

Many people in Saskatoon and further afield are well aware of the Remai Modern’s nine year-long birthing pains. The transition from the legacy of Fred Mendel to a new patron and a new building has been emotionally charged and, at times, both contentious and acrimonious. Many of the articles written about the opening of the museum (October 21, 2017) and the inaugural exhibition (field guide) tended to concentrate on this dynamic and were quick to point out perceived shortcomings in either the programming and/or presentation of this first exhibition.  My advice is for everyone to take a deep breath, remember the past with fondness, enjoy what has been created and look forward to the potential the gallery has to offer.

I was pleased to see references to the Mendel legacy in this inaugural exhibition.  The curators have set aside prime gallery space to showcase his original contribution to the Mendel Art Gallery in 1965 of 13 works by the Group of Seven and other Canadian artists. The Perehudoff murals that Mendel had commissioned in 1953 for the walls of the reception room at his meat packing plant and that were saved from the wrecking ball in 2009 are on view as well.

William Perehudoff’s Intercontinental Packers Reception Room Mural

In case it hasn’t come across clear enough – I loved the gallery.  I particularly liked the Tanya Lukin Linklater and Duane Linklater installation – a curated collection of work by Indigenous and Metis artists that greets visitors in the museum’s first gallery.

Determined by the River – Tanya Lukin Linkletter and Duane Linkletter

I also enjoyed seeing the work of Canadian and international artists familiar to me, for example, William Perehudolff, Eli Bornstein, Ian Wallace and Pierre Huyghe and was introduced to several more, including Alexine McLeod, Haegue Yang and Wallid Raad.

Quadraplane Structurist Relief No. 15 – Eli Bornstein

At the Crosswalk 1X, 2011 – Ian Wallace

4′ 33″ – Pierre Huyghe

Composition with Projection XXI – Alexine McLeod

Letters to the Reader, 2014 – Wallid Raad

This first exhibition is an eclectic mix of artists and media and makes for an engaging visit. I recommend the experience to everyone.




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GORDON SMITH: A Canadian Treasure

GORDON SMITH: A Canadian Treasure

Gordon Smith in his studio – photograph by Ward Pervin, Vancouver Sun

As Canadians reflect on our country’s 150-year anniversary, citing people and places that make us special, I decided that my contribution to the exercise would focus on a Canadian treasure – Gordon Smith. Not only is he an internationally recognised artist but he is also a life-long educator and a kind and generous man. The list of his awards and public honours is lengthy beginning with First Prize, Biennial of Canadian Art, 1955, including his appointment in 1996 to the Order of Canada, several honorary doctorates, and, most recently, the 2016 Vancouver Mayor’s Arts Award for Lifetime Achievement.

My enthusiasm for all things Gordon Smith was evident in an earlier article I wrote (https://artappreciation101.wordpress.com/2012/12) and that enthusiasm was most recently rekindled at the end of last month during a family visit with Gordon at his home. The highlight was viewing with him one of his diaries that was full of copious notations, sketches and photographs. There were observations of places visited, details about paintings he admired, photographs of people and places important to him and a wonderful photograph taken with his late wife Marion upon his return from the war.

Gordon Smith showing us one of his diaries, March 25, 2017

Book of memories – Gordon and Marion

We also had the opportunity to see first hand what new direction his creative muse has been taking him in – imagine, at 97 years he paints almost daily. New works that we saw in his studio are reproduced below.

Gordon Smith – new works March 25, 2017

Gordon Smith – work in progress March 25, 2017

Following our visit we set out on a tour to discover some of Smith’s projects which bear witness to his generosity to the communities of West and North Vancouver. First stop was the West Vancouver Community Centre where Gordon has contributed to the Centre’s public art program with two creations. One can be found in the atrium of the Centre – a massive 12-by 20-foot assemblage made from found driftwood and other objects that he and an assistant gathered from beaches in and around West Vancouver. Entitled Beach Tangle 2009 it is a striking work that brings the surrounding nature into the building.

