#artgalleryofhamilton

[manuelhmompo]

Manuel Hernández Mompó (Valencia, 1927 - Madrid, 1992) Horses of the Bull Ring, 1960 mixta/lienzo 50.1 x 65 cm 

The Art Gallery of Hamilton, Ontario, Canadá         

[yangyangpan]

Glaze, oil on canvas, 30 x 30 in. ❤️🧡💛 Please contact @agh_art_sales if you interest. . . . . #artist #artgalleryofhamilton #paintingoftheday #buyartonline #originalpainting #artsy #artabstract #abstractartwork #artoftheday #colorfulpainting #yangyangpan #artconsultant #artgallery #agh #contemporarypainting #artforsale #canadianpainting #canadianart #oilpainting #oiloncanvas (at Art Gallery of Hamilton) https://www.instagram.com/p/CAdEw_mHFi9/?igshid=m10xwbxqjp6r

[onlyartshop]

Helen McNicoll. The apple gatherer Хелен Макниколл. Сборщица яблок 1911 light

[michaeltoke]

#blossoms @at_theagh #ARTgalleryofHAMILTON #sculpturegarden (at Art Gallery of Hamilton)

[jasonparis]

You don’t get all the fun AGO. The Art Gallery of Hamilton's (AGH) permanent collection has over 10,000 works by artists from Canada, and around the world. • • • #igershamilton #hamilton #hamont #artgallery #artgalleryofhamilton #kimadams #brugelboschbus #keithharing #michaelsnow #modernart (at AGH) https://www.instagram.com/p/B82i78yAJdH/?igshid=1qvo4akvcj0f7

[vonderhuels]

#mercedes #flügeltürer im #Kreidelook #fotopopart #artlovers #artgallery #artcollector #artcurator #instaart #artforsale #artoninstagram #nyart #artgalleryofhamilton #nyartgallery https://www.instagram.com/p/BykVz2FCMu_/?igshid=8000h305f0dd

[criticalsuperbeast-blog]

Dumb at Art:  Making sense of Abstraction

Staging Abstraction: Paintings from the Collection, Art Gallery of Hamilton (Gallery Level Two), Hamilton, Ontario. 

By Jen Anisef

Kenneth Lochhead, Colour Jam. Acrylic on canvas, 1965. Art Gallery of Hamilton, Gift of Irving Zucker, 1991. Image courtesy of the AGH.

We all suffer from Imposter Syndrome– even my dad who has been a professor in his field since 1969 admits that he sometimes gets hit with the ‘who me?’ heebie jeebies when invited to speak at conferences and such. But legitimately–despite what appears to be a perception to the contrary– I know very little about art. Many of my friends and acquaintances are artists and curators, and I have even curated a couple of craft-based exhibitions, so I suppose that I understand why people make the assumption that I know more than I do. But I never took a high school art class, let alone an art history course, and I can’t art-speak to save my life.

I decided to encounter my ignorance head on, and asked Melissa Bennett (Curator of Contemporary Art at the Art Gallery of Hamilton), if she’d answer some questions about one of her curated shows in an attempt to move beyond my rudimentary understanding. We met on Gallery Level Two of the AGH to visit Staging Abstraction: Paintings from the Collection– co-curated by Melissa and Hamilton-based painter Daniel Hutchinson. Abstract painting can be alienating for anyone who is insecure about their grasp of “what art means”– I was excited to have Melissa’s help in cracking the code.

I started by asking Melissa to share some points of entry for understanding abstract painting. She admitted that even as a curator, if one doesn’t know anything about the artist’s life and work, nationality or year, it is easy to be stumped by a piece upon first encounter. Her personal approach is to look for a connection to something larger– metaphor or symbolism, or even adventures in technique. Working with Daniel on the show deepened her understanding of abstract painting techniques and the experimentation at play in some of the works, or what happens to the eye when you put a certain combination or a sequence of colours next to each other.   

