BCD#23

Blind Contour Drawing #23 – “Reason over Passion” Joyce Wieland 1968

Joyce Wieland was born in Toronto in 1930. She was the youngest child of emigrants from Britain. Wieland and her 2 older brothers struggled to survive after both of their parents died when she was still in grade school. Despite being poverty stricken, she was able to study fashion design at the Central Technical high school in Toronto. It was there that she met working artists like Doris McCarthy. McCarthy was an independent spirit and committed to her art practice. She became an important mentor for Wieland.

After graduating in 1948, Wieland worked as a graphic designer. She met artist, Michael Snow at a graphics firm in Toronto. They married in 1956 and had a 20 year relationship.

Before she married, she moved into her own apartment studio, which at the time was not the common for young women. She lived alongside other artists and became part of the city’s growing boho scene. Her independent nature led her to travel and she was able to visit Europe a few times in her twenties. She began to achieve some success with her paintings in the late 1950’s and had her first solo show in Toronto in 1960.

Between 1962 and 1971, Wieland and Snow lived in New York. Feeling connected to the city’s counter culture vibe, she continued to paint but also explored other mediums. New York was teeming with pop art and conceptual art, and artists were responding to the political and cultural issues of the time, including the war in Vietnam, feminism, and environmentalism.

Wieland had learned filmmaking and animation techniques while working in commercial design, so she began to create films. In a short period of time, she was screening her work alongside her American colleagues. Her work was well received due to their political edge and wit.  In 1968 the Museum of Modern Art in New York presented Five Films by Joyce Wieland. Her films are known internationally.

Wieland had a healthy relationship with sex and was passionate about feminism. Much of her artwork explore these themes. Besides film and paint, she also started to work with fabric. She intentionally used fabric to express her political ideas because traditionally it had been used by women. She created quilts and mixed media pieces that challenged the notions of what is art and what is craft, what is masculine and what is feminine. She was a leader in bringing these materials and mediums into the fine art world.

On Canada Day, July 1st, 1971 the National Gallery of Canada presented her solo exhibition, True Patriot Love. It was the first time the Gallery had given a solo show to a living Canadian female artist. At that time she returned to Toronto to live and work. By the 1980’s she was focused on painting and in 1987 the Art Gallery of Ontario held a retrospective of her work.

Wieland maintained a studio practice in Toronto until her health began to decline. She was cared for by a group of female friends until her death on June 27, 1998 from Alzheimer’s disease.

Born: June 30, 1930, Toronto
Died: June 27, 1998, Toronto

BCD#19

Blind Contour Drawing #19 – “Falling from the Sky” Tsuneko Kokubo 2013

Tsuneko Kokubo was born in Steveston B.C., in 1937, and raised in by her Grandparents during WWII in Japan. Returning to Canada in her late teens, she studied Fine Arts for four years at Vancouver School of Art (now Emily Carr University), focusing on drawing and painting.

She has worked extensively in theatre as a performer, dancer, costume designer and continues to do so.  In 1990, she became a full-time painter, working mainly in oils and acrylics.  Her life, like many other Japanese Canadians has been filled with hardship but she chooses to focus on beauty, especially from her garden and mountain home.  She weaves bright colours, images of plants and her life memories to create beautiful and often haunting stories on canvas.

Kokubo has had numerous exhibitions, and has paintings in private collections in Canada, Europe, Japan, Mexico and the USA.

Born: 1937, Steveston, B.C. Canada

Tsuneko Kokubo’s website:  tsunekokokubo.ca

You can learn more about Japanese Canadian artists in this wonderful directory: japanesecanadianartists.com

This is a beautiful short video that was made of Kokubo (Koko) that I would recommend watching:

https://tellingthestoriesofthenikkei.wordpress.com/falling-from-the-sky-tsuneko-kokubo-koko/

I inspire to see her work in person one day and hope to be painting well into my 80’s.

 

BCD#14

Blind Contour Drawing #14 – “Holding Boots” – Annie Pootoogook 2003/04

Annie Pootoogook, was raised in Cape Dorset, an Inuit settlement located on Dorset Island at the southern tip of Baffin Island in the Qikiqtaaluk Region of Nunavut. Many members of her family, including her mother and grandmother were artists.

She began her art career in her late 20’s and immediately challenged people’s perceptions of Inuit art. A natural storyteller, Pootoogook created drawings of daily life. She once said she could only draw what she had lived. This included scenes of cozy domesticity watching Dr. Phil on TV, and of cutting up raw seal on the kitchen floor. It also included domestic violence, ATM cash machines, and alcoholism, which startled those who looked to Inuit art for wholesome Northern traditions.

Pootoogook worked out of the Kinngait Studios, a co-operative that supports and buys work from artists working in Cape Dorset. At first, there was almost no interest in her work. After sending some of her early work to the co-op’s sales team in Toronto, a stern note was sent back. “‘This stuff’s never going to sell,’ they said. ‘Stop doing it.'”

However, Pootoogook gained the attention of The Feheley Art Gallery and had a small exhibition in 2003. This was her first solo exhibition and extremely important for her career. The curators at Feheley were very supportive of her and her work despite criticism.

She gained attention internationally, when she won the Sobey award in 2006 and was invited to Germany’s famous Documenta 12 art show in 2007. She showed in major shows in the following years in North America and Australia. However, away from home and living in Montreal, she succumbed to alcoholism. She returned to Cape Dorset briefly but unfortunately it didn’t last. By 2010 she was living on the streets with a panhandler, William Watt. They continued an on-and-off relationship for the remaining years of her life.

Her life with Watt was hard. They camped in parks or under bridges. She began to complain to friends and family about the way he treated her. “One morning she came up to me,” her friend Ookik Nakashook remembers, and said ‘I am tired of being kicked out. Last night he kicked me out without boots so I had to go look for boots,’ said Nakashook. “That was during the winter. And I told her, ‘Don’t put up with that.'”

She stayed with Watt even though he continued to abuse her and take any money she made from her drawings. Tragically in 2016, her body was pulled from the Rideau River on the morning of Sept. 19, a short walk from the shelter where she had been living.

Shockingly, a comment from an Ottawa officer read “And of course this has nothing to do with missing or murdered Aboriginal women … it’s not a murder case, it’s [sic] could be a suicide, she got drunk and fell in the river and drowned who knows … typically many Aboriginals have very short lifespans, talent or not.”

An internal investigation was filed and the officer was suspended. Many feel that it is a minor punishment for obvious racism against this vibrantly talented woman.

The investigation into her death has recently been reopened.

The story of Annie Pootoogook’s life was coloured by despair and tragedy, but also by extraordinary talent, positivity, strength and creativity. The troubles that weighed on her in her last years were unimaginable, yet for a long time she was able to manage them, and even to make art from them. She took her experiences, whether joyful or difficult, and made them into a body of work that changed Canadian art.

Born: May 11, 1969 – Cape Dorset (Kinngait)
Died: September 19, 2016 (aged 47), Ottawa

 

Homage series to Canadian women artists

 

I’ve been passionate about art history for many years and always find myself paying particular notice to the women sprinkled within the texts. It is refreshing to find that recent works are more inclusive.

In the past year, I’ve created blind contour drawings of art by women as a means of studying their work and learning about their lives, careers and contributions. I’ve been sharing some of these on Instagram and here on my blog.

I’m embarrassed to admit that even though my passion for art history is strong, up until a few months ago, I knew very little about women in Canadian art history.

The drive to study and learn more has resulted in a new and challenging series for me, an homage to these amazing women. I’m captivated by their skill, their dedication and ultimately their enduring and often rebellious artwork. Looking back, I can see their remarkable contribution to my identity as a Canadian, particularity a Canadian woman.

In reverence to their struggles and their gifts, I’m working on a collection of works that I aspire to share in hopes of introducing them and their work to fellow Canadians.