Gordon Smith – Beach Tangle 2009

Next stop was the West Vancouver Museum to enjoy the Ann Kipling exhibition Drawing the Line, and to see some of Kipling’s works that Gordon donated to that gallery two years ago as part of a major donation of 50 works of other artists from his personal collection.

For me the highlight of our tour was North Vancouver’s Gordon Smith Gallery of Canadian Art cited as “the first gallery in the country dedicated to young audiences”. This gallery opened in 2012 and is housed in a North Vancouver School District building. It is the home of the Artists for Kids teaching collection consisting of some 500 works from major Canadian artists collected over the past 20 years.

Gordon Smith Gallery of Canadian Art – main gallery.

Gordon Smith was one of the founding patrons and is credited with successfully encouraging many of Canada’s leading artists to donate works to the collection and to be involved with their hands-on artist and teacher-led programs.

Douglas Coupland, Planet #1-6, 2002 – Gordon Smith’s paint pots as photographed by Douglas Coupland.

The Gordon and Marion Smith Foundation For Young Artists, established in 2002, is a charitable organization raising funds to support the Artists for Kids Program (enquiries can be made to: admin@smithfoundation.ca).

Gordon’s work, Reflections, 2014, was selected for inclusion in the new collection at Canada House in London, England, where he was invited to be part of the official opening ceremonies and to meet the Queen in late February, 2015. Canada House boasts one of the largest Canadian art collections outside the country. Reflections, 2014, has pride of place in the Cockspur Street lobby of the Queen Elizabeth Atrium.

Reflections, 2014 – The Queen and Gordon Smith at Canada House, London.

For those of you who wish to learn more about Gordon Smith’s art I strongly recommend Gordon Smith: Don’t Look Back, Black Dog Publishing, 2014. In my judgment, this is the definitive book on the life and work of this wonderful Canadian. This thoughtfully researched record of his life with exceptional reproductions of his paintings was made possible through the dedication of Gordon’s long-time friend and dealer, Andy Sylvester, owner of Equinox Gallery in Vancouver.





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VANCOUVER SPECIAL: Ambivalent Pleasures


VANCOUVER SPECIAL: Ambivalent Pleasures

WOW – talk about a full house! There are presently five exhibitions at the Vancouver Art Gallery (VAG) that I highly recommend. All of the exhibitions are unique in their own right but taken as a whole demonstrate why the VAG has one of the most imaginative and original exhibition programs in Canada. The feature attraction, VANCOUVER SPECIAL: Ambivalent Pleasures (open until April 17, 2017), is a perfect example of the leadership role the VAG plays in showcasing Vancouver artists. Ambivalent Pleasures, which includes the work of 40 artists, represents the first of many more triennials committed to sampling contemporary art produced in Vancouver.

Co-curators, Daina Augaitis (VAG’s chief curator/associate director) and Jesse McKee (head of strategy at 221A artist run centre) have created an opportunity for the merely curious to the academically inclined to reflect on recent creative directions under three broad filters: surrealism, abstraction and conceptualism.  In the catalogue’s opening article, Augaitis notes that “Many of the artists have an interest in exploring the aesthetics of the 1980s and reconsidering materials and processes that were once deemed craft” (Full disclosure: Daina Augaitis is my sister-in-law).

Tamara Henderson, “The Scarecrow’s Holiday, 2015” – textile, wood, glass, sand, pigment

Augaitis in her introduction explains what she and McKee sought to achieve: not a top-ten list but a representative overview of emerging trends and talents since Vancouver 2010 – the last time a major survey of Vancouver contemporary art was mounted at the gallery. To set the scene, she explains some of the challenges Vancouver artists are facing, the most daunting of which is the prohibitive cost of studio space and the resulting pressures to relocate out of the city core and in some cases to leave the city entirely. She further notes that artists are using an array of evocative materials in innovative ways and any material is fair game for creative expression. Many of the new crop of artists are actively engaged in interpreting historical knowledge as well as diving into current social and political issues. The co-curators also noted that a sense of humour and giving in to a desire to entertain haven’t been lost and that the spirit of collaboration and collegiality is alive and well.

