Art Beat

Art Fare for the Sportsfan

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Special Edition - February 2026

The Behr Paintings (A Humble Take on the Benjamin Moore Paintings)

I’m not sure when I first got interested in Frank Stella’s Benjamin Moore Paintings. I’ve certainly had a long-standing fascination with them. It’s likely that I’ve seen images in exhibition catalogs over the years, but it was most probably the sale of the Benjamin Moore Paintings at Christie’s 20th Century Evening Sale in New York in 2020 that crystallized my fixation. Regrettably, I didn’t get to see those works firsthand, and so my connection, like so many things these days, was a virtual one established while scrolling through the auction preview images. Ever since then, the thought of replicating the Benjamin Moore Paintings has been on my mind.

A Concise History of the Benjamin Moore Series

The first Benjamin Moore Paintings consisted of a set of six large canvases painted in 1961, each measuring 6.5 by 6.5 feet. The series takes its name from the brand of paint used by Stella, a commercial Benjamin Moore flat alkyd house paint straight out of the can. Each work showcased one of six distinct geometric patterns and was painted in one of six colours (red, blue, green, yellow, orange or purple). The titling of each work (as opposed to the series) was inspired by Civil War and American Revolution references: Delaware Crossing (painted in red), Hampton Roads (blue), Island No.10 (green), New Madrid (orange), Palmito Ranch (yellow) and Sabine Pass (purple).

Stella believed that the colours and geometric patterns were interchangeable and that any combination would work side-by-side. To prove his point, in the same year and into 1962, he completed thirty-six smaller versions (affectionately known as the miniatures), each measuring 12 x 12 inches, whereby he mixed and matched the colours and patterns. Each geometric pattern was painted in each colour and six groupings were created.

The large-scale Benjamin Moore Paintings debuted in Stella’s first European one-man show at Galerie Lawrence in Paris in 1961 as did thirty-five of the smaller versions. The last of the miniatures and, perhaps the most famous, was commissioned by Andy Warhol and painted in 1962.

The Behr Spin

The Behr Paintings are inspired by the entirety of Benjamin Moore Series, but more specifically, the set of six miniatures that was sold at Christie’s in 2020. It is that particular colour/pattern combination that is replicated in the Behr Paintings.

Frank Stella’s Benjamin Moore Paintings (six works), 1961, alkyd on canvas (each 12 x 12 in.), auctioned at Christie’s 20th Century Evening Sale on October 6, 2020 in New York. Estimate: USD $8,000,000 - $10,000,000. Price Realized: USD $8,830,000.

While numerous obviosities and many nuances exist relative to the Benjamin Moore Paintings, the hope was that the Behr Paintings would evoke a similar visual connection and vibe.

The actual Benjamin Moore color codes used by Stella are not known. That opened the door for a bit of improvisation. Behr paint happens to be a personal favorite, and given that it is relatively more affordable, particularly in economical tester jars, using Behr brand acrylic latex paint in a flat finish seemed like an appropriate proxy, and hence, the Behr Paintings. The colours selected were consistent with Stella’s palette and reflect the purest of such colours as per Behr’s website recommendations. The red is Flirt Alert (P150-7); green, Park Picnic (P390-7); blue, Beacon Blue (P510-7); yellow, Buzz In (P300-6); purple, Just A Fairy Tale (P560-6); and, orange, Tart Orange (HDC-MD-27).

Stella executed the works freehand with remarkable precision whereas tape was used to provide the pattern guidelines for the Behr Paintings. Also, burlap was the chosen surface medium instead of canvas to compensate for the many accidents d’ateliers in the painting process and to project a less rigid feel, the idea being that the roughness of the weave might result in a fuzziness more akin to the feathered touch in Stella’s earlier works.

Three sets of Behr Paintings exist. The proof of concept (POC) version is a collection of the first attempts along with a few do overs;  the next set, the official first version, reflects some improvements thereon, nuances really; and, the last one (V#2) is distinctive by a variation in one of the works, the yellow one, where the spacing of the diagonals is a more accurate rendition of Stella’s originals, an inconsistency noticed only after the first two sets were completed. Specific titling of each work was dropped in favour of the series name (Behr Paintings) and the generic colour of the work (red, blue, green, yellow, orange or purple). POC and V#2 nomenclatures referring to the different sets are also included in the titling when applicable.

The Three Coincidences 

The story of the Behr Paintings would not be complete without mention of the three coincidences that occurred at and around the time of painting.

The first and probably the eeriest was while outlining the diagonals in the yellow work of the POC set, I received an Armory Fair preview by a local gallery featuring pieces by Canadian artist Tammi Campbell. One of the highlights was her take on the very Benjamin Moore miniature I was working on at that time - same pattern, same colour. It could have been any of six patterns and any of six colours, and that’s even before considering the randomness of her working on the series at all.

The second coincidence was while researching Stella in September 2025, I came across a catalog of earlier works, the Black Paintings, which were seminal in his career and important building blocks for the Benjamin Moore Paintings. I was so captivated by the body of work that I took a picture of the catalog cover as a reminder to do a deeper dive at some point in the future. A month later, I was in Los Angeles for a wedding. With some spare time, I visited the Los Angeles County Museum of Art (LACMA) where I unexpectedly came face-to-face with the actual painting on the catalog cover.

The third relates to the provenance of the Benjamin Moore Paintings. Stella’s catalogue raisonné, Paintings 1958 to 1965, is a book that compiles all the artist’s oeuvre spanning that period, including detailed descriptions and a record of who owned the works since they left the artist’s studio. The large Benjamin Moore Paintings and the thirty-six smaller versions are included therein. At the time of publication of the compendium in 1986, the owner of the specific set of Benjamin Moore Paintings that was the source inspiration for the Behr Paintings resided in Thousand Oaks, California. While at the previously mentioned wedding, I happened to be staying in Thousand Oaks.

As at this time, Behr Paintings hang above fireplaces in London, UK and Montréal, Québec, with a pending installation slated for a similar spot in Toronto, Ontario.

On the subject of Hogtown, it’s kind of amazing that notwithstanding some horrible performances, the Dinos find themselves in fifth place in the East. That’s perhaps more a statement about their in-conference competition than the strength of the team, but we’ll take it. With the pinnacle of the East not ridiculously far out of reach, the anticipation was that the team brass would make a splash before the trading deadline. Names like Ja, Giannis, and Domantas were bandied about, tantalizing and teasing fans. Well, the deadline came and went without much fanfare. The Ochai Enigma was shipped out in a deal that landed CP3, a future Hall of Famer, only to find out in the same breath that the aging former superstar would not report for duty. The manoeuvre, however, did pave the way for the follow-on acquisition of Trayce Jackson-Davis, a 6’9” big who can hopefully provide some paint presence. At the end of the day, the ultimate winners were the players on the current roster as management clearly decided to run with them. We’ll see how that goes.

For more information on Frank Stella or the Benjamin Moore Paintings, and the fate of the Dinos in the next stretch of the season, “Just Google It”.

There you have it Sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

London - October 2025

Back in the medieval hilltop town of Petritoli in Le Marche after a two-and-a-half-day art-scape to London where the all-important seasonal modern and contemporary art auctions and major art fairs were underway alongside the innumerable gallery and museum exhibits that make up the city’s vibrant cultural fabric. Returning to the serenity and coziness of a small Italian village was a welcomed breather from the craziness and intensity of London, and the art madness that overtakes the city at this time. That being said, the viewing experience was fantastic. With one eye on the auctions, the art adventure included stops at Frieze London, Frieze Masters and 1-54 London art fairs, and Peter Doig, Wayne Thiebaud and Yto Barrada exhibits.

The lead up to the week’s festivities was hopeful. Even with the backdrop of a very sluggish art market over the past three years and the overhang of geopolitical tensions, it appeared that the art world threw caution to the wind, at least in spirit and attitude, as a notable exuberance prevailed at all the venues. Crowded corridors and engaged art fans seemed to lay the groundwork for brighter days ahead.

All that was supported by mostly positive auction results achieved earlier in the week. Christie’s 20th/21st Century: London Evening Sale posted the highest sales with a total of US$142.9 million, up 30% year over year. Logging in at US$63.3 million, Sotheby’s Contemporary Evening Sale also experienced a healthy increase of 27% over prior year’s results. Only Phillips somewhat stumbled in their Modern and Contemporary Evening Sale which yielded US$13.9 million, a 32% decline from last year. It seemed, however, that gallerists and collectors looked past the Phillips result and instead focused on the good news from the larger two auction houses, and that enthusiasm poured into the fairs.   

Set in beautiful Regent’s Park, Frieze London and Frieze Masters were the centerpieces of the fair scene. Together these two featured over 280 galleries from 45 countries reflecting a diverse and broad visual art presentation across historical and contemporary periods. The vibe at Frieze London was young and buoyant and in keeping with the grouping of 160 leading and emerging galleries laser focused on contemporary art. Highlights included: Velma Rosai Makhandia’s mystical “Whistling Ghost Birds”, 2025, oil pastel and acrylic on canvas (two panels, each 42.1 x 68.9 in.); Ken Kiff’s dreamy “GT/KK 2-96 A7 (Red Flower, River, Women)”, 1992-1996, oil on paper over monoprint (56.25 x 109.9 x 2 in.); and Diambe’s richly coloured “Devoção”, 2025, tempera on linen (24 x 18.1 in.).  The offering at Frieze Masters was broader in scope as the 120 galleries exhibited everything from ancient artifacts to antiquities to old masters’ paintings and 20th century masterworks. Contrary to expectations, all age groups were well represented in the crowds, signaling perhaps a growing interest in more historical collectables by a younger generation of art fans. Fair highlights included: Willem de Kooning’s “Cross-Legged Figure”, conceived and cast in 1972, bronze, Edition 1 of 7 with 3 APs (24 x 17 x 16 in.); from the Workshop of El Greco “Saint Francis and Brother Leo”, early 17th century, oil on canvas (30.75 x  22.5 in.); Lucio Fontana’s “Soffitto: Concetto Spaziale”, 1957, tempera, engravings and holes on polystyrene (78.75 x 118.1 in.); and Sari Dienes’ “White Corduroy”, 1970, mixed media on corduroy (120.25 x 134 in.).

The 1-54 London fair returned to Somerset House for its thirteenth edition. Showcasing contemporary art from Africa and its diaspora, over 50 galleries representing over 100 established and emerging artists participated and featured a variety of media including painting, photography, sculpture, textiles and ceramics. It was very well received. In particular, the smaller presentation rooms scattered throughout the venue allowed for a more intimate interaction with the works, artists and gallerists. Highlights included: Collin Sekajugo’s “Yes he can”, 2025, photo print, polypropylene, textile and acrylic on denim (59.8 x 39.8 in.); Ugonna Hosten’s “Sunrise (Azure Vault)”, 2025, epoxy, shell, collaged monotype, photograph on paper, oil pastel, ink, charcoal on linen mounted on board (25.63 x 44.33); and, most notably, a grouping of portraits by Moridja Kitenge Banza, “Portrait of Malaika I”, “Malaika the First” and “Queen Mother”, 2024, acrylic on canvas (each, 60 x 48 in.). Moridja’s presence at the fair surrounded by his powerful works elevated the experience.

The Peter Doig exhibition at Serpentine South Gallery “House of Music” featured music as much as paintings. Transformed into a multisensory space, visitors were invited to linger, look and listen. The works included paintings from Doig’s years in Trinidad (2002-21) as well as new paintings, and the music was selected from the artist’s vast archive of vinyl records and tapes. The highlight was the dreamy “Music of the Future”, 2002-2007, oil on linen (79.13 x 130.13 in.). Playing at the time viewing on behemoth retro high-fidelity speakers was “The Blue Yusef Lateef”, promotional DJ copy. At the Courtauld, quintessential works by Wayne Thiebaud were on display in the “Wayne Thiebaud: American Still Life” exhibit. The renderings of common objects were rich and luscious, and the crowds ate them up. Favorites included: “Five Hot Dogs”, 1961, oil on canvas; and, “Three Cones”, 1964, oil on canvas board. Capping things off, Yto Barrada’s “Thrill, Fill and Spill” exhibit donned the walls of the South London Gallery (SLG) and featured exquisite geometric colour field patterns that married textiles and dyes and other wonderful mediums. Highlights included: “Untitled (Six Brown Squares on Pink)”, 2025, cotton, linen, dye from plant and insect extracts; and, “Untitled (Two Pink Stripes on Green II)”, 2025, cotton, dye from plant extracts, noil silk.