When guiding visitors through the show, Melissa likes to present questions that arm the visitors with tools that they can use in future abstract art encounters. Her hope is that they will absorb the fact that, “It’s not just the final product, but the learning, experimenting and experience that brought that artist through their years of practice to that place where they were able to achieve something that is actually more complex than it seems.” She points to a piece composed of bright and watery-coloured dabs by Gershon Iskowitz (Uplands K, 1972)– a Holocaust survivor who became an artist after finding safe harbour in Canada. The lively and loose piece– an aerial view of the Prairies– celebrates his intense sense of freedom in flying over his adopted country. Understanding this background makes it easy to feel some sort of connection to the work, and much more difficult to dismiss. As someone who loves textiles and fashion, I engage with abstract painting on the level of colour and form. I may not understand it on an intellectual level, but I can respond to it aesthetically; I experience that pleasure quite strongly. I’ve always judged this to be a real low-budget experience of art. My longstanding (albeit slightly ridiculous) belief about art is that it exists in a separate realm from design or fashion– it hovers above them, beyond them; it’s smarter than them.  

Taking in the paintings in Staging Abstraction (that span from the 1960s to the 1980s), it was clear that that they are so much of their era– the palette and form of Colour Jam (Kenneth Lochhead, 1965) could easily be a mid-sixties silk scarf, and the pastel splatter of Hot Blood (Harold Feist, 1987) is pure 80s corner office.

As with design and fashion, many of the paintings are a response to the cultural context of their time, a product of people relating to the things happening around them.

I left the show feeling buoyed by the fact that there is a common language of aesthetics and design at play in these works and that I actually DO understand more than I thought I did.

The author’s “writing skirt.”

Jen Anisef is a Cultural Projects Specialist with the City of Hamilton, a contemporary craft practice researcher, and founder of community-based initiatives that include the Montreal Church of Craft, City of Craft, and Toronto Craft Alert.

[sophiagaoart]

"Soul's Pilgrimage I &II" was selected by the curatorial team of the Art Gallery of Hamilton Rental & Sales for their Artsale 2017! The Art Sale helps raise funds to support the AGH!. . . . . #artgalleryofhamilton @at_theagh @aghshops #agh #artsale #hamilton #hamiltonartgallery #hamiltonart #love #happy #artist #contemporaryart #canada #artistsoninstagram #artoftheday #artforum #artcollector #gallery #soul #pilgrimage #pink #gold（在 Art Gallery of Hamilton）

[claire-desjardins-art]

Thank you, @agh_art_sales for the lovely shout out! 🧡❤️💗💜💙 • #Repost @agh_art_sales ・・・ Desjardins' work is a joyful celebration of colour! She is an award-winning, celebrated artist who paints from the heart & brightens collections in Canada & abroad. To listen to Desjardins on CBC 1- check the #linkinbio . . . . . "Just Like That" 36x60 inches Acrylic on Canvas . . . #agh #hamont #hamilton #fineart #paint #localartist #canadianart #painter #ClaireDesjardins #Desjardins #ontarioartist #artist #Montreal #montrealartist #local #shoplocal #artgalleryofhamilton #artgallery #gallery #art #summertime #abstract #acrylicpainting #canvas #colourful #painting #clairedesjardinsart #AbstractExpressionism #AbstractPainting #PrimaryColors #AbstractExpressionist #AbstractExpressionistPainting #AcrylicPainting (at Gore, Quebec) https://www.instagram.com/p/BrN1DA_jN9_/?utm_source=ig_tumblr_share&igshid=1ofnfg0ithjft

[abitmoredetail]

Selfie with Vivian Maier #hamont #hamilton #artgalleryofhamilton #photos #vivianmaier #me #selfie (at Art Gallery of Hamilton) https://www.instagram.com/p/Bozmy8ZBfSm/?utm_source=ig_tumblr_share&igshid=15u8staz8wuzi

[jennasdoodles]

Today!!! 🎉 Family Day at the Art Gallery of Hamilton, I’ll be set up outside of the gift shop with my prints, cards and pins. Catch me between 1-4:30pm 😍 Meet, chat, relax, high-fives and explore! 🖐 Also come see the awesome new exhibits at the gallery. Plus, the 2nd level of the gallery is always free ✨🎨 #hamont #hamilton #agh #artgalleryofhamilton #artgallery #popup #jennasdoodles #illustrations #meetandgreet #ink #doodle #art #culture #artist #creative #familyday (at Art Gallery of Hamilton)

[yangyangpan]