Walter Scott, “Octavia & Lick, 2016” – acrylic and coloured pencil on paper

There are several pieces in the show where the materials and formal compositions are very strikingly and imaginatively presented in a manner that surprises and holds your attention. Examples include creations by Rebecca Brewer (wool, felt, metal) and Mark Delong (cotton thread on cardboard).

Rebecca Brewer, “Bellmer, 2016” – wool, felt, metal

Mark Delong, “Possible Reflections, 2016” – cotton thread on cardboard

Charlene Vickers is an Anishinaabe interdisciplinary artist who explores her Ojibway ancestry through her art. She has been quoted as saying that her work “…concerns memory and expression of Aboriginal identity where materials carry social and cultural significance”. There is a series of her watercolours in the exhibition that takes as its reference the porcupine quill motifs used in the historical ceremonies of the Anishinaabe – refer to images below.

Charlene Vickers, “Accumulation of Moments Spent Underwater with the Sun and Moon, 2015-16” – watercolour, gouache, pencil crayon on paper

Charlene Vickers, “Accumulation of Moments…” – detail

What I appreciate about Vickers’s work and other Aboriginal artists in the exhibition is how they address, through their art practice, the unique challenges of working through the disconnect between their history and how that history has been traditionally portrayed and their desire to adapt historical knowledge to today’s context.

With the intergenerational mix of artists presenting truly engaging artworks in VANCOUVER SPECIAL: Ambivalent Pleasures, I am convinced that Vancouver artists will not be giving up their mantle as world leaders in the contemporary art scene anytime soon.

Other current exhibitions at the VAG that I urge you to see: 

WE COME TO WITNESS: Sonny Assu in Dialogue With Emily Carr – Assu, who is of Ligwilda’xw Kwakwaka’wakw descent, stated in an interview: “I wanted to reassert an Indigenous presence on these iconoc Canadian landscapes as a way of saying: ‘We are still here’.” – ends April 23, 2017.

 SUSAN POINT: Spindle Whorl – first comprehensive exhibition by a Coast Salish artist to be presented at the VAG – ends May 28, 2017.

PACIFIC CROSSING: Hong Kong Artists in Vancouver reviews the work of four artists (David Lam, Koo Mei, Paul Chui and Josh Hon) who immigrated to Vancouver just prior to the Hong Kong handover in 1997 – ends May 28, 2017.

Howie Tsui: Retainers of Anarchy – a hand-drawn multi-media presentation exploring Asian history and pop culture using fantasy adventures of supernatural martial artists – ends May 28, 2017. The exhibition will travel to the Ottawa Art Gallery, May to September 2018.




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Jonas Stonkus: Sculpture

Jonas Stonkus: Sculptor

Sitting at our kitchen table looking out on the back yard on a cold, bright, sunny winter day made me think of our friend Jonas Stonkus and the landscape that he would be viewing from his windows.  Jonas has fashioned an idyllic artistic environment on a three-and-one-half acre property partitioned off from his family’s original tobacco farm in the 1980s.  Stonkus is a sculptor and land artist who has created a mini-Eden in the Carolinian microclimate near Langton, Ontario. He has integrated his metal and glass sculptures with the trees, shrubs, grasses and herbaceous plants, unique to this ecosystem, that he nurtured from small seedlings collected from various North American sites.

An Ontario College of Art graduate, he pursued his early interest in art by working with glass under an apprenticeship in Dublin, Ireland.  His interests soon expanded to working with many different materials: glass, wood, metals (copper, lead), found and repurposed materials (electrical power cables, cement).  He has been quoted as saying that he “…subscribes to the philosophy that any material can be used for art.”

His family’s and his own close association with the land are reflected in his art and the home, studio and galleries he has fashioned from the original buildings on his property. A farmhouse has been renovated to meet his personal needs and to display his own work and those of his friends; a barn has been converted into his studio; a machine shed re-purposed as a gallery; and a tobacco greenhouse converted into a stunning, open-air gallery.


Jonas and my wife’s families have been life-long friends so I have had the pleasure of knowing the artist, enjoying his company over the past 40 years and learning to appreciate the imagination, passion and skill he brings to all of his creations. The tactile element of the materials used (wood, glass, metal), the environment in which he situates the pieces (indoor, outdoor), and the presentation (free-standing, hanging) all contribute to his unique artistic vision.  A gentle person of contagious charm he lives a life that draws beauty from the land and the materials associated with its taming.