A trip to London wouldn’t be the same without a sprinkling of DIY flat upgrades in between art stops, the most ambitious of which was the transatlantic and transcontinental transportation and installation of the “Behr Paintings (POC Set)”, 2025, six works (red, yellow, blue, green, purple and orange), acrylic on burlap (each, 12 x 12 in.). Inspired by Frank Stella’s “Benjamin Moore Series”, the MCG interpretations were a colourful room enhancement.

Meanwhile back in Hogtown, all eyes were focused on the Blue Jays and wow, did they deliver. In yet another epic moment of this MLB post-season, George Springer delivered a seventh inning Game 7 three run homer in the American League Championship Series to clinch a 4-3 victory over the Seattle Mariners, advancing the Jays into the World Series for the first time in over thirty years. And if that wasn’t enough of a Hollywood ending, the home run ball was reportedly caught by a fan wearing a No. 4 Springer jersey. It’s only fitting that next up for the Jays are the heavily favoured Los Angeles Dodgers and their one-man wrecking crew Shohei Ohtani. But that’s for later in the week. As the Jays rest up and prepare for their final challenge, the Dinos will tip off their 2025-26 campaign with higher expectations than in recent years. Hopefully, the strong starting lineup and bolstered bench will translate into a playoff contender. For now, however, October belongs to the Jays, and the Dinos will remain under the radar as the Fall Classic plays out.

For more information on any of the artists or works mentioned, the Blue Jays championship run and the Dinos’ early season results, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - September 2025

Just back from dropping in on the Big Apple’s art week festivities and partaking in a small sampling of what the city had to offer. With about six hours on the ground, the Armory Show, the anchor fair, was front and center. The visit also includeda stop at Art on Paper, a more modest mid-size fair,and thankfully, there was enough time for an unplanned gallery visit in Chelsea that featured the work of Paul Feeley.  It all was a bit hurried but totally in keeping with the pace of the city. As for the fairs, the offering seemed a bit staid and unadventurous, but perhaps that was in response to a more conservative approach given the backdrop of a squishy art market. Even with all that though, visual filtering yielded some marvelous finds. To top it all off, the Feeley show was off the charts and among the most memorable gallery exhibits in recent years. That together with a classic bodega breakfast bagel (egg, sausage and cheese) eaten at lunch before a cross-town trek made the mad dash experience very worthwhile.

This year’s Armory was slightly smaller than last year’s edition but nevertheless still showcased over 230 galleries from more than 35 countries. As usual, the works on display ranged from historical post war stuff to more recent contemporary and emerging art. The Javits Center easily accommodated exhibitors and fairgoers, allowing for a very comfortable viewing experience with plenty of elbow room to spare. That being said, some AI-generated layout optimization could have minimized fairgoer FOMOB anxiety (Fear Of Missing Out on some Booths due to a quirky floor plan). Some highlights included: Tomasz Kręcicki’s whimsical “Seed”, 2025, oil on canvas (54.3 x 49.25 in.); Franco Guerzoni’s ephemeral “La parete dimenticata”, 2018, scagliola, pigments and copper thread on canvas on board (20.5 x 33.5 x 4.3 in.); Russel Craig’s powerful “Prison Window #4” (as part of his Carceral Views series), 2025, acrylic, burlap coffee bag strips, leather, canvas strips, velvet strips, fabric strips, ground ramen noodles, heavy gel glue, spackle, on wood stretchers and plywood (32,75 x 12 x 11.25 in.); and Michel de Broin’s lights out “Twilight #314”, 2019, lightbulbs, wood and acrylic (52 x 52 x 5.5 in.).

Art on Paper once again held court at Basketball City on Pier 36 where pickup games gave way to hosting the 100-gallery fair that celebrated, for the most part, the conventional and more creative uses of paper. Highlights included: Sati Zech’s joyful “Bollenwork 890”, oil, pigment, plaster, thread and canvas (45 x 42 in.); Jasper Johns’ iconic “Corpse and Mirror”, Ed. 5/50, 1976, etching and aquatint in colors on Rives BFK (25.63 x 19.63 in.); and a booth full of Nina Katchadourian’s ecological sculptures from her “Fake Plants” series made from found paper items, including “Plant #39”, 2021, cardboard, clay pebbles, cardboard toilet paper tubes, crepe paper, ping-pong balls, glass-head pins (35.4 x 15.75 x 15.75 in.).

The Paul Feeley: The Shape of Things exhibit featured a group of canvases and painted-wood constructions by the hand of one of the central figures and masters of the Color Field movement. His biomorphic patterns and color combinations, whether on canvas or free-standing sculptures, were captivating, and the conversations between the two-dimensional and three-dimensional pieces flowed seamlessly in the gallery space. Standouts included: “Achernar”, 1963, oil-based enamel on canvas (60 x 60 in.); “El Asich”, 1965, oil-based enamel on wood (74 x 17.75 x 17.5 in.); and “Delta”, 1965, oil-based enamel on wood (36 x 36 x 36 in.). In the spirit of the playfulness in Feeley’s works, the invitation to the exhibition opening was a miniature 3D paper reproduction of “Dubhe”, a fabulous Feeley sculpture that figured prominently at the Armory fair. Nice touch!

Meanwhile in the world of hoops, all the action was happening overseas with Eurobasket 2025 well underway. It’s been a topsy turvy affair for the 24 participating national teams battling it out for European bragging rights, and there have been plenty of surprises thus far. Most notably, these included: Spain, perennial international basketball powerhouse and defending champions, not moving on to the knockout round of 16; the elimination of the Joker’s Serbia by Lauri Markkanen’s Finland in the round of 16; and Poland, led by former Dino, Jordan Loyd, moving on to the quarter finals. While Lyod only played one year with the Raptors, he did pick up a championship ring for his troubles and is now sharing the spotlight with NBA luminaries like Luka Dončić, Giannis Antetokounmpo and Lauri Markkanen as one of the tourney’s top point getters. Other former Raptors that are making their presence known as their teams advance into the quarters are longtime Dino mainstay JV as well as Denis Schröder, both team captains for their respective squads, Lithuania and Germany. While Toronto’s current team representation is lite in number, it’s huge in stature as Sandro Mamukkelashvili, a new addition this year’s roster, is ruling the paint for Georgia, and is also advancing into the quarters. Stay tuned as the rest of the tournament plays out.

For more information on any of the artists or works mentioned, and the exploits of Jordan Loyd and other Dino hoopsters, past and present, and their respective teams, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

London - August 2025 (Summer Road Trip)

Just back from an action packed four-day jaunt across the pond, the primary purpose of which was to help oversee some renos while tackling a list of DIY flat upgrades. Thankfully, however, between the filler drying and the paint curing, there was the opportunity to selectively scoot out and see a couple of exhibitions. These included: “Once Upon a Time in London” at Saatchi Yates and “Encounters: Giacometti x Huma Bhabha” at the Barbican Art Centre.  Both exhibits offered wonderful visual stimuli and welcomed reprieves from the intensity of finishing way too many projects in a short timeframe.

“Once Upon a Time in London” provided a fantastic snapshot of the evolution of the London art scene since World War II. Showcasing the diversity of quintessential British artistic styles and movements that emerged over that period, the exhibit featured works by post-war heavy weights like Lucian Freud and Francis Bacon, and YBA stars like Damien Hirst and Jenny Saville as well as pieces by more contemporary bright lights like Lynette Yiadom-Boakye and Danny Fox, among others. Highlights included: Alvaro Barrington’s “Garden Flower I, WC”, 2023, oil, acrylic, enamel, flashe paint on burlap in corrugated steel and reclaimed wood frame (39.8 x 32.7 x 4.3 in.); Gerald Laing’s “Cléo from 5 to 7”, 1962, oil on canvas (48.0 x 25.2 in.); and a trio of copper etchings by Lucian Freud, “Blond Girl”, 1985 (27.2 x 23.0 in.), “Head and Shoulders of a Girl”, 1990 (27.2 x 23.0 in.) and “Girl Sitting”, 1987 (23.3 x 27.2 in.). As a bonus, contemporary artists Benjamin Spiers and Oli Epp were on site and graciously gifted to those who queued up early enough, limited-edition prints based on their exhibited works, “Metamorphasis” and “Professor Spiers”, respectively.

“Encounters: Giacometti x Huma Bhabha” is the first of a three-part series that celebrates works by the Swiss master sculptor Alberto Giacometti alongside those of more contemporary artists, in this case Pakistani-American Huma Bhabha. As a pairing, the visual was interesting given the stark contrast between Giacometti’s iconic slender bronze human forms and Bhabha’s rougher body parts and partial figures sculpted using more eclectic mediums such as terracotta, plastic and repurposed scrap materials. When all was said and done however, Giacometti’s “Walking Man I”, 1960, bronze, towered above all. The elongated male figure standing just under six feet tall and captured in mid-stride commanded the room. Among the Bhabha works, “Mask of Dimitrios”, 2019, clay, wood, acrylic, oil, oil stick, plastic, rubber, steel wire and Styrofoam (78.13 x 48.0 x 60.0 in.), was a fan favorite. In addition to the art gallery, The Barbican Centre houses several other cultural venues and is in and of itself worth seeing. Bucolic waterways, fountains and waterfalls creatively punctuate a somber concrete campus which is unique looking, equally calming and unnerving, and emitting a bit of a dystopian vibe.

Other notable but less curated stops during the stay included: Howard Bros (at least six times) on Coldharbour Lane for miscellaneous building supplies; Screw Fix in Brixton and on Walworth Road (twice) for tools and hardware; London Decorators Merchants in Brixton for paint; The Nunhead Gardener in Camberwell for plants and patio stone; and Snappy Snaps just off Denmark Hill for a transformative print frame.

Meanwhile, it’s been relatively quiet in Dinoland and a summer more notable by departures than additions. At the top of the list, longstanding GM Sensei Masai moved on leaving a legacy of instilling a winning culture and competitive intensity, and, more tangibly, delivering a championship in 2019. His tenure was among the longest in the NBA at that level, and his boldness, style and personality will certainly be missed. Deux Cuisses de Poulet Boucher, the last remnant of that very championship team, also left Hogtown and will suit up in Beantown. Boucher’s high energy play, and productivity endeared him to everyone except, mysteriously enough, Coach Darko. Shifting strategies and younger player auditions left Boucher in nowhere land last season, and so hopefully the Celtics will provide him with the opportunity to showcase his skills. As for the current roster, the biggest outstanding question is how the high stakes acquisition of Brandon Ingram will play out. Acquired last year, he has yet to play a game in a Raptor uniform due to injury. He’s scheduled to make his debut this season, and how it all congeals with his running mates has yet to be seen.

For more on the exhibits or any of the works mentioned, or the outcome of the Ingram experiment, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - September 2024

Just back from the Armory and related art festivities in the Big Apple which also hosted the US Open and New York Fashion Week. The eclectic mix of aficionados made for a raucous and visually entertaining backdrop for the supercharged events. On the art front, the Armory Show was center stage as it celebrated its 30th edition and its second at the revamped Javits Center. Other fairs visited were Independent 20th Century and Art on Paper. While the sheer proliferation of fairs in the last decade can inevitably result in hit or miss experiences, the gatherings nevertheless offer the opportunity to see thousands of works by a broad range of local and international artists all under one roof which, with some patience and visual filtering, always yields marvelous art finds.

This year the Armory featured over 235 leading galleries representing more than 35 countries. The notable absence of the mega-galleries and smaller overall international representation gave the fair a more local feel with an energized NYC vibe. The smorgasbord of primarily post-war contemporary offerings ranged from figurative to abstract with a hint of conceptual. The Javits Center easily accommodated the bulked-up size of the fair, and the comfortable spacing and layout enhanced the viewing experience.  Some highlights included: Deni Lantz’s dreamy John Zurier-inspired “Untitled”, 2024, oil and beeswax on canvas (72.0 x 59.84 in.); Anouk Lamm Anouk’s ethereal “post/pre Nº 64”, 2023, acrylic on linen (19.75 x 21.63 in.); Paul Feeley’s iconically shaped “Untitled (January 29)”, 1962, oil-based enamel on canvas (57 x 81 in.); and, Sara Siestreem (Hanis Coos)’s playful “foxes on the moon”, 2024, acrylic, graphite, Xerox transfer on panel board (49 x 72 in.).

Independent 20th Century fair was more highbrow. From a gallery perspective, that might be fine if the right people are showing up; from a fair goer perspective, the offering was more nuanced. Set in the historic Battery Maritime Building for the second year in a row, the smallish 32-exhibitor show primarily championed artists that applied their trade between 1900 and 2000. The highlights included: Squeak Carnwath’s painted patterns and thoughts in “Dick & Jane”, 1996, oil and alkyd on canvas (76 x 102 in.); Tom Fairs’ nightscape “Untitled”, c. 1998-99, mixed media on heavy paper (30 x 22 in.); and Rebecca Ward’s translucent “king ranch lll”, 2013, bleach on canvas (40 x 30 in.).

Art on Paper continued its run on the courts of Basketball City on Pier 36 and celebrated its tenth edition with a 100-gallery roster featuring top modern and contemporary paper-based art. On a relative basis, the offering was probably the most accessible from a price point perspective compared to that of other fairs which likely contributed to its enthusiastic appreciation by art fans.  Highlights included: David Richardson’s “White Roses #3”, 2024, chalk on paper (14 x 11 in.); Simone Christen’s “Moment of Bliss l”, 2023, ink on raw linen (30 x 24 x 1.5 in.); and Herman Cherry’s “Untitled #35”, 1968, oil on rag paper (18.25 x 23 in.).

One of the most impressive sights viewed during the New York visit was a billboard by Glenn Ligon spotted from the High Line at 18th Street and 10th Avenue. This new version of “Untitled (America/Me)” spans 25 x 75 ft and features an altered image of Ligon’s iconic 14 ft 2008 “Untitled” which stretches 14 ft across spelling out the word “AMERICA” in neon lights that flicker on and off.  In 2022, Ligon revisited “Untitled” by creating a print, the original “Untitled (America/Me)”, that manipulated a photograph of the neon by drawing X’s through letters leaving only M and E untouched. The billboard is a reprisal of that modest sized print (14 x 11 in., edition of 50) on a gargantuan level, magnifying perhaps the polarized state of affairs in America today.  

Meanwhile back in Hogtown, it’s time to heat up the grill with BBQ season nearly upon us. The burning question is who is going to run with the Barnes, Barrett and Quickley trio. The Big Austrian is a prime candidate in the middle, but who will suit up at the number 4 spot? The ask is for a 6’8” 240 lbs. defensive stalworth that can guard in space, run the floor and knock down 3’s at a 38% plus clip. The current roster’s cast of characters are not obvious candidates. Tricky Dicky, Kelly Canuk and B-Squared each fall short in a few categories. As the auditioning plays out in training camp and the pre-season, there may be some surprises among the lesser known and yet unproven entities on the payroll, but hope is not a strategy. The whole spells for some uncertainty regarding the upcoming season. Barring injuries, the Dinos may be good enough to better last season’s record of 25-67, but probably not good enough to make a splash beyond a play-in round. With that prospect, Sensei Masai’s hand will not be far from the tank button. In the interim, Coach Darko will have to manage as best as he can and be ready to pivot at any time.

For more information on any of the artists or works mentioned, and the starting lineup for the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Toronto - June 2024 (Summer Solstice Road Trip)

Just back from Hogtown and Larry Gaudet’s “Eris” book launch. While the event was outside the traditional focus of Art Beat’s purview, the prospect of Gaudet’s artistry was not to be missed. As expected, the seasoned author and media thought leader delivered a rockstar performance to celebrate the kickoff of his latest.

“Eris” is a tech thriller with a next-level hacking storyline where entertainment and social media platforms are under terrorist attack as are the corporate elites that run them. As the suspense filled plot unfolds, it exposes the digital age cautions and media afflictions we have all consciously or not succumbed to. Literary types, business folks, friends and family ate it up as Gaudet’s teaser overview and citing of sample media diseases both amused and shook up the crowd. The presentation also featured a short video that introduced the main character and set up the destabilizing backdrop to the novel. The video can be viewed at www.larrygaudet.com, and the book, along with prior works, can be purchased on amazon.ca.

Outside of the book launch, some free time afforded the opportunity to recalibrate from the edgy literary world scene to the more serene visual experiences of a museum visit and a couple of gallery stops. On tap at the Art Gallery of Ontario, the “Moments in Modernism” exhibit offered a peek into the museum’s treasure trove of postwar contemporary works, featuring pop art, abstraction, minimalism and realism from the 60’s, 70’s and 80’s. Except for the misleading titling of the exhibit, the eclectic gathering of works from Canadian, US and international artists was fantastic. Highlights included: Mark Rothko’s “No.1, White and Red”, 1962, oil on canvas (102 x 90 in.) and Rita Letendre’s “Daybreak”, 1983, acrylic on canvas (78 x 144 in.). Elsewhere at the expansive “Jean-Paul Riopelle: Visual Exploration” gallery exhibit, the late mosaic “Couleur”, 1955, oil on canvas, stole the show. Finally, in Prince Edward County, it was a real treat to get a preview of a couple of Milly Ristvedt works to be included in a solo booth exhibit at the upcoming Hamptons Fine Art Fair in July 2024. Both “Sweet Earth”, 1970, acrylic on canvas (27 x 75 in.) and “Ros Solis”, 1970, acrylic on canvas (27 x 71) are exceptional period pieces.

Meanwhile in Jurassic Park, it’s been quiet in anticipation of the 2024 NBA Draft to be held on June 26th and 27th. The Dinos hold the 19th and 31st pick in what’s widely viewed as a somewhat weak class. That being said, it’s characterized as such in part because of the lack of generational talents on the board. One thing for sure is that great players will be drafted. It’s just a bit more challenging to recognize them. Over to Masai and team to spot the future stars, and with some developmental pixie dust, pull a rabbit out of a hat. Or, they could trade their picks and other assets for more proven talent. The next few days could be exciting.

For more on “Eris”, buy the book. For more information on Larry Gaudet, any of the works mentioned or Dino draft day scenarios, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Venice - May 2024

Just back from the Floating City which served as a beautiful backdrop for the 60th edition of La Biennale di Venezia, the world’s longest running and most extravagant contemporary art festival. Thematically grouped under the banner Foreigners Everywhere – Stranieri Ovunque, the exhibit privileged lesser-known artists from the global south who are foreigners, immigrants, expatriates, diasporic, exiled or refugees, and it showcased craft, tradition and the handmade which often is considered outsider or strange in the world of fine arts. The result was a marvelous adventure where some initial trepidation was quickly assuaged by an explosion of colours and creative renderings. In addition to the Biennale, numerous other exhibits and museum shows were staged concurrently throughout the city and visiting many of these in the two and a half days at hand made the experience that much more memorable.

Training for the Venice marathon was held in the hilltop village of Petritoli in the Le Marche region of Italy, where swims in the Adriatic, biking between neighboring towns and hiking in the Sibillini Mountains prepared the mind, body and soul for the viewing experience to come. The prelude to Venice also included a short stop in Monza and Carlazzo where family and food were graciously celebrated. Fuel throughout was local fare and featured Il Grecale’s calamarata in San Benadetto del Tronto, Antonio’s wood fired margherita pizza in Carlazzo and Osteria Ai Do Farai’s carpaccio di Branzino in Venice.

This year’s Biennale presented the works of over 330 artists, mostly first-time participants, and over 85 countries were represented with their own national pavilions. The principal venues were the Arsenale, a former Venetian military dockyard, which housed themed exhibits as well as some national pavilions, and the Giardini, a lush garden area at the mouth of the Grand Canal that is home to 30 or so permanent national pavilions and a Central Pavilion that featured a curated selection of works by artists from Latin America, Africa, the Middle East and Asia. In addition, there were numerous other Biennale offsite locations scattered about town.

Among the national pavilions, the Australian entry featuring Archie Moore’s monumental family tree dating back 65,000 years took top prize among in-the-know jurors.  Other standouts included: Canada with Kapwani Kiwanga’s sculptures and all-over bead work; Nigeria which featured the photography, sculpture and painting of eight artists; and Italy with Massimo Bartolini’s labyrinth of metal scaffolding and sound machines. The highlights in the themed sections included: Costantino Nivola’s “Bozzetto per lo show-room Olivetti a New York”, 1953, plaster casting on sand and polychromy; Dalton Paula’s “Chico Rei”, 2024, gold leaf and oil on canvas; Pacita Abad’s “You Have to Blend In, Before You Stand Out”, 1995, oil, painted cloth, sequins, buttons on stitched and padded canvas; Fanny Sanin’s ”Oil No. 7”, 1969, oil on canvas; and Kim Yun Shin’s “Add Two Add One, Divide Two Divide One”, 1979, Korean red pine wood.

Piggybacking on the Biennale fanfare, numerous museums and converted palazzos and churches also staged wonderful shows all over the city. Stops included: The Peggy Guggenheim Collection which displayed its permanent collection of 20th century masterworks by leading European and American artists; the “William de Kooning and Italy” exhibit at Galerie dell’Accademia di Venezia; Pierre Huyghe’s “Liminal” at Punta della Dogana; Julie Mehretu’s “Ensemble” at Palazzo Grassi; the “Beati Pacifici: The Disasters of War and the Hope for International Peace” from the Bailey Collection at Chiesa San Samuele; and Berlinde De Bruyckere’s “City of Refuge III” installation at the Abbazia di San Giorgio Maggiore. Particularly memorable were: Pierre Huyghe’s “Offspring”, 2018, sensor based self-generative system for sound and light; Julie Mehretu’s “Among the Multitude XIII”, 2021-2022, ink and acrylic on canvas (48 x 60 in.) and “Black City”, 2007, ink and acrylic on canvas ( 120 x 192 in.); and magnificent de Kooning statues, including “Cross-Legged Figure”, 1972, bronze (edition of 7 plus 3 AP) and “Clamdigger”, 1972, bronze (edition of 7 plus 3AP). As for the Bailey and De Bruyckere exhibits, both were eerie and beautiful and set in surreal repurposed church spaces which were worth seeing on their own.

Meanwhile, crunch time hoops were being played in the new world. Regrettably Crazy Eyes and his Pacers were efficiently ousted by the Celtics, and with that, Dino fans on the legacy bandwagon were left a bit short of reliving glory days through the success of former players. The show nonetheless must go on, and the finals will tip off featuring the dominant Celtics and the surprising Mavericks and arguably the best guard matchups in the game. As for the Dinos, the focus turns to the upcoming draft and planning for next season. As of yet, neither Crazy Eyes nor OG-Wan Kenobe have signed with the teams they were traded to, and, by now, they surely must realize that change is overrated. So maybe, just maybe, is a return to Jurassic Park a possibility? Highly unlikely. The Biennale runs through November 2024. With the next edition two years away, it would be great if the Dino rebuild was on the same timeline, but that’s probably being a bit too optimistic. The next few years will truly test the mettle of fans.