In light of the COVID-19 crisis, the Art Gallery of Hamilton’s annual Art Sale is reimagined as an online presentation. I am grateful being part of it. Link in profile. * Finding Peace, oil on canvas, 48 x 48 in, available for purchase through @agh_art_sales . . . . #art #painting #agh #artgalleryofhamilton #abstractpainting #canadianartscene #canadianartgalleries #canadianartists #abstractexpressionism #artforthehome #buyartfromlivingartists #supportartists #artconsultant #oilpainters #artforlife #livingwithart #artforsale #paintersoninstagram #artcollectors (at Art Gallery of Hamilton) https://www.instagram.com/p/B_U9iPWHr6G/?igshid=1cpckkcy1bg70

[joe-creck-wayne-carter]

📂2022 └📁 Pencil on Paper └📁 Humble Khid (S.E) └📁 Work In Progress . As I get older, my aim and goals gets clearer, it takes courage and dedication to make it happen. I really enjoyed working on this piece.✏️🖌️🙏🏾 . #annorokatajoshua #aojstudioz #artcollective #pencildrawing #art #artist #arts_help_studio #artlover #hyperrealism #realismportrait #realismartist #drawing #arts_deluxe #gallerymahv #artistaste #artplexgallery #axomgallery #bennettgallery #vancouverartgallery #artgalleryofontario #artgalleryofhamilton #themarketgallery #yyzartistsoutlet #uffizigallery #pinacotecadibrera #spadagallery https://www.instagram.com/p/CkWXPyEqaM2/?igshid=NGJjMDIxMWI=

[jhnfloodblog]

Another component of genuine estate I would lve to acquire into is commercial. Moreover, real estate is frequently a referral-based company. Real estate is among the few fields where people performing the exact same job may have a vast selection of incomes. Real estate sometimes takes a toll on your family members. Keep the following in mind when thinking about the very tough and competitive business named Real Estate. Commercial real estate is numbers, and following you become thru the numbers there’s the dollars.

You need to have the ability to demonstrate a property to your client the moment it fits their schedule. If your premises needs a lot of some sort of repair or improvement before putting it upon the sector, an excellent realtor will say about these before sale and freely disclose these difficulties with potential buyers. No 2 properties are the very same, so no 2 transactions are the very same. People always believe that property is the best method to commit your money.

If anyone would like to establish a company and use up a work here, he requires a business license or work permit. In your very first year, as soon as you’re just starting to construct your business enterprise, this may be difficult. It’s quite hard to be successful if you’re not willing and can devote yourself full-time to building your organization.

Because most brokers are self-employed, they need to manage all facets of their company. An excellent broker will also recommend that you compose a business plan so that you may measure your progress. 10 Reasons You’ll NEVER grow to be A business Real Estate Broker.

You’ll need to spend money in your career.marketing, description MLS fees, etc. It’s extremely challenging to earn money as a real estate agent immediately. There’s no way to inform you precisely how much you should turn into a true estate professional, as every sector differs.

To be the ideal brokerage, you must hire and train the optimal/optimally agents. In a nutshell, realtors are absolutely free to fail or succeed. They review property value and similar sale prices in an area to determine reasonable prices for selling and buying property. Most first-year realtors earn very little initially, primarily since they’re fighting to learn everything while they build a client base.

A large part of being a realtor is learning to correctly read people. Being he is like running a business. While realtors are often in comparison to travel agents when discussing the changes caused by the net, they do add value to the transaction procedure. Aspiring realtors must complete high school. Many realtors are solo artists. There are they out there that have been part time throughout their entire career.

Folks feel that being a realtor is a glorified profession. While working beneath a brokerage, a realtor might have to work closely with different agents in their brokerage together with with their customers. The top rated realtors sell enough properties they don’t need to be concerned about lowering their rates. Good realtors, just as with other professionals, are careful to get there on schedule

ARTWORK FOR REAL ESTATE PROFESSIONALS: A portrait of a house that the client sold, a gift to hang in their new home. See www.jbsart.com to order. #thesix #wethenorth #torontohomes #torontorealestate #realestateagent #remax #century21 #coldwellbanker #suttongroup #royallepage #kellerwilliams #cirrealty #homesforsale #torontocondos #canadianrealestatewealth #ontariohomes #homesforsale #artgalleryofontario #artgalleryofhamilton #houseportrait #bankofmontreal #royalbank #tdcanadatrust #cibc #scotiabank

