Page 89 - The Venice Biennale 2001 issue of World of Art Magazine

RevieW Of exhibiTiOns

during his extensive sojourn in every part of commerce, and subliminal messages that cater
canada, John doyle integrated photographic to the consumer-driven masses.
records and subjective recollections to create Taking bits of tape, found texts, and other
his works of art. This is the artist’s second components, Butler rephotographs the
solo exhibition. “advertisements” in order to, “bring them
There is nothing quite as inspirational as the back to their seductive and easily consumed
serenity of the mountain. In Silcote corners, medium of glossy photography.”
MoUrnfUl rETUrn HorSE And rIdEr georgian Bay, doyle formulates a demonstrative Within the same breath, Paul Butler suggests,
16 x 19 cM 15 x 18 x 7 cM setting in which the spectator experiences “viewers can’t appreciate art unless it’s
cErAMIc/ 2001 cErAMIc /2001
the moisture laden and refreshing climate. spoon fed to them in the same form as
MINDSCAPES clouds drifting below jagged peaks and mass media. All I can say in response is:
seLmA mccORmAck verdant wilderness impart a soothing effect This is intentional.”
kennys gALLeRy upon the soul.
gALWAy iReLAnD A genesis of brilliant colour, orange Tree, Mill
Artist Selma Mccormack utilizes her eminent, Park Pond is a clever stratospheric and swirling MAGNUM
articulate representational style as a conduit visual effects that can barely be imagined by an OuR TuRning WORLD
for delving into the formal relationships of individual not familiar with this part of the country, LOuisiAnA museum Of mODeRn ART
colour, texture, shape, and line in order to shall be perceived as commonplace. Indeed, humLebAek DenmARk
confabulate upon the question of abstract it is a challenge to capture these moments The camera evolved into
expressionism. Then again, there is a hint of on canvas. a substantial instrument
romano-celtic art. The Wanderer is reminiscent of reform through the
A native to galway, Ireland, Selma began to of a walk out-of-doors, where photodocumentary in which
sculpt in the 1980’s and has exhibited in the every sporadic line and the personal lives of people
oireachthas, r.H.A, Iontas, claremorris, r.U.A., The colour metamorphosizes was brought forth in a
caldwell, dublin (1991), carroll langford (1994), into thickly foliaged willow pictorial essay. Inside
American Embassy (1996), and The kenny gallery, trees, twisting footpath, the parameters of social
galway (1995, 1998, and 2001). reflective water, and movements, photography TokYo METro, 1996
Someplace In St.Anne’s is an intonation a luminous firmament orAngE TrEE, MIll PArk effectuated the harsh gUEorgUI PInkHASSoV
of Post-Impressionism. In spite of the fact peeking out from tangle of Pond, 2000 realities of poverty, plague, PHoTogrAPH
AcrYlIc on cAnVAS
that Mccormack’s fluid brushwork omits greenwood. 16 x 16” and mayhem.
quintessential detail, nevertheless the painting Most specifically, this exhibition marks the
transmits an entirety of the scene through fiftieth anniversary of the Magnum Photo
a pastel palette. THE POSITIVE MENTAL Agency. Subsequent to World War II Magnum
Horse and rider conveys an inkling of the ATTITUDE SERIES Photos was initiated by Henri cartier-Bresson,
romano-celtic period. The artist’s ceramic pAuL buTLeR george rodger, david “chimi” Seymor, and
piece can be paralleled to the Study of a Male AngeLL gALLeRy robert capa. At present, the organization
deity and Tombstone of a cavalryman. Upon TOROnTO cAnADA incorporates approximately fifty-five members
examination, the facial features of both the rider It allows me to recycle and headquarters situated in Paris, london,
(Horse and rider) and the male romano-celtic the garbage of mass media Tokyo, and new York.
celestial being are similar by the long, straight to comment on the four-hundred images accentuate three
nose, high (almost Etruscan) bone structure, overwhelming amount of significant themes: Persistent rituals (religious
and bulbous eyes. Hypothetically speaking, visual information we and modern conventions), chronicle of chaos
the cavalry motif, prominent in romano-celtic consume everyday (Paul (a broadening viewpoint of the Balkan warfare,
Butler)
funerary relief, for instance, Tombstone of a A plum-tinted stratosphere rwanda, Middle East, and gulf War), and
cavalryman is palpable from the detached, blanketed with white, fluffy PAUl BUTlEr Aesthetics of daily life (endorsement of
nonchalant stance and the creation of their clouds softens an autumnal gET A MoVE on commonplace events). The display spans from
own space. 2001 traditional war reportage to expressionistic
sunset reflected upon a
serene pond. on the left side of the photograph, representations of physical existence.
a protest of scotch tape secures an optimistic In contextual relationship to Magnum-our
NEW PAINTINGS slogan taken from an advertisement. Turning World, a small exhibit of photographic
JOhn DOyLe The creativeness of Paul Butler is reminiscent works by Joachim ladefoged, a recent
gALLeRy One of the eighties photo-based art of Barbara member of the Magnum cooperative presents
TOROnTO cAnADA kruger and david Wojnarowicz. In this instance, an anthology of tabulated pictures from
Nature is a constant in our lives that can give the artist is utilizing collage, painting, and Albania. ranging from deprivation to political
us a different perspective in an ever-changing photograph in order to defy categorization. dissolution of the Balkans, ladefoged won
world and as a constant, it can reconnect us nonetheless, Butler prefers to work in collage, international acclaim on the basis of his
back through time. John Doyl book, Albanians.
“mainly because of it’s accessibility and
A virtuoso of stirring landscape canvases, this Seizing upon a journalistic modus operandi,
immediacy.”
master painter ensnares the quintessence of the Magnum Agency illustrates the light and
Also, it is imperative for the spectator to reach
the natural realm with critical observation and dark facets of human nature. from an abstract
the psychological zenith of social reality from which
a vigorous palette. standpoint, contemporary photographers
stems the rapid genesis of technology, science,
WORLD of ART 87