Oversion

agony of no photos in McMichael Gallery

Our visit today to the McMichael Art Gallery was spectacular,
but you cannot photograph the paintings.
AGO as of visit last spring allowed it.
Oh to have been able to.
https://oversion.wordpress.com/ago-the-phenomenal-art-at-the-a-g-o/

For those who think about such things, it’s also a matter of information:
mentally taking in massive amounts of mixed information,
photographing plaques with names, dates, titles,
the information to refind anything, as well as to be
able to look more closely akin to walking through google able to see,
and smell, and think – with memory -in the amount of time it takes
to think about it all including the whole moment
of living and thus relation to it.
I don’t think it can be done in a nervous in-gallery
being watched and wondered about for vandalism or
possibly theft or simple oddity
I think every single person in the gallery today,
staff, personnel, volunteers, guests,
all but the three wedding parties in the charming strolling areas
that surround the building, took note: I turned heads
I can accept being odd=looking and having fun because of what it is
and rapidly discussing or, talking in a non-art gallery way
if they can, but it’s a lot to be thinking about at once

There’s no way you can remember the names and dates and titles and

tie them to a painting after seeing 150 paintings,
so it’s in one eye and out the other. One can’t assemble
in mind once home, put it all back together in the brain,
and complete the thinking about it, and the contemplation each
of the truly incredible ones veritably requires and
cannot be achieved in any other way. I believe the AGO’s
policy of allowing photos shows strength and commitment.

One can only have the immediate radiant dazzling look at it;
at least for me, I can’t begin to think about it until
relaxed about having sufficient time to do so.
The versions in books are too small,
and retrieving the detail to find that painting
in an expandable jpeg is near impossible.
Different viewings over time are meaningful.

In a sense one is photographing the viewing
as the energy of all the moments of that visit permeates
the seeing of the painting. O the hegemony of art writers.
No one else can see the paintings with enough time to
absorb the message. It’s an ossifying of communication.
I saw, I Was Effected, but it’s only blazing memory
one can lock in the brain. So again, Lawren Harris is amazing,
Norval Morrisseau is unimaginably powerful,
Emily Carr never fails me or Jacob Wren
and if there’s an AJ Casson in a gallery I’m in
I will fasten upon it and find who I’m with to come and see it

It’s of course joking about the issues that raises hackles
in passersby and volunteers. “I’ll get this one,” from the happy years
of people selling original paintings, back when that was a thing.
My mother believed in charging a price regular middle class and wealthy people
could afford, not against the poor buying them, but not looking for
sales from people who were too poor, but entirely against
making her paintings only affordable to the rich. In the 3 to 6
decades of prime painting mode, one can paint enough paintings
for a lot of people, not just super wealthy people, real people
who could house a painting.

in the 70s prices like 75 and 150 and 40 and 200
then 200 or 300 as years went on. https://oversion.wordpress.com/jane-barlow-paintings-some-all-time-favorites/

Qua the matter of appropriation: Does art go out as a
spiritual and even medical force into the world to heal everyone
and or to effect everything in its path with “here is the relevance”
or to be conserved and provided cover, shelter and control
by designates? Books of paintings make money for the designates
which could then theoretically be designated with the gallery/publisher
and artists and even imaginably their communities,

* Definitely a feeder channel for art

The true spirit of art is the heart and mind and being
of the process of living transcending and effecting beyond self’s borders
not relation to wealth – like walking funny or being unphotographable as an entity

One of the women who works there came up and told us
things about the paintings and even posed puzzler questions
And of course, the people that work in galleries are usually strange too

At last I get to my point. After viewing all of the art
we wandered the surrounding ravines and valleys
and all of it was more dazzling artistically
than it even looked at the time!
Though of course the friendly wonderful little toad
was just strange supernatural marvelous compared with anything.
I said to Kelly, the toad seems to know
we will not harm it. I even stroked its back.

Also the ravens seemed to want to be photographed, uncontentiously,
as did the small reddish brown bird down near the water
which came flying near. Everything at all was broadcasting with life.

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