A post shared by Jay Sese (@jaybsese) on Feb 8, 2017 at 3:39am PST

//platform.instagram.com/en_US/embeds.js

Source:http://gefboergoats.com/real-estate-isnt-an-exception/

from Laurence Martin Great Entertainment Farms – Healthy, Quality, Manageable Boer Goats, Raised in East Texas https://laurencemartingreatentertainmentfarms.wordpress.com/2017/09/10/real-estate-isnt-an-exception/

[gefboergoats]

Real Estate Isn’t An Exception

Another component of genuine estate I would lve to acquire into is commercial. Moreover, real estate is frequently a referral-based company. Real estate is among the few fields where people performing the exact same job may have a vast selection of incomes. Real estate sometimes takes a toll on your family members. Keep the following in mind when thinking about the very tough and competitive business named Real Estate. Commercial real estate is numbers, and following you become thru the numbers there’s the dollars.

You need to have the ability to demonstrate a property to your client the moment it fits their schedule. If your premises needs a lot of some sort of repair or improvement before putting it upon the sector, an excellent realtor will say about these before sale and freely disclose these difficulties with potential buyers. No 2 properties are the very same, so no 2 transactions are the very same. People always believe that property is the best method to commit your money.

If anyone would like to establish a company and use up a work here, he requires a business license or work permit. In your very first year, as soon as you’re just starting to construct your business enterprise, this may be difficult. It’s quite hard to be successful if you’re not willing and can devote yourself full-time to building your organization.

Because most brokers are self-employed, they need to manage all facets of their company. An excellent broker will also recommend that you compose a business plan so that you may measure your progress. 10 Reasons You’ll NEVER grow to be A business Real Estate Broker.

You’ll need to spend money in your career.marketing, description MLS fees, etc. It’s extremely challenging to earn money as a real estate agent immediately. There’s no way to inform you precisely how much you should turn into a true estate professional, as every sector differs.

To be the ideal brokerage, you must hire and train the optimal/optimally agents. In a nutshell, realtors are absolutely free to fail or succeed. They review property value and similar sale prices in an area to determine reasonable prices for selling and buying property. Most first-year realtors earn very little initially, primarily since they’re fighting to learn everything while they build a client base.

A large part of being a realtor is learning to correctly read people. Being he is like running a business. While realtors are often in comparison to travel agents when discussing the changes caused by the net, they do add value to the transaction procedure. Aspiring realtors must complete high school. Many realtors are solo artists. There are they out there that have been part time throughout their entire career.

Folks feel that being a realtor is a glorified profession. While working beneath a brokerage, a realtor might have to work closely with different agents in their brokerage together with with their customers. The top rated realtors sell enough properties they don’t need to be concerned about lowering their rates. Good realtors, just as with other professionals, are careful to get there on schedule

ARTWORK FOR REAL ESTATE PROFESSIONALS: A portrait of a house that the client sold, a gift to hang in their new home. See www.jbsart.com to order. #thesix #wethenorth #torontohomes #torontorealestate #realestateagent #remax #century21 #coldwellbanker #suttongroup #royallepage #kellerwilliams #cirrealty #homesforsale #torontocondos #canadianrealestatewealth #ontariohomes #homesforsale #artgalleryofontario #artgalleryofhamilton #houseportrait #bankofmontreal #royalbank #tdcanadatrust #cibc #scotiabank

A post shared by Jay Sese (@jaybsese) on Feb 8, 2017 at 3:39am PST

from Laurence Martin Great Entertainment Farms – Healthy, Quality, Manageable Boer Goats, Raised in East Texas http://gefboergoats.com/real-estate-isnt-an-exception/

[criticalsuperbeast-blog]

Expanding the Circle: Robert Davidson and the Ancient Language of Haida Art

February 11th to May 28th, 2017, Art Gallery of Hamilton, Hamilton, Ontario.