For more information on the Biennale, the other exhibits and the ongoing Raptor reset, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - May 2024

Just back from action-packed Frieze art week festivities in the Big Apple which featured stops at Future Fair, Nada New York and Frieze New York. The art fair spree dovetailed nicely with the launch of the major post-war, contemporary, and modern auction previews scheduled for later this month at Sotheby’s, Christie’s and Phillips. The fairs and auction previews together served up fantastic art viewing opportunities for art fans and aficionados alike. And, as if that wasn’t enough given the mere 24 hours of viewing time on hand, serendipity delivered the icing on the cake with the timely opening of Tammi Campbell’s marvelous gallery exhibit of recent paintings and sculptures.

The Fairs

Frieze New York was the marquee fair, and it celebrated its 12th year as part of the cultural landscape in the city and its fourth outing at The Shed since relocating from Randall Island. The evolution of the fair since then has been considerable. From a corporate perspective, it is now part of famed Ari Emanuel’s sports and entertainment conglomerate, and, on the art front, the offering got slicker and more rarefied, featuring top-tier highly curated contemporary galleries and works. This year’s boutique-sized edition of 65 or so exhibitors included global mega galleries and international and local blue chippers. Standout works included: Nate Lowman’s “Golf Course Marilyn”, 2024, oil and alkyd on linen (50 x 30 in.); Uri Aran’s “Everything (Timeline)”, 2023, gesso, acrylic, oil, oil pastel, graphite, wood stain, clear polyurethane, charcoal, color pencil, china marker, and mixed media on canvas (87.25 x 42 x 1.5 in.); and, Richard Aldrich’s “Untitled”, 2022, oil and wax on panel (20.5 x 13.13 in.).

NADA New York has long been synonymous with contemporary and emerging art, and the fair continued to build on its reputation as being the go-to event for up-and-coming galleries. For this year’s edition, over 92 galleries, art spaces and non-profit organizations convened in the heart of Chelsea to showcase their stars, including, remarkably, 34 first time presenters. The show highlights included: a pair of works by Shaan Syed “Gorilla, Geurilla” and “To, Too, Two”, 2023, oil and paper collage on linen (35.3 x 31.5 in., each); Emma Schwartz’s “Thought You Should Know (again)”, 2024, oil, charcoal and chalk pastel on canvas (68 x 48 in.); and, Jule Korneffel’s “Alex’s Garden”, 2023, acrylic on canvas (82 x 80 in.).

Future Fair, on a relative basis, was the newest kid on the block, yet the four-year old upstart exuded a palpable vibe and excitement. With a focus on emerging galleries, the contemporary art fair featured over 100 artists from 26 countries, collaborating with over 60 local and international art dealers. Collectively creating a very accessible environment, the artists, works, and gallerists fostered a strong sense of engagement with fairgoers. Highlights included: Gwen Hardie’s assembled triptych “05.29.23”, pure venetian red and naples yellow on indian red, “09.15.23”, darkest cadmium red on indian red and “06.19.23”, lavender on warm umber (24 x 24 in., each); Beck Lowry’s “Red Threat (after Aseem)”, 2023, painted weaving on handmade wooden armature (plywood, crochet thread, oil paint) (12.5 x .75 x 1 in.); and Carolyn Case’s “Night Kitchen”, 2024, chalk pastel on pastel card with artist frame, ceramic porcelain and glaze (17 x 20 in.).

The Auction Previews

The previews for the prominent spring edition of the post-war, contemporary, and modern art auctions at Sotheby’s, Christie’s and Phillips opened to the public and welcomed everyone from the most serious global big hitters gearing up to shell out whatever it takes to walk home with a masterwork to casual and ardent fans savoring the opportunity to look at phenomenal works before they again disappear into private collections. As always, the previews were masterfully staged in wonderful spaces. Supersized showstoppers included: Andy Warhol’s “Flowers”, 1964, acrylic, fluorescent paint and silkscreen ink on linen (82 x 82 in.); Frank Stella’s “Lettre sur les sourds et muets II”, 1974, synthetic polymer paint on canvas (140.88 x 140.88 in.); Felix Gonzalez-Torres’ “(Untitled) America #3”, 1992, 42 light bulbs, porcelain light sockets and electrical cord (length 504 in.); and, Rashid Johnson’s “Anxious Red Painting September 24th”, 2020, oil on linen (72.25 x 96.25 in.). Beyond the headliners, marvelous less conspicuous works were sprinkled throughout. Memorable ones included: Brice Marden’s “Small Parchment Study #1”, 1999, oil on natural vellum stretched over plywood; Henry Taylor’s “Cruel Kids”, 2005, acrylic on canvas (28.5 x 28 in.); and Agnes Martin’s “Earth II”, 1959, oil on canvas (71.33 x 48 in.).

Tammi Campbell Exhibit

In between fairs and auction previews, Tammi Campbell’s As Long As It Lasts exhibit kicked off and featured a walk through with the artist who provided fascinating insights into her practice and the specifics about works on view. With the continuous evolution of her creative re-engineering processes and next gen wrappings, Campbell continued to push appropriation to new heights, all while making the work uniquely her own. Highlights included: the Cy Twombly inspired “Untitled (1970)”, 2024, chalk on blackboard with walnut frame (48.75 x 59.25 x 1.4 in.); and a replica of a famous Andy Warhol work with a twist “Double Elvis (Ferus Type) with Bubble Wrap and Packing Tape”, 2024, acrylic on canvas (81.25 x 58.25 x 1.25 in.).

As spirited art week festivities unfolded across the city, local sportsfans were also whipped up into a frenzy as both their hometown Rangers and Knicks advanced to the second round of their respective playoff series. On the hoops front, with the Knicks now set to tip off against the Pacers, Dino fans can also partake in some playoff excitement (by extension) as former Raptor stars Pascal Siakam and OG Anunoby, sporting Pacers and Knicks uniforms, respectively, are pitted against each other. The exuberance of “Crazy Eyes” versus the zen of “OG-Won Kenobe” - one of the two will get to the conference finals which should provide some solace and maybe even bring a smile to Dino nation.

For more information on any of the artists or works mentioned, the upcoming auctions, and the fate of former Dino stars, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

London, Paris - March 2024

Just back from a fantastic art viewing adventure in the old world which featured stops at the Tate Modern and Goldsmiths Centre for Contemporary Art in London, and the Musée d’Orsay, the Foundation Louis Vuitton and the Bourse de Commerce in Paris. The four-day trip was on the back end of a stay in the 13th century hilltop village of Petritoli, located in Le Marche, where local churches and those in the neighboring towns displayed marvelous medieval and renaissance style treasures. In the big cities, however, the focus was more on contemporary offerings. The whole made for a fascinating journey through an exciting part of art history.

London

An attempt to see the Yoko Ono exhibit at the Tate Modern was stymied by sold out crowds. The serendipity in poor planning however resulted in an opportunistic visit to the museum’s permanent collection, more specifically the magical second floor featuring modern masters and post war stalwarts. With entire rooms dedicated to the likes of Joan Mitchell and Gerhard Richter, among others, the walk-through played out like a greatest hits tour where around every corner an even more marvelous sensory treat was served up. Highlights of the visit included: Georges Braque’s early cubist masterpiece “Clarinet and Bottle of Rum on Mantlepiece”, 1911, oil on canvas (31.9 x 23.6 in.); Giorgio Griffa’s painterly “Tre linee con arabesco n.111”, 1991, acrylic on unstretched and unbleached canvas (114.4 x 76.4 in.); and Agnes Martin’s contemplative grid patterned renderings “On a Clear Day”, 1973, thirty screenprints on paper (each 12 x 12 in.), edition 32 of 50.

On the other side of town on the campus of one of the world’s most renowned art schools, a Matt Connors exhibit, Finding Aid, opened its doors at the Goldsmiths Centre for Contemporary Art. Featuring new and older works by the American abstract artist, the expansive grouping of paintings, sculptures and drawings cleverly paired Connors’ soft geometric abstraction and minimalist marking styles.  Showstoppers included: the large-scale bold vertical diptychs “Mural for a Gay Household I” and “Mural for a Gay Household II”, 2018-2020, acrylic on canvas; the vibrant “Red Top (deployed hatch)”, 2015, acrylic on canvas; and the sparse “Echo Implies Room (Orange/unprimed)”, 2012, acrylic and colored pencil on canvas.

Paris

Forty-eight hours later, the Eurostar abetted transition to Paris was speedy and eventless. Even under cloudy skies, the City of Light was totally sublime and uniquely picturesque. The art stops along the way were knockout shows in beautiful venues which in and of themselves were artistic and architectural marvels. At the Musée d’Orsay, the magnificently repurposed train station was the setting for the Paris 1874: Inventing Impressionism exhibit. The show celebrates the 150th anniversary of the inaugural exhibit of the then avant-garde movement and chronicles the transition from staid and traditional realism to hazier and freer interpretations of subject matter capturing a moment in time, an impression, so to speak. The cast of characters that led the way included MVPs in the annals of art history - Monet, Renoir, Degas and Cézanne, among others, all of whom figure prominently in the exhibit. The highlights included: Auguste Renoir’s “La Loge”, 1874, oil on canvas (31.5 x 24.8 in.); Claude Monet’s “Impression, soliel levant”, 1872, oil on canvas (19.63 x 25.63 in.); and Edgar Degas’ “Classe de danse”, circa 1870, oil on wood (7.75 x 10.63 in.).

The next visit on the journey was the futuristic Frank Gehry-designed Foundation Louis Vuitton and the Mark Rothko retrospective. The comprehensive exhibit brought together 115 or so works of the powerhouse American abstract artist and presented a chronology of the evolution of his early figurative renderings to mystical and surreal style paintings and finally, to his entrancing iconic floating forms. The highlights included: the early representational scene “Contemplation”, 1937-1938, oil on canvas; the surrealist masterpiece “Slow Swirl at the Edge of the Sea”,1944, oil on canvas; and dozens upon dozens of mesmerizing large format colour abstractions, including, “Orange and Red on Red”, 1957, oil on canvas (68.8 x 66 in.) and “No. 14”, 1960, oil on canvas (114 x 105 in.).

The last planned stop in Paris was the Pinault Collection at the impressively remodelled Bourse de Commerce. Spiralling up the majestic rotunda, works by contemporary art rockstars were prominently displayed. Among these were: Peter Doig’s haunting “Pelican (Stag)”, 2003-2004, oil on canvas; Maurizio Cattelan’s poignant “Him”, 2001, wax, human hair, suit, polyester resin and pigment; and a monumental installation by Sturtevant replicating the mythical room staged by Marcel Duchamp at the 1938 International Surrealist Exhibition in Paris.

Closing off the trip and reaching back in the art history timeline, a truly memorable work was discovered by happenstance during an unplanned visit to Eglise Saint-Séverin. Dating back to the 13th century, the gothic style place of worship housed numerous elaborate chapels which were all built around altars and adored by art of the time. A particular work stood out as it was presented alone hung high on a huge wall under a circular stained-glass window surrounded by nothing else but the serenity of the immediate environment. It totally radiated under the spotlight that illuminated a depicted religious figure sitting at a table who perhaps was Saint Séverin, a devout 6th century hermit and the church’s namesake.

Meanwhile, in the new world, there was a lot more commotion as Hogtown’s Jurassic Park was hit with an asteroid of epic proportions that essentially wiped out all remnants of a recent championship team.  The Dinos were dissected and dismantled. Gone are Crazy Eyes and OG-Won Kenobi, and team leader Scottie B and the much-maligned Austrian Big succumbed to season ending injuries. All the while, the newly minted Raptors including RJ the Prodigal Son Barrett and Immanuel La Squig Quickley struggled to stay healthy and make their mark. The result has been a team that is nowhere near relevant in the standings nor the hearts of fans. With the prospect of a lengthy and bumpy rebuilding process ahead, Dino fans can perhaps take some solace in rooting for the success of Raptor expats applying their trade elsewhere or maybe even Canadian hoopsters playing for true championship contenders. It’s all a lot rosier than the current state of affairs in Jurassic Park.