A conversation with Jonas is always engaging and an eclectic variety of topics soon emerge ranging from Lithuanian history and culture, Western art history, horticulture, landscape design, politics and any number of practical topics regarding maintaining a rural property. I have enjoyed these discussions which have deepened my understanding of the context of his art.  I particularly enjoy the final result, the material used, how it has been manipulated, and paying attention to recurring techniques in the construction of artworks through the different styles he has adopted over time.

We have several of Jonas’ works spanning his career – a rubbing from the 1970s, recycled tobacco kiln wood/binder twine sculptures, an ink line drawing from his travels to Greece (1974), a large outdoor sculpture in our garden also from the 1970s, and glass and metal wall hangings from recent decades. Even after many years a work will surprise and delight me when I take a moment to look at it anew.

Each fall the arts community of Norfolk County sponsors an open studio tour (Norfolk Studio Tour: http://www.norfolktourism.ca) which includes Jonas’ oasis, thus providing an occasion for the public to witness the continuing evolution of his art practice.

To conclude in Jonas’ own words from his Glenhyrst Art Gallery of Brant exhibition: “One of my goals is to explore non-objectivity.  My preferred materials include glass, wood, metals and findings from the past.  Fundamental to my work, and the spirit of creation itself is an economy of materials and integrity of intention.”

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Ciara Phillips: Now For Something Completely Different – “Dazzle” a Ship


Ciara Phillips: Now for Something Completely Different – “Dazzle” a Ship


When I wrote previously about my cousin, Ciara Phillips, she had been nominated for the prestigious Turner Prize in 2014 (https://artappreciation101.wordpress.com/2014/10/22/Ciara-Phillips-2014-turner-prize-nominee/).  Since that time she has not been idle, continuing her print-making practice through the artist collective that she founded, Poster Club, taking her ongoing project Workshop (2010 -) on the road to a number of countries and holding solo exhibitions in Stockholm, London, and Norway.

And now for something completely different, Ciara has been commissioned by the Edinburgh Art Festival to “dazzle” a ship.  The work will be part of the 2016 arts festival program designed to commemorate the centenary of the First World War.

For the curious, “Dazzle Ships” refers to a practice begun in 1917 where camouflage paint was used to cover ships in various geometric patterns in order to make it difficult for enemy gunners to estimate a ship’s size, speed and the direction it was travelling.

S.S. Albway, 1918

S.S. Albway, 1918

HMS Kildangan, 1918

HMS Kildangan, 1918


Ciara has brought her considerable artistic skills and imagination to the task of creating a dazzle design for a former lighthouse boat, the MV Fingal, that ferried supplies to Scotland’s remote lighthouses, and is now berthed at the Prince of Wales Dock in the port of Leith, Scotland.  The dazzled ship will be launched on June 2, 2016, to mark the centenary of the Battle of Jutland.

MV Fingal

MV Fingal

Ciara has renamed the ship “Every Woman” as a salute to the contributions women made during the First World War especially in the Signals Corps as telegraph operators.  Using reflective paint Ciara and her crew have included within the design pattern the message “Every Woman a Signal Tower”.

Ciara and Every Woman - photo by Ross Fraser McLean

Ciara and Every Woman – photo by Ross Fraser McLean

Every Woman - photo by Ross Fraser McLean

Every Woman – photo by Ross Fraser McLean

Every Woman


A few weeks ago, we visited Ciara at her exhibition and print making studio, Cold Friends, Warm Cash, at the Western Front in Vancouver. Her month-long residency at the Front was unique for the artist in that Ciara was working exclusively with children (age 6 – 10 years of age) introducing them to screen print techniques in the creation of posters, banners and printed fabrics.  In an interview with the magazine Canadian Art, Ciara said this about her experience: “…kids are extremely imaginative and extremely uninhibited in terms of expressing what they want… That’s different – very different – than working with adults.”