By Anthony Easton

Robert Davidson, Xyaalang (Dancing). Acrylic on canvas, 2013. Photo: Kenji Naga

The new Robert Davidson show at the Art Gallery of Hamilton is called Expanding the Circle: Robert Davidson and the Ancient Language of Haida Art. Careful attention should be paid to that subtitle, as there is more Haida art than there is Davidson work, and by sheer numbers, much of the work is tourist carvings from the McCord collection. If one was expecting something similar to the big retrospective of Davidson’s paintings at the Seattle Art Gallery a few years ago — an exhibition which positioned him as a significant modernist figure whose formalism re-aestheticized a complicated set of Haida/Tlingit narrative traditions — they would be disappointed.

In Expanding the Circle, figuring out what is traditional work, what is work intended for indigenous audiences, what is tourist work, and what is work inspired by these traditions but updated are unresolved questions. The Seattle retrospective made the argument that Davidson updated Haida tradition in an abstracted, European sense. The ongoing problem of what indigeneity means visually is complicated in this space but is less interesting than the show in Seattle, or the recent exhibition of Michael Nicoll Yahgulanaas’ Haida Manga at the Glenbow in Calgary, or Beat Nation, the Indigenous hip hop show that was shown at both the Power Plant in Toronto and Musée d'art contemporain in Montreal. Each of those made arguments about tradition and history; Expanding the Circle does less of this contextualizing.

Haida work from the 19th century was absorbed by tourists. From that point onward, the intersection between work intended for western audiences and work intended for the Haida could never really be sorted out cleanly: the colours, the anthropomorphized sweetness of the shapes, the fleshy curve of spoon or bentwood box, the overwhelming size of the totem pole. Haida and Tlingit work was sometimes made for white audiences, and sometimes made for use in indigenous circles. Sometimes it was intended as a ritual object, and sometimes it was intended as a tchotchke for settler consumption. The stone carvings of totem poles when intended as tourist pieces were not intended to be read as ritual objects, as opposed to the large poles made from cedar which were taught as a kind of narrative. Often these totem poles were torn down by white settlers. Some of their ritual practices, including potlatches, were forbidden by law. Children were sent to residential schools. Coastal first peoples were encouraged to make tat for tourist trades. Finding a clear route between all of these ways of creation continues to be confusing — about what is art and what is ceremonial, or which work is intended for white audiences and which audiences are intended elsewhere. The ambivalence of all of this is made especially murky when considering contemporary Haida work— work that can be seen as possible abstractions of abstractions.

Davidson’s absorption of a visual style, in the second or third generation after 19th century settler encounters, could be seen as an attempt to make these complicated aesthetic discussions more precise, to list the rules of the games being played, and to formalise a flirtation with western sources.

Davidson is a fourth-generation Haida/Tlingit ritual artist: he carves, paints, and draws. His work is very much about the revision of ritualized potential. Davidson makes clear that the shapes he uses are their own kind of language, such as how the circle of the moon and the oval of an Orca’s eyes could translate across media: in cedar, bronze, acrylic on canvas, or argillite. This is especially true in 2006’s Red, a cedar carving slightly larger than a piece of foolscap, where two eyes are painted on a rectangular board. The board curves and buckles, so both the circle of the eye, and the whorl in the wood have a mutually-reinforcing formal relationship. That Red is installed next to a bronze statue of an Orca tail, which plays with a similar kind of encircling flatness, suggests a curatorial rigour.  

However, the rigour often fails. The show has too many small pieces in too many small rooms. There are works intended for ritual practice such as spoons and baskets, a simple bent wood box and an excellent mask, but also a variety of tourist pieces, including dozens of models of totem poles. The show came from the McCord in Montreal, and unlike the aforementioned retrospective in Seattle, the absence of quality material is clear. The exhibition includes too many tourist pieces, too few masks, and could have featured more of Davidson’s signature prints. Even including the work of Haida artists a generation post-Davidson, such as Sonny Assu’s billboard-sized commission for Supercrawl last year (an ironic graffiti reclaimation of Emily Carr’s westernized Haida forms) might have provided a path into Expanding the Circle, which has too much to see, and not enough to analyse.

Anthony Easton is a writer, artist, and theologian. They are interested in class, sex, gender and the west. They have been published in Spin, The Atlantic, Pitchfork, Globe and Mail, and others. They have presented at conferences throughout North America, and in Europe. Their art has been shown in Toronto, New York, Chicago, and is in the collection of the library of the National Gallery of Canada. They will start a PhD at the University of Aberdeen in 2017.