For more information on any of the venues, artists or works mentioned, or the sad sack Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(Https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Miami - December 2023

Just back from an action packed two and half days in Miami which featured stops at half a dozen art fairs and visits to a few private collections and a museum. With worrisome headlines front and center and a squishy economic outlook, one might have expected a more subdued reception to this year’s art week festivities in Magic City, but by all accounts, it was full steam ahead for art fans and aficionados. The fairs seemed to get super-sized, the crowds appeared to be bigger, and the city was grid locked for the better part of full days and evenings as people tried to make the most of all that was being offered. Once you eventually got to wherever you were going, it was all great. The art rose above all the noise, and a marvelous viewing experience was served up and fully appreciated.   

The itinerary for the trip included: INK, Untitled and Scope fairs on arrival in South Beach; the de la Cruz and Margulies private collections, the Rubell Museum, and NADA and Art Miami fairsthe next day in and around the Miami Design District; and then Art Basel Miami Beach back on the other side of Biscayne Bay on departure day. While not all fairs are created equal, part of the thrill is the journey and finding those special works that resonate wherever they may show up. And, in that regard, there were many exciting discoveries and some magnificent reacquaintances.

The mainstay and anchor of the art festivities was Art Basel Miami Beach which celebrated its 21st edition with 277 exhibitors from 33 countries. While that was the official gallery count, multiple booths by some gallerists together with the proliferation of focus sections spread throughout the Miami Convention Center catapulted the number of exhibits to well over 300. With a view to making it more manageable for fairgoers (albeit questionably so), the fair was organized into curated groupings featuring top-of-the-line modern and contemporary galleries in the main section and then, in other dedicated spaces, diverse curatorial initiatives such as emerging artists, thematic exhibitions and large-scale projects, among others. Perhaps at the expense of a shrinking modern master presence and notwithstanding the diversity in presentation concepts, the focus of the fair was clearly tilted towards the new as established and emerging contemporary art was at the forefront. There was also noticeable excitement around Untitled in what seemed to be an invigorating revamping of that fair’s physical presence and gallery lineup. Under its fortified bright white tent situated right on the beach, Untitled lived up to its billing as the quintessential Miami art fair and delivered a strong roster of 166 North American and international exhibitors focused intensely on contemporary art. Among the other visits, the incredible collections at the de la Cruz, the Margulies and the Rubell did not disappoint, and the opportunity to enjoy beautiful paintings, sculptures and on-site installations housed in marvelous settings without the chaos of crowded fair corridors was surreal.

Across all fairs, there were many memorable pieces. At Art Basel, the showstoppers included: Rebecca Morris’ “Untitled (#14-15)”, 2015, oil and spray paint on canvas (111 x 113.5 in.); Antonio Ballester Moreno’s “Azul”, 2023, acrylic on jute (78.75 x 57 in.); Gareth Nyandoro’s “Street Canteen”, 2023, ink on cut paper mounted to canvas (57.5 x 94 in.); and Phoebe Boswell’s “A Knowledge Becoming”, 2023, pastel on paper (60.25 x 48.5 in.). At Untitled, the highlights included: Rafael Lozano-Hemmer’s “Thermal Drift Density Map”, 2022, custom software, computer, thermal camera, screen (dimensions variable), edition of 6, 1AP; and Concetto Pozzati’s “Inventario”, 1963, oil on canvas (60.63 x 75.25 in.). Other special sightings included: a pair of Esteban Vincente works, “The West”, 1980, oil on canvas (68 x 56 in.) and “Inside Red”, 1986, oil on canvas (56 x 68 in.) at Art Miami; Vanessa Gully Santiago’s “Self Portrait in a Red Dress”, 2022, acrylic on canvas (30 x 24 in) at NADA; and Peter Grippe’s “Figure”, 1950, watercolour on paper (8 x 5 in.) at INK. Special kudos to Sudanese-Canadian artist Azza El Siddique’s critically acclaimed installation, “Final Fantasy”, involving metal work scaffolding, dripping water, eroding clay-fired pots with a central four-sided monitor scrolling the English translation of Egyptian and Nubian funerary texts. Emitting a mystical transcendental vibe, the temple-like installation captivated fairgoers and was an Art Basel fan favorite.

Among the private collections, it was great to again see longstanding much admired works, including:Noah Davis’ “Painting for my Dad”, 2011, oil on canvas (76 x 91 in.) at the Rubell; an installation of familiar works at the de la Cruz by Félix González-Torres which included “Untitled” (America #3), 1992, 42 light bulbs, extension cords and porcelain light sockets (variable size), “Untitled” (Portrait of Dad), 1991, white mint candies, endless supply (ideal weight 175 lbs), and “Untitled”, 1989/1990, offset print on paper, endless copies, two stacks (56 x 23 in. each, ideal height 26 in.); and Leondro Erlich’s “Elevator Pitch” at the Margulies, 2011, automatic door operator, sliding doors, stainless steel, button panel, rear screen video projection, Mac mini-computer, 5 minutes, looped.

While things were frenzied in Miami, it was probably equally so in Hogtown as Torontonian sports fans relished the very real possibility of landing Shohei Ohtani. The Dodo Birds were among the few shortlisted in the hunt for the truly generational talent, but regrettably, after all was said and done, the Dodgers signed him with the lure of perpetual sunshine and a whopping $700 million 10-year contract. Quite incredible.  For a short while, the hype served as the perfect smokescreen for the plight of the woeful Dinos who continued to plod along below the 500 mark in the win/loss column. It has been reported that Coach Darko has offered to pick up the team dinner tab when the boys string together three victories. With the team on a three-game losing streak, the more relevant matter at hand is what Coach Darko is doing to stop the bleeding. Fasting, KETO, Paleo? Hunger, or lack thereof, does seem to be part of the issue as lackluster performances add up. One can only assume that Sensei Masai is gearing up for a splash at the trade deadline in February 2024. Meanwhile, Coach Darko has his hands full.

For more information on any of the artists, works or venues mentioned, or the fate of the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

London, San Marino, Toronto - October 2023

Just back from fabulous art viewing experiences abroad and in Toronto. Stopovers included: Frieze London, Frieze Masters and the 1-54 Contemporary African Art Fair in London as well as the Philip Guston exhibit at the Tate Modern; La Galleria Nazionale in the Republic of San Marino; and Art Toronto in Hogtown. The whole, for the most part, was enjoyed in the context of a three week stay in Italy where the hilltop medieval village of Petritoli, located in Le Marche, served as home base, and offered spectacular vistas of land, sea and mountains, all longstanding muses throughout history. Without looking too hard, traces of Ellsworth Kelly’s curves, Jasper Johns’ crosshatches and Frank Stella’s grids could all be seen in the roofscapes and landscapes, providing a breathtaking backdrop to daily activities, whether art related or other.

London

The transition from bucolic and sunny Petritoli to chaotic and rainy London was drastic but exhilarating. Frieze Week in mid-October is the global launching pad for the all-important fall season in the art world. With summer days in the rear-view mirror, an intense focus radiated from the London art scene with the convergence of exhibit openings, important contemporary and modern auctions, and preeminent art fairs. While the weightiness of a challenged economy and ongoing wars was perhaps most evident in the squishy auction results, elsewhere, the mood and excitement were upbeat as fair venues and exhibits were flooded by art fans and aficionados.

Frieze London and Frieze Masters art fairs ran concurrently under the stars, so to speak, in separate tents in the wonderful greenspace of Regent’s Park. Frieze London’s defining focus is on living artists and contemporary art. This year’s edition, the 20th, included over 160 participating galleries with a strong contingent of 40 or so international exhibitors. Noteworthy was the caliber of presenting galleries and works on display. While remaining very faithful to the contemporary focus, large well-established mega galleries were ever so present along with their roster of anointed stars, perhaps at the expense of the more experimental flair historically more synonymous with Frieze. A walking distance away through a maze of outdoor sculptures, Frieze Masters hosted over 130 galleries that showcased an eclectic mix of art works ranging from archaeological finds dating to thousands of years BC to 20th century masterpieces. Fair highlights included:  Tabboo!’s “Desert Moon”, 2021, acrylic on canvas (60 x 50 in.); Simone Leigh’s “Untitled”, 2022, stoneware, 25.75 x 11.75 x 16.5 in.); and Anna Mark’s “R 1002”, 1968, synthetic resin, sand, pigment on canvas, mounted on wooden frame (20 x 20.25 in.).

Elsewhere in the city at Somerset House, the 11th edition of 1-54 Contemporary African Art Fair was in full swing with a line-up of over 60 galleries showcasing more than 170 artists. There, the excitement of discovery and seeing new things being done by emerging talents was palpable. Highlights included: Godwin Champs Namuyimba’s “Fathering spirit”, 2023, acrylic on canvas (90.5 x 78.75 in.); Emmie Nume’s “When we use to”, 2021, mixed media on paper (55.5 x 41.75 in.); and a pair of works by Theresa-Anne Mackintosh, “Walking with my body conscious” and “Comfortably dazed”, 2023, oil and acrylic on canvas (each, 34.25 x 39.5 in.).

Also in London, a captivating Philip Guston retrospective was being held at the Tate Modern. Spanning a 50-year career, the comprehensive survey included everything from the artist’s more classical early works to pieces depicting his fiery brand of abstraction and, most prominently, paintings and drawings featuring his iconic comic-like figures and imagery that captured the anxious and turbulent world around him. The whole made for an intense and sometimes unsettling experience. While the museum walls were bursting with large scale masterworks that chronicled the Guston story, it was a small self-portrait that was most memorable - “Untitled”, 1968, acrylic on board. Barely noticeable behind the artist’s gaze painted in the foreground were the remnants of an earlier work of a hooded figure. The effect hauntingly captured Guston’s lifelong nightmarish preoccupation with racism.

San Marino

The next art stop was an unplanned pleasant surprise that surfaced during a day trip to San Marino. Located on the northeastern side of the Apennine Mountains and surrounded by Italy, San Marino is the fifth smallest country in the world, and it boasts a historic center high up on Monte Titano at approximately 2500 feet above sea level that features three medieval towers dating back to the 11th century. There was almost a Vegas-like surrealness to the place with throngs of tourists making the pilgrimage to take in the spectacular views and medieval setting. Nestled in one of the few quiet corners of the historic city and a bit isolated from the many churches, palazzos and eateries was La Galleria Nazionale di San Marino, the country’s center of modern and contemporary art.Housed in the renovated Logge dei Volontari, the museum is dedicated to showcasing its collection of post war art which was amassed from international art biennials held in San Marino beginning in the mid-50s. It was totally surprising to come across fantastic works by lesser-known American artists, including: James Brown’s “Opera Contro Natura”, 2003, mixed media and collage on folded linen (59 x 98.75 in.); and David Row’s “B.N.I.”, 1992, oil on canvas (in three parts, overall, 66 x 85.75 in.).

Toronto

Returning back from the old world with only one viewing day left at Art Toronto, the opportunity was seized to cap off the art adventure with a visit to Canada’s premiere contemporary and modern art fair. While the corridors were filled with rumblings of challenging times, the viewing experience was fantastic. Over 100 galleries took to the floor of the Toronto Metro Convention Center and offered up works from over 1000 artists. As a bonus, the launching of Jack Bush’s catalogue raisonné drew out many of his works that were scattered throughout the fair, including two favorites: “Untitled”, 1962, gouache on paper (35.25 x 23 in.); and “Red, Orange, Green”, 1965, serigraph, edition 67 of 100 (25.5 x 20 in.). Other fair highlights included: Emma Kohlmann’s “Tulip”, 2023, oil on linen with cherry frame (14.25 x 12.25 x 1.25); Catherine Desroches’ “Déliason du corps contre le ciel”, 2023, bronze, pine, plywood, lost wax casting dust, foundry kiln ashes, graphite powder, charcoal on newsprint and on panel (84 x 49 in.); Marcel Barbeau’s “Iris”, 1962, acrylic on canvas (76.4 x 51.2 in.); and Jean-Paul Riopelle’s “Sans titre (1958.006P)”, 1958, oil on paper (25.5 x 19.75 in.).

Meanwhile, the sports scene in North America was frenetic with activity as all major sports leagues were in some state of play. In Dinoland, emotions were cautiously optimistic following a perfect pre-season and a home opener win. After that celebratory moment, however, reality set in for rookie Head Coach Darko Rajaković. Three losses later, the new system was being questioned, and all the ghosts of last year’s disappointing season were surfacing. A win against a star-laden Bucks team provided some glimmer of hope, but that too was soon quashed with a thumping courtesy of ex-Dino Head Honcho Nick Nurse and his 76ers. Can a Fredless team be so different? It’s got to be the system. It’s early, I know, but it doesn’t bode well. Up next, Wemby-mania in the Lone Star State. Ugh.

For more information on any of the artists or works mentioned, the fairs, exhibits, Petritoli and Coach Darko’s system, “Just Google It”.

There you have it sportsfans,

MC Giggers

(Https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - September 2023

Just back from a long-anticipated return to Armory week festivities in the Big Apple. Fueled by the pent-up excitement following a self-imposed two-year hiatus and not deterred by the sweltering heat and overcrowded New York streets, the art viewing experience was over the top - fantastic fairs, surreal MoMA moments and great gallery shows. Stopovers included: The Armory Show, Independent 20th Century and Art on Paper fairs; a pilgrimage to the MoMA; and a half dozen or so gallery visits.

The Fairs

The Armory Show held court as the centerpiece of the two-day jaunt. While the fair has long been part of the city’s cultural landscape, bringing together the world’s leading contemporary and modern galleries in the revamped Javits Center elevated the fair-going experience for all stakeholders. Art fans, exhibitors and artists have all benefited from the move two years ago from Piers 92 and 94. While the art is ultimately what matters most, venue counts as well, and creating an atmosphere where art fans can best appreciate wonderful pieces and exhibitors can best showcase their artists is important. With its outstanding gallery lineup, topnotch presentation space and user-friendly layout, The Armory Show delivered on all fronts.

This year the fair assembled over 225 leading international galleries representing more than 35 countries and over 800 artists. Along with the revitalization brought about by the venue upgrade, the show’s focus has also evolved to having a more contemporary and emerging artist bias where previously older post war painters also shared the spotlight. With that change, the crowds also seemed to get younger, less staid, and more eclectic, all making for a vibrant and exciting ambiance.  Some highlights included: Landon Metz’s organic flowing shapes in “Untitled”, 2023, dye and canvas, diptych (40 x 64 in.); Mario Martinez’s abstract expressionist inspired “Inside, Outside”, 2004, acrylic and charcoal on canvas (86 x 133.5 in.); and Nicole Coson’s imprinted found objects in “Untitled”, 2023, oil on linen (79 x 51 in.).

The vibe at the Independent 20th Century fair was more reflective and subdued but also enjoyable in a different sort of way. Set in the historic Battery Maritime Building, the focus of this 35-exhibitor show was to celebrate unsung artists that applied their trade between 1900 and 2000. Donning the walls were works of lesser known heroes such as Jack Tworkov, James Brooks and Midred Thompson, among others. The fair highlights included three large scale works from Paul Feeley featuring his archetypal jack-like forms set in a colour field backdrop, namely, “Vespasian” and “Germanicus”, 1960, and “Untitled”, 1961, each oil-based enamel on canvas.

Art on Paper was staged on the courts of Basketball City on Pier 36 and celebrated its ninth edition with a 100-plus gallery roster featuring top modern and contemporary paper-based art. The atmosphere was light and lively and lent itself well to the creatively used to highlight the fair’s signature medium. Highlights included: Eric Stefanski’s earnest and satirical “Im Fuckin Trying”, 2023, oil and graphite on paper affixed to panel in artist’s frame (44 x 34 in.); Gigi Mills’ “Night Sail and Shephard”, 2023, oil, paper and crayon on paper (43.5 x 38 in.); and Alyssa Salomon’s “Time & Place for Considering Optimism & Sunlight”, 2020, cyanotype on Abaca/Kozo paper (38 x 25 in.).  A showstopper also included a collection of six exquisite Michael Loew cubist nudes, 1951, india ink on paper on board (each 9 x 6 in.).

The Museum

The MoMA experience kicked off with early morning access tothe Ed Ruscha / Now Then exhibit. The show surveyed six decades of output and featured over 200 works in mediums including painting, drawing and photography. Peppered throughout were many of his easily recognizable images mined from Los Angeles iconography such as the Hollywood sign, Standard Oil stations and the Twentieth Century Fox logo. Equally impactful were the word paintings reflective of guttural utterances he came across in his day-to-day activities. Special pieces among these included: “Honk”, 1961-62, oil on canvas and “Oof”, 1962, oil on canvas.

The Ruscha exhibit then flowed into a pilgrimage to several extraordinary works in the MoMA permanent collection. These included: Andy Warhol’s “Campbell’s Soup Cans”, 1962, acrylic with metallic enamel paint on canvas, 32 panels; Jasper Johns’ “Flag”, 1954-55, encaustic, oil and collage on fabric mounted on plywood, three panels; Jackson Pollock’s “One: Number 31, 1950”, 1950, oil and enamel paint on canvas;  Henri Matisse’s “The Red Studio”, 1911, oil on canvas; Pablo Picasso’s  “Les Demoiselles d’Avignon”, 1907, oil on canvas; and, Vincent van Gogh’s “The Starry Night”, 1889, oil on canvas. While these works are all very familiar and are plastered on everything from mugs to T-shirts, a firsthand visual of their mastery is a magical reboot and a reminder of their greatness.

The Galleries

Memorable gallery exhibits visited outside the fair circuit included: John Zurier “On the Back of a Mirror”; Caroline Monnet “Worksite” and Ellsworth Kelly “Ellsworth Kelly at Gemini: An Exploration of Color”. Standouts among these included: John Zurier’s dreamy “Langspil(Echo)”, 2023, oil on linen (25.6 x 19.6 in.); Caroline Monnet’s biological experiment “Depredation”, 2023,  mold on gypsum board, 15 parts (each 13 x 13 in.) and powerful “In Silence We Speak Volumes”, 2023, oriented strand board, acrylic (47 x 47 in.); and Ellsworth Kelly’s stunning “Red Curve (State ll)”, 1988, 1-color lithograph, edition of 15, #3 (26 x 84 in.).

While art fans were scurrying about to the various venues sharing the New York City stage with sportsfans who were in town to witness Coco Gauff’s crowning achievement, on the other side of the world in the Philippines, hoopsters were being treated to a different brand of basketball at the FIBA World Cup, the toughest albeit not glitziest of international hoops tournaments. When all was said and done, the gold medal went to Germany who outlasted Serbia in the finals while Canada upset the USA in an overtime thriller for the bronze. That was a historic finish for Canada on the FIBA world stage and a major disappointment for the USA who fielded an all-NBA team - true, maybe not the best of the lot and three players were out with an undisclosed illness (bad pancit, maybe), but still, a great victory for Canada thanks to standout performances from Shai Gilgeous-Alexander who was named to the All-Tournament team and bronze medal game MVP NBA villain par excellence Dillon Brooks. Another huge positive stemming from the tournament was the show put on by Dennis Schröder who led the German team to the top podium finish. The speedy and crafty guard was named FIBA World Cup MVP and will be bringing his talents to Toronto. Let’s hope Flash can carry over his success to the Dinos as he steps into the prime ball handler role vacated by Steady Freddie’s departure. Something to look forward to.

For more information on any of the artists or works mentioned, the MoMA, the gallery exhibits and Schröder’s transition to the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Special Collectibles Edition (Bagel Dunk) - January 2023

This is not an invitation to brunch or a late-night nosh. It’s a report on the quest to buy a pair of sneakers, more specifically, the Nike Bagel Dunk Low PRM. The pursuit unfolds over a little more than 24 hours and pits physical stamina alongside virtual dexterity (or lack thereof), and features everything from weathering the elements to frozen screens, and last-minute disappointments to an unlikely surprise. All for a pair of sneakers? Yes, but sneakers with a truly unique design and steeped with a rich cultural provenance that is close to the heart.

While Nike has released many sneakers dedicated to cities around the world, there has never been one that pays homage to Montreal, until now. The city’s rich history of sports teams and celebrities, as well as important artists and iconic landmarks could have easily served as more typical inspirations for the shoe’s design. Instead, the Beaverton creative types turned to the humble bagel as their muse, the thought being that the widespread adoption of the delectable treat of immigrant origins into the city’s culture was representative of the multiculturalism that thrives in Montreal and was worth celebrating. With Montreal being my home and having a strong appreciation of the diversity the city offers as well as a huge fondness for our bagels, I was swept away by the premise and the prospects of acquiring a pair.

In designing the shoe, Nike was careful to sidestep the debate as to who the true originator of the bagel was or whether Fairmount Bagel or St. Viateur Bagel makes the better one. The focus instead was to highlight the characteristics that make the dense, chewy, doughy Montreal bagel unique and truly different from all others.  

The Nike Bagel Dunk Low PRM (product code: DZ4853-200) is anchored off the familiar dunk low model and the PRM moniker indicates the use of premium materials. From there, the Montreal bagel inspirations take over and transform the shoe into a contemporary masterwork of wearable art. As per the Nike copy, it features a two-tone upper with a textured Sesame seed print that is accented by a Royal Blue swoosh representing the colours of the flag of Quebec. The creamy white set of laces and the tongue labels pay homage to the classic bagel condiment, cream cheese, while the translucent gum sole nods to the honey water Montreal-style bagels are dipped into before being traditionally wood fired, the planks of which are emblazoned on the insoles of the shoes. As a bonus exclusive to the Canadian market, the sneakers are packaged in a special Montreal Bagel Dunk box featuring the artwork of Montreal-based artist Chien Champion. I got hungrier just reading about it.

Nike’s official release date for the shoe in North America is January 17, 2023. It was a pre-release on January 13th that kicked off the odyssey. Off the Hook, a Montreal-based sneaker retailer, in partnership with Nike, were offering early access to the shoes through an old school physical store launch. Doors would open at 11 am that day, and if you wanted a pair, you had to line up. I was psyched to try my luck notwithstanding my hesitation of undertaking anything of importance on a Friday the 13th. Bad omen aside, the strategy was to make my way downtown at an early hour and queue up for the shoes. That morning Montrealers woke up to about 15 cm of snow on the ground and blistery winter conditions. The plan to get to the store before sunrise was already delayed by an hour of driveway shoveling.  No problem, if I’m delayed, everyone else would be. Slightly tired, but still motivated, I was downtown by 8:00 am. There I was greeted by a queue of about 250 people in a line that wrapped around the city block. While disappointed with my prospects of getting my hands on a pair of Bagel Dunks and the sad reality of being out hustled by so many, I was impressed with the commitment and passion of all the sneakerheads and shoe aficionados that braved the conditions.  Reportedly, some had been there since 10 pm the previous night. As one might expect, these were predominantly Gen Zers with some Millennials and the odd Gen Xer.

Not much went on in anticipation of the store opening. The occasional snow plough passing and watching cars navigate wintery conditions was as exciting as it got. Meanwhile, snow kept falling which didn’t seem to faze people, some of whom had set up lawn chairs to wait it out. Thankfully the temperature remained around minus 3 degrees Celsius, but after hours of standing in the same place, even that felt much colder.