Cold Friends, Warm Cash - Western Front, Vancouver, British Columbia

Cold Friends, Warm Cash – Western Front, Vancouver, British Columbia





Project Exhibition

Project Exhibition

Ciara is a very talented artist who seems to thrive on new challenges and continues to find new ways to express her creative energy.


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Audain Art Museum: Whistler, British Columbia

Audain Art Museum: Whistler, British Columbia

The Dance Scree (The Scream Too), 2010-2013), James Hart

The Dance Scree (The Scream Too), 2010-2013), James Hart

Now, when you go to Whistler, in addition to the beauty of the great outdoors you can enjoy a museum that highlights the art of British Columbia. The Audain Art Museum, which opened in March of this year, is unique in its aim is to showcase artists from B.C. The province’s A-list is well represented as drawn from the personal collection of Michael Audain and his wife Yoshiko Karasawa.

The museum building, designed by architects John and Patricia Patkau, is unobtrusively nestled in downtown Whistler in a setting of fir, cedar and spruce trees with a mountain backdrop. It is a quietly stunning building that frames a spacious exhibition space. Its pitched roof is practical (to handle mountain snow falls) and helps the building to blend into the trees surrounding it.

Museum entrance

Museum entrance

In the museum’s permanent space, B.C. art from the past two hundred years is on display: historical and current First Nation masks; Haida master carvers James Hart and Robert Davidson; works by Emily Carr, E. J. Hughes, Jack Shadbolt, Gordon Smith; and those by the “younger generation” (Sonny Assu, Stan Douglas, Dana Claxton, Brian Jungen, Marianne Nicolson, Ian Wallace); and the list goes on.

It is fitting that the first gallery you enter is dedicated to the rich artistic legacy of B.C.’s First Nations. Rare masks from the 12 First Nations are displayed on the walls and a more contemporary reminder of the skill of First Nation artists is the awe-inspiring cedar dance screen carved by James Hart.

Several works by Emily Carr serve as a bridge between the first gallery’s historic and ceremonial creations and the more recent works in the galleries that follow.

Memkish, 1912, Emily Carr

Memkish, 1912, Emily Carr

On display are the colourful coastal depictions by E.J. Hughes, the unique surrealism of Jack Shadbolt, the abstract expressionism of Gordon Smith, and impressive selections of Vancouver’s internationally famous photo conceptualists, as well as recent art by contemporary First Nation artists such as Dana Claxton.

Departure from Nanaimo, 1964, E. J. Hughes

Departure from Nanaimo, 1964, E. J. Hughes

Butterfly Transformation Theme, 1981, Jack Shadbolt

Butterfly Transformation Theme, 1981, Jack Shadbolt

Winterscape, 1991, Gordon Smith

Winterscape, 1991, Gordon Smith

Paint Up #1, 2010, Dana Claxton

Paint Up #1, 2010, Dana Claxton

When we visited last month, the temporary exhibition featured Mexican Modernists including works by Diego Rivera, David Alfaro Siqueiros, Jose Clemente Orozco and Rufino Tamayo.

Maternidad - Diego Rivera

Maternidad – Diego Rivera

As a long-time admirer of the Mexican Muralists, and “Los Tres Grandes” (The Big Three – Rivera, Orozco, Siqueiros) in particular, I was disappointed in the way the exhibition was mounted. With the technological advances available to curators today, especially image projection, it is regrettable that an effort was not made to link the individual paintings on display with the artists’ much more culturally and historically significant works – their murals. Spreading so few paintings over several nearly empty galleries didn’t help either.

The Audain Art Museum is part of a growing trend of wealthy art collectors opting to build their own museums in order to display their personal collections. Granted this seems to be a more prevalent practice in the USA and Europe than in Canada but such developments must have a significant impact on the collections and fundraising strategies of public institutions.

Other than my annoyance at how the temporary exhibition was presented I enjoyed the visit to the museum. The Audain collection of British Columbian artists is remarkable in its eclectic range and the quality of the works on display. The building is both attractive and functional. The combination of the art on display, the building and the natural beauty of Whistler makes the drive from Vancouver worth the effort.

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