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A Pleasant Silent Dialogue @ The Initial Gallery
Saturday, June 20, 2015

Initial Gallery, June 18 2015

I am an amateur of music, dance, theatre, photography and other forms of the arts. I am not an expert nor did I ever study any of the above disciplines. But in using the 19th century (particularly and English one) definition of an amateur I can assert that while I am not an expert in any of them I love them and having seen a lot of it I know a good thing when I see one.

I wrote the above for a recent blog here. I thought it still applies to my reaction this Thursday at the opening of the Bjornson Blandy Carter Collective at the Initial Gallery on 2339 Granville Street. An explanation (of sorts) on the art displayed on the walls of the small gallery is below:

Bjornson Blandy Carter Collective
Verses
June 18 – July 18
Opening reception: Thursday, June 18 6-8 pm

"Early in 2014, we proposed an exhibition of “finished” works in conjunction with pieces recorded during production that may not appear in a “final” image. We recognized that moments occur as we work through our process that may be uniquely developed, fragmented and embellished. The results express past and present “verses’, and are intended to be experienced as separate, albeit related, pieces.

Verses is a continuation of our collective activity. This exhibition was preceded by solo exhibitions of our individual practices. Each show offered insight to the elements that are evident in the collective collaborations, often elusive but present nonetheless, leaving high-energy constructs with many fatalities and injuries. We work within shapes and textures that are only partly our own choice.
By this method we continue to carry on the silent dialogue, weaving together our individual observations, syntheses and responses to existence."

The Bjornson Blandy Carter Collective
The Collective members include Michael Bjornson, Kitty Blandy and Geoff Carter.

Not explained  above is the fact that the most interesting work displayed (all of it) is somehow the work of all three artists Michael Bjornson, Kitty Blandy and Geoff Carter. I was going to ask the silly question, but I didn't dare, “Who begins? Who does the middle part? Who finishes?” This is not their first show with this focus. There were three different ones of which I saw the previous one.

My first reaction to the show was one of unadulterated jealousy as until 2001 I, too did collaborate work with Argentine painters Juan Manuel Sánchez and Nora Patrich. They moved back to Buenos Aires and since then I have felt that I am living in isolation. My photography peers seem to be extremely happy posting to social media photographs taken with their phone. While I do own a digital camera I shoot a lot with film and process my b+w rolls in my darkroom. Again there is this feeling of going at it alone.

The show coincidentally (and by this I mean by sheer coincidence) had three works that featured what looked like a red two-cornered hat.  They reminded me of Napoleon’s hat and the opening, June 18 happened to coincide with the 200th anniversary of his defeat at Waterloo. Also evident in a most whimsical way was the black tail of dog's posterior. The smiles on the three artists reflected a most unstuffy and fun approach to art.


King Wow - microporus polyester film (backlit)

As I enjoyed the show and the milieu (and I don’t drink so I had no wine) I thought that there was an unlikely possibility that I might read about the opening in the media.

In Mexico many refer to their loving partners in affectionate deprecation, “Mi pior es nada.” Pior is a popular derivation of peor ( worse) and the expression means, “My worse than nothing.”
Thinking back to the heady days of arts coverage in our Vancouver Sun (and consider that the Vancouver Province for many years paid Art Perry, now a teacher at Emily Carr, to cover the arts). It is a disgrace that our second daily, that previously-Art Perry-tabloid replaced him with three pages of comics.

One of the critics for the Sun, Michael Scott wrote about the visual arts and about dance. There were rumours that he had been taking courses at Emily Carr to spruce up his arts knowledge. He was controversial (perhaps all arts critics should be so) and was either hated or loved. Once he was let go from the Sun (I don’t know of the circumstances) I asked Lloyd Dykk (the Sun’s classical music critic) for Scott’s whereabouts. His answer was, “I hope he is in the lowest level of Dante’s hell.”


Geoff Carter, Kitty Blandy & Michael Bjornson
I only had one situation, not all too pleasant with Scott. From then copy editor Larry Emeric I had found out that Sun arts writer/editor Max Wyman had a collection of ballerina slippers. I had an idea so I reached Wyman and suggested he write about his dance obsession and that I would illustrate it with my photographs. At the time the Vancouver Sun had a very nice Saturday magazine/sheet. It had replaced the Saturday Review (once edited by Wyman) by Mix, a splendid idea by David Beers who went on to found The Tyee. Wyman and I approached the Entertainment Editor (Scott). If you know anything about Wyman’s professorial presence and his gentle demeanour, you would be floored on how rude the younger man, Scott, dismissed our idea. We waited a few months and we eventually got our way.


For a while after Scott left a pleasant and less controversial Kevin Griffin  took over the beat until the Vancouver Sun put him back as a reporter. Since then the arts have been covered by writers on contract (no dental plans for them so they write with a definite lack of bite). Coverage is sparse and for me inconsequentially boring. There are persistent rumours that the Sun gives arts organizations the choice of either a review or a preview but not both.


So looking back at all that I wonder if the idea that a bad arts critic is a better one than not having one at all?

An idea that failed. 

Looking at the past to defy the present. 

Lloyd Dykk, Larry Emeric's Morgan and Rex Morgan M.D.





     

Previous Posts
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Eligy To My Pet Monkey

They Go - We Stay

Nuts & Bolts - It's A Hip Life

Flipping Burgers - Opportunity - At Arts Umbrella ...

Directing Bard's The Comedy Of Errors - How?



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10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16