By the time 11 am rolled around, people began taking down camp with the hope of quickly moving forward. Regrettably, things just inched along. The news filtered down the queue that 5 to 10 people at a time were being let in the store. I resisted doing the math and remained optimistic that the pace would pick up. At noon, I was just rounding the bend and had the OTH awning in sight, but there were still a lot of people ahead of me. At 1 pm, the good news/bad news was delivered. Sizes 8.5 through 11, and 12 were sold out, but some of those sizes would be restocked during the day or over the next few days. Basically, a raincheck was being offered. It was all bad news in my opinion. Firstly, there was no great exodus of people leaving the line, and secondly, the shortage in supply would jeopardize my ability to land a pair of size 13s as those desperate to get their hands on shoes of any size were now more likely to scoop up whatever was left. Anyways, too late to abandon ship now, even though I was frozen and very hungry. Some bagels and coffee were making their way up and down the queue, but it always seemed that supplies ran out before reaching me or started being served to the people in the long line behind me.

The big push for the door happened at 2 pm, a full six hours after getting there. The final effort was up two flights of stairs to the service counter. Once arrived, the excitement of summiting was quickly defused by the news that there were no longer any 13s available and that they would not be restocked. I was offered the opportunity to get on a waitlist for a shoe size that would be restocked, which I did (opting for a size 12). “We’ll call you.” And with those words, I was ushered out empty handed and made my way back home to a couple more hours of shoveling.

Later that afternoon, I reached out to my nephew and chided him about not seeing him in line for the drop. Sensing my disappointment, he directed me to the websites of a couple of sneaker retailers that were having online launches the next day at 10 am. I decided half-heartedly to try my luck online, but realistically had no real hope of being successful. I mean, how do you compete in an online drop? I have this notion of an algorithm scooping up all available shoes in a nanosecond. And, that’s what it felt like. Two of us at home and a daughter in Toronto were each monitoring two sites simultaneously when 10 am rolled around, and then, before you could hit the refresh button, everything was sold. More desperate attempts were made and foiled by frozen screens and 404 Page Not Found messages.

By this time, it was about 10:15 am, when my daughter offered to walk by the actual store of one of the online retailers which was having their Toronto launch at 11 am. It wasn’t far, and so I didn’t discourage her, fully expecting that she would meet up with the same crowds I had experienced the previous day in Montreal. She got to there around 10:30 am and was second in line. The store opened on time, and she walked out with a pair of size 13s shortly thereafter. It’s amazing that none of the national and local press coverage around the sneaker launch and the mayhem of the Montreal prelaunch didn’t spill over to Toronto, and even more remarkable that the big expat Montreal community didn’t rally around the homage to their former home. Well, no complaints here. While it felt totally silly to have waited in line for over six hours the previous day, perhaps it was the karma of the 24-hour effort that led to the favourable turn of events.

Now, what to do with the sneakers – wear them, store them, or sell them? Definitely not the latter. The last time I engaged with wearable art was in 2015 (https://www.nytimes.com/interactive/2015/05/18/fashion/The-Mens-Medium-Is-Fashion-at-Frieze-New-York.html). I have not since taken Pia Camil’s poncho out of the closet. Maybe the right compromise is to display them. We’ll see.

 Meanwhile, there was no positive karma left for the Dinos. After putting together three wins in a row (I know, two against the Hornets), the Raptors couldn’t extend their streak against the Atlanta Hawks who find themselves just ahead of the Dinos in Eastern Conference standings and battling for a play-in spot. Perhaps it’s all for the best as the euphoria of another win against one of the league’s lesser opponents might have given a false sense of hope to a squad that’s disappointing on so many levels. Upper management, coaches and players, all have their feet to the fire as the trade deadline approaches and pressure mounts to get results or change course. Wholesale changes are a real possibility with only Crazy Eyes being immune. Like with the sneakers, we’ll see.

 For more information on the Nike Bagel Dunk Low PRM and availability in local markets, or the fate of the Dinos and any pending changes, “Just Google It”.

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

 PS. Special thanks to Daniel, Cynthia and Ally for their help!

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Miami - December 2022

Just back from two and half days in Miami and returning fully saturated and totally satiated from an intense and marvelous art viewing experience. Art has once again become a full contact sport and long gone are the notions that hybrid formats work just as well.  Instead, throngs of art fans and aficionados fearlessly braved the crowded corridors of art venues and city streets satisfying their craving for firsthand looks at everything from the bright and shiny new thing to postwar contemporary masterworks. As entertaining as the art on display, were the people doing the looking, and Miami during Art Week has a knack of drawing out the best of them ranging from the ultra-extreme eccentrics to the minimalist uber cool contemporary hipsters and everything in between. At the center of it all however was more art than the mind can reasonably process and the amazing adventure it was to attempt to do so.  

The action-packed itinerary for the brief visit was staged to tackle a host of fairs, some private collections and a few museums. As always, step management, strategic ubering and timely refueling (notably an award-winning grilled octopus and a killer salmon a la plancha con coliflor) were keys to pulling it off and maintaining some semblance of sensory balance. The roadmap featured: Art Basel Miami Beach, NADA, Art Miami, Untitled and INK art fairs; the de la Cruz, Juan Carlos Maldonado and Margulies private collections; and the Institute of Contemporary Art and the Rubell Museum.

While all the stops had something to offer, a few rose above the rest. Sitting at the top in the fair category, Art Basel celebrated its 20th edition in style with 283 exhibitors from 38 countries showcasing a highly curated offering of top-end modern and contemporary art. In addition to featuring some of the world’s most renowned galleries, the fair also included 26 rookie participants. In that regard, it was great to see that certain perennial NADA and Art Miami exhibitors had graduated to the bigger stage. There was also noticeable excitement around NADA’s 146 gallery offering and a palpable feeling that the fair has reclaimed its legacy reputation for exhibiting cutting edge contemporary art and being the definitive launching pad for emerging stars. Among the other visits, the incredible viewing spaces at the de la Cruz and the Rubell housed over-the-top beautiful paintings, sculptures and on-site installations reflecting the astute collecting preferences of their founders.

There were many memorable pieces. At Art Basel, the showstoppers included: Henrik Olesen’s three-piece installation “Portrait 1, Portrait 2 and FuBleiste”, 2020, oil and mixed media on cotton and HDF (15.8 x 11.8 in.), oil and mixed media on Masonite, framed (19.7 x 17.2 in.) and one skirting board, paint (98.2 x 1.8 x 1.2 in.); Leon Polk Smith’s cascading “Constel: Blue Red straight line thru three Ovals”, 1969, paint on canvas (121 x 132 in.); Katherine Bradford’s dreamy “Quiet Beach”, 2022, acrylic on canvas (72 x 60 in.); and Martha Tuttle’s ethereal textile-based abstraction “Mystic and wonderworker”, 2022, wool, silk, pigment, steel and stones (7.9 x 10.2 in.). At NADA, the highlights included: Benjamin Echeverria’s “Nevada”, 2022, oil, acrylic, adhesives on canvas in artist’s frame (68.2 x 65.2 in.); Jay Payton’s “Biohazardous Medical Device”, 2022, mixed media on cardboard (65 x 48 in.); and Melissa Joseph’s “Sensory Deprivation”, 2022, archival print and needle felted wool on industrial felt (30 x 30 in.). Other fair highlights included: Sam Francis’ “Untitled (SF75-119)”, 1975, acrylic on paper (13.5 x 11.5 in.) at Art Miami; and Jasper Johns’ “Target, from Meyer Shapiro”, 1973, screenprint on Ohiro Mimitsuki paper (23.9 x 16.3 in.), A.P. 9/13 at INK. Among the private collections and museums, the standouts included: Laura Owens’ celestial ecosystem “Untitled”, 2016, oil flashe, screenprinting ink, charcoal and sand on linen (108 x 84 in.) at the de la Cruz; Matthew Angelo Harrison’s repurposed sculpture “Dark Silhouette: Timid Male Figure”, 2018, wooden sculpture from West Africa, polyurethane resin and anodized aluminum at the ICA; Noah Davis’ “Painting for my Dad”, 2011, oil on canvas (76 x 91 in.) at the Rubell; and Pier Paolo Calzolari’s “Haiku (Scarpetta rosa)”, 2017, salt, thick flannel, tempera, oil pastels on wood at the Margulies. One of the more interesting installations, Yayoi Kusama’s “Narcissus Garden”, was also at the Rubell. This version of the familiar Kusama work featured 700 shimmering silver spheres spread out over the length and width of the museum’s 200-foot-long main corridor providing a totally immersive experience for patrons who navigated around the beach ball size orbs while glancing at their reflections along the way. Special kudos to Essa Mohamoud and her Art Basel debut of “Ebony in Ivory, I”, 2022, shea butter, Italian black marble, wax and damar resin (60 x 30 x 30 in.), unique edition 4 of 5. This sculpture was a noted standout at Art Toronto 2022 and more than held its own among the best of the best.

While the mood was festive in Miami during the week, things in Jurassic Park were more worrisome especially after the Dinos suffered back-to-back thrashings at the hands of the Pelicans and the Nets. Thankfully, the Magic arrived in Hogtown on Saturday night and the Raptors came away with a decisive victory. It’s unclear however how much comfort fans should take in besting Orlando, the worst NBA team. Having put forward 10 different starting lineups in the last 10 games, clearly Coach Nurse still seems to have some tinkering to do before settling on a definitive starting five and a reliable second unit rotation. With Gary I Never Saw I Shot I Didn’t Like Trent Jr. moving to an off-the-bench scoring role, there’s a starting slot or two up for grabs. For sure the core unit is anchored by Crazy Eyes who has quickly regained his NBA all-Star form and the Extraterrestrial One who is a total beast, but after that, it’s less clear. Baby Face Barnes has had a good year but not a great one, and Not So Steady Freddie has yet to find his stroke. Who steps up is the question … Special K - the rookie, Deux Cuisses de Poulet - the energizer, Thad the Impaler - the wily veteran? It’s a roll of the dice for now and Coach Nurse is still searching for the winning combination.

 For more information on any of the artists, works or venues mentioned, or the fate of the Dinos and any pending roster changes, “Just Google It”.

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Toronto- October 2022

Just back from Hogtown and a much appreciated fully immersive in-person (protocol free!) experience at Art Toronto. Transitioning from last year’s hybrid format with only 65 on site galleries, the current edition featured 90 plus exhibitors from across Canada, the US and abroad as well as a more expansive curatorial offering of project spaces and installations. Few and far between were traces of the destabilizing pandemic. Instead, there was a palpable energy in the air as art fans seemed to make the most of the opportunity to enjoy works firsthand. Perhaps the only lingering aspect of the pandemic was the relatively subdued participation of international galleries. This however was more than offset by strong showing of predominantly Canadian galleries showcasing outstanding Canadian artists, some of whom are making impressive strides on the international scene. As always, contemporary and historic art shared the stage, yet there was a notable bias towards more recent works of established and emerging contemporary players.

Works by rockstars Manuel Mathieu and Esmaa Mohamoud figured prominently among the fair standouts. Manuel Mathieu’s “Etude sur l’anonymité”, 2022, mixed media on canvas (68 x 72 in.) showcased his fluid soul mapping style, and Esmaa Mohamoud’s “Ebony in Ivory”, 2022, shea butter, beeswax on marble plinth, edition of 5 (50 x 12 x 12 in.) took her sculptural practice and strong cultural messaging to the next level. Other highlights included: Maria Hupfield’s creatively constructed and packaged chair “Aesthetics of Care”, 2022, industrial felt, framed (51.5 x 27.5 in.); Nathan Eugene Carson’s reflective “Angel Boy I”, 2022, mixed media on paper (24 x 18 in.); Oan Kyu’s resonating calligraphic renderings “Earlier than Writing”, 2022, two ink drawings on Hanji paper (each 13.4 x 47.2 in.); Davis Nash’s eye popping colour tower “Red Stack”, 2020, stencil pastel on paper (40 x 26.5 in.); K.M. Graham’s whimsical landscape snippet  “Dorset Whiplash”, 1978-79, acrylic and pastel on canvas (14 x 22 in.); and Louise Nevelson’s monochromatic sculptural matte black box “Winter Chord”, 1975, painted wood, edition of 100 (14.5 x 9.8 x 1.5 in.).

Beyond the nourishing food for the soul at the fair, the gastronomical highlight of the trip was enjoyed in the north end of town and featured: an over-the-top homemade focaccia with impressive elevation; a delicious slow cooked contemporary take on beef stew; and, a tasty mystery ingredient (think Andy Warhol) cream cheese icing topped cake with seasonal spices.

The only low point of the Hogtown visit was the dismal performance by Dino’s on the second day of back-to-back games against the 76ers. With J-Biid sitting out game two and the opportunity to sweep the mini-series, the Dino’s had a classic let down and were totally dominated by their conference rivals. Scary Freddie (aka Steady Freddie) was zero for 11. Inexcusable but partly explainable by the lingering effects of his herculean effort to be named to the all-star team last season. While he won the accolade, it was at great physical cost, and he has not been the same since. As Freddie hopefully regroups, perhaps Coach Nurse should consider freeing up more minutes for his sparsely used bench. Even better, maybe Coach Nurse should push his positionless basketball experiment to the limit and start Deux Cuisses de Poulet Boucher in Freddie’s place for a game or two. That would be exciting basketball to watch, assuming they could get the ball up the court.

The line of the trip (“Cyndi – how are you?”) was delivered in the form of a warm greeting by Canadian mega businessman, philanthropist, collector and longstanding patron, supporter and hopefully saviour of Nos Amours. Regrettably there was no further news to report following the interaction on the prospects of reviving talks with the Rays or landing a franchise in Montreal.

 For more information on any of the artists or works mentioned and for an update on Freddie’s woes or the mystery ingredient, “Just Google It”.

There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - May 2022

Just back from a chaotic 48-hour New York City road trip that spanned four auction previews, a dozen or so gallery shows and exhibits and three art fairs. Lingering pandemic precautions were few and far between as predominantly maskless art fans and aficionados were welcomed with open arms in Manhattan where the only real self-distancing seemed to be between cordoned off masterworks and gawking admirers. With caution thrown to the wind, evidence of the strong interest in art prevailed on the heels of the upward momentum generated during the perfect storm of the last few years, and while even the physical elements conspired to make things particularly soggy and overcast this weekend, it was nothing that some fabulous viewing experiences couldn’t brighten up.

The Auction Previews

The previews for the prominent spring edition of modern and contemporary art auctions were all in full swing. As a prelude to the sales that are scheduled over the next couple of weeks, Christie’s, Sotheby’s, Phillips and Bonhams presented magnificently staged viewings of the works up for grabs.  Highlights from the prestigious evening sales lineups included: a pair of Rothko’s from the Collection of Anne H. Bass “Untitled (Shades of Red)”, 1961, oil on canvas (69 x 56 in.) and “No.1”, 1962 , oil on canvas (69 x 60 in.), estimated at $100 to $150 million for the pair ; a collaboration by Andy Warhol and Jean-Michel Basquiat from the Collection of Thomas and Doris Ammann “GE/Skull”, circa 1984-85, acrylic and silkscreen ink on canvas (72 x 92 in.), estimated to sell for $2 to $3 million ($4.6 million realized); Alberto Giacometti’s “Femme de Venise ll”, conceived in 1956 and cast in 1976 (48 in. height), estimated at $8 to $12 million; and Andy Warhol’s “Shot Sage Blue Marilyn” also from the Amman collection, 1964, acrylic and silkscreen ink on linen (40 x 40 in.), estimated at approximately $200 million ($195 million realized).  Among the more “modest” pieces destined for the daytime sales, highlights included: Glenn Ligon’s “No Room (Gold) #47”, 2007, oil and acrylic on canvas (32 x 32 in.); Katherine Bradford’s “White Wave”, 2017, acrylic on canvas (48 x 36 in.); and George Condo’s “Untitled”, 1987, oil, wax crayon, charcoal, graphite and paper collage on cardboard (96 x 48 in.).

Gallery Shows and Exhibits

The gallery show journey started in the sun late Thursday afternoon and continued in non-stop rain on Friday and Saturday. While concentrated in the Chelsea district, the weaving to and from various exhibitions around town necessitated some adroit umbrella manipulation skills and a good pair of rain boots. The shows ranged from great to over the top and figuring prominently among the visited exhibits were several that were just coincidentally discovered on the path to others. The itinerary along with lasting impressions included: “Oscar Murillo: Ourself behind ourself concealed”, powerful large scale abstracted works; “Richard Nonas: As Light Through Fog”, minimalist salvaged wood wall sculptures; Richard Serra’s “Sculpture and Drawings”, familiar sculpture and oil stick renderings; “Matthew Wong: The New World Paintings from Los Angeles 2016”, sumptuous suite of works on paper; Ray Parker’s “Paintings from the 1970s”, whimsical free floating forms on canvas; “Jean-Michel Basquiat: King Pleasure”, a comprehensive compilation of canvases, drawings and artifacts; Carmen Herrera’s “The 1970s: Part 1”, beautiful hard edge masterpieces; “Ellsworth Kelly: Blue Green Black and Red”, bold and imposing monochrome shapes; “Robert Mangold: Plane Structures”, mesmerizing irregular shaped canvases; Benjamin Klein’s “The Mouse who Saved the World”, richly depicted ecosystems on canvas; and Esmaa  Mohamoud’s “It Cannot Always Be Night”, a field of metal flower sculptures set in a warm sunset glow. Among these, standout works included: Robert Mangold’s “Plane Structure 1”, 2019, acrylic and black pencil on canvas (42 x 85.63 in.); Carmen Herrera’s “Diptych”, 1978, acrylic on canvas (each 50.25 x 50 x 2 in.); and Matthew Wong’s “Untitled”, 2016, acrylic on paper (12.25 x 9.13 in.).

The Fairs

The fair circuit began at the independent Art Fair which featured 67 international presentations by over 200 contemporary artists; continued at NADA New York which hosted over 120 galleries and art spaces promoting a strong contemporary platform; and concluded at TEFAF New York with 90 or so marquee exhibitors successfully staging a stunning marriage of historic, modern master and contemporary offerings.  The showstoppers included: Pier Paolo Calzolari’s “Haiku”, 2017, salt, thick flannel (mollettone), milk tempera, brass wire and rose petals stabilized on paper (12.13 x 16 x 5.75 in.); Ian L.C. Swordy’s “Shell Flower”, 2022, mixed marbles and wood sculpture (60 x 12 x 12 in.); Ferrari Sheppard’s “Spread Love (It’s the Brooklyn Way)”, 2022, acrylic, charcoal and 24k gold on canvas (84 x 70 x 2 in.); and Jean Dubuffet’s “Le nez tombant (5696)”, 1959, papier mâché sculpture (12.13 x 4.75 x 4.13 in.).

 A fitting epilogue to a remarkable Dino season and heroic post-season effort materialized in the form of an unexpected encounter in the main lobby of Christie’s luxurious head office at Rockefeller Plaza. There standing a little over five feet tall and exuding an air of scrappiness and aggressiveness was “The Raptor”, more formerly known as “Deinonychus Antirrhopus”, approximately 126 fossil bones (circa 115-108 million years ago) with remaining cast elements on custom frame (119.67 x 62.25 x 26 in.). Regrettably, Masai Ujiri was not spotted scouting out the skeletal remains of the pack hunting predator being auctioned off later this week. Estimated to sell between $4 into $6 million, this ultimate mascot and original Dino would have slotted nicely between Scottie Barnes and Precious Ashiuwa within the team’s 2022-23 salary cap limit and could have inspired some tenaciousness from the sidelines. But then again, money would probably be better spent on a more traditional big.  

For more information on the upcoming auctions, any of the artists mentioned and the fate of The Raptor, “Just Google It”.  

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

La Belle Province - December 2021 (Winter Road Trip)

Just back from a day trip to la Capitale-Nationale to take in the impressive Serge Lemoyne retrospective, “Lemoyne. Offside”, at the Musée national des beaux-arts du Québec and a fantastic Marc Séguin exhibit, “Sublime noirceur”, at the Centre d’exposition Raymond-Lasnier in Trois-Rivières. The Lemoyne exhibit was bursting with colour and eccentricity while the Séguin show featured his ethereal touch and edgy realism. The outing was well worth the drive, and the exhibits provided great overviews into the works of two contemporary powerhouse artists.

Lemoyne’s most iconic body of work consisted of his hockey-inspired blue-blanc-rouge series, and it was prominently on display. Having spent ten years of his life using the emblematic uniform colours of his beloved Montreal Canadiens as his go-to palette, Lemoyne paid homage to players through partial depictions of their uniforms, body parts and equipment, and he also painted more abstracted renderings using the same colours. Throughout it all, he achieved a marvelous fusion of POP and abstraction which blurred the boundaries between popular culture and fine art. Standouts from this period included: “Dryden”, 1976, acrylic on canvas, a close-up rendition of the legendary goaltender’s iconic mask; “Lafleur Stardust”, 1975, acrylic on canvas, a part of the Flower’s uniform featuring the familiar number 10; and “Untitled”,1978, acrylic on shaped canvas, from the “Pointes d’étoiles” series. The exhibit also showcased other bodies of work from the artist’s 40-year career which contributed to his established avant-gardist legacy, including, among others, his tributes to the living and dead artists that inspired his practice and a series which featured painted building parts (doors, windows, walls, etc) from his actual Acton Vale home which itself was declared a “work of art”. Highlights among these included: “Atelier Rouge”, 1996-97, an 80-piece installation of small format works (acrylic on panels) from the “Prelude no. 1, Tribute to Matisse” series; “Untitled”, 1997-98, 15 irregularly sized works (acrylic on panels) from the “Trous noirs” series; and “Untitled”, 1991, acrylic and bottle on wood from the “Assemblage” series. The Lemoyne exhibit is on view until January 9, 2022.

Séguin’s style is quite different from Lemoyne’s, yet marvelously compelling. In large part, Séguin’s works consist of subdued renditions of a subject matter using charcoal on canvas which then are brought to life through a splash of colour and sometimes more unconventional accents like tar, feathers and embalmed animals. It’s all in keeping with the multidisciplinary facets of the artist and person who is also a farmer, hunter, filmmaker and novelist. The “Sublime noirceur” exhibit is a random walk through (as opposed to time-sequenced chronicling of) Séguin’s career to date, introducing fresh studio works like “Ange no.1”, 2021, oil and charcoal on canvas, an imposing cathedral-worthy painting of an angel, and reaching back to early career works like “Camé no. 19”, 2000, oil, varnish and tar on canvas. Apparent throughout the exhibit is the artist’s ability to successfully apply his talent to a broad spectrum of renderings, be it his signature-style portraits, interpretations of natural and made-made landscapes or storytelling narratives. Highlights of the exhibit included: “Autoportrait”, 2019-20, oil and charcoal on canvas; “Urban Landscape – Astronaute sur Meserole no.2”, 2011-12, oil and charcoal on canvas; and “Passage près de Zaldivar”, 2006, oil and charcoal on canvas. The Séguin exhibit is on view until January 16, 2022.

 Shifting to local sports, Lemoyne would have been disheartened to witness the ongoing woes of his beloved Canadiens. From Stanley Cup finalists to cellar dwellers with a dismantled front office in less than six months, the bleu-blanc-rouge are looking more black-and-blue than anything else these days. Desperately searching for a fix, Geoff Molson reached south of the border for a solution and recruited seasoned hockey executive Jeff Gorton who will most probably be teamed up with a newbie bilingual GM to attempt to return the organization to its former glory. Meanwhile coaches and players are all skating on thin ice as the moves at the top of the organization trickle down through the ranks. Regrettably however, there is not much Lafleur Stardust to sprinkle around, and the rebuild will likely be a long and arduous one for fans.

 For more information on Lemoyne and Séguin, the exhibits, or the fate of the hapless Habs, “Just Google It”.

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.