Judy's Journal
Wednesday, July 24, 2024
we have hardly begun, we are already here
Friday, July 19, 2024
Conversation with Susan Sontag in my mind
Me: When I think about my work, I can't think of any reason to do it.
I can't think of any meaning to what I'm doing in it.
Only when I don't think about the meaning of it, or the value of it, or the importance of it, can I enjoy my work.
Saturday, July 13, 2024
Joyce Wieland
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Balling 1961 oil on canvas by Joyce Wieland |
I visited the National Gallery of Canada a few weeks ago. I looked around for my favourite artist, Joyce Wieland and found four of her pieces in a quiet area and photographed them for this post. The National Gallery of Canada has a large collection of Wieland's work in their permanent collection. (listed here). In 1987 Wieland had a retrospective at the Art Gallery of Ontario and art critic Geoffrey James covered it for Maclean's magazine. His article as well as Johanne Sloan's most excellent online book about Joyce Wieland are sources for this post.
Joyce Wieland was born in 1930 in Toronto. Her parents died before Joyce turned 9. She went to Toronto Central Technical school to study dress making, but the art teacher, Doris McCarthy, encouraged her to switch to art. Wieland became a commercial artist for four years and designed packaging and animated films. In 1956, age 26, she met and married artist Michael Snow. The couple went to New York in in the early 60's and returned home in 1971. The painting at the top of this post is from that time in her life, when New York was bursting with abstract expressionism. Balling is one of Wieland's Time Machine series of paintings. Joyce called them 'sex poetry'. A significant painting from this time is Heart On, which you can view in this link.
Joyce Wieland used a wide variety of media. Film. Quilts. Paintings. Assemblage. She was what we would call now, a multi-disciplinary artist. Geoffrey James wrote: "Hers is not a body of work that offers a clear progression of a single, recognizable style. Instead, the viewer is confronted by what appears to be sudden, impulsive leaps."
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Spring Blues 1960 oil, paper collage, mirror on canvas by Joyce Wieland |
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spring blues detail |
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Confed Spread 1967 plastic and cloth by Joyce Wieland |
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Cooling Room II 1964 metal toy airplane, cloth, metal wire, plastic boat, paper collage, ceramic cups with lipstick spoon, mounted in painted wooden case by Joyce Wieland |
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Cooling Room II detail by Joyce Wieland. This sculpture is named for the words printed on the box that Wieland used to make the assemblage. |
Sunday, June 23, 2024
Not from the Real World
Saturday June 22: Mend these Dresden Plate appliques with velvet.
Sunday 23 - Wash and block this large quilt. Finish making all display sleeves.
Monday 24 - Make a list of the fourteen pieces. Include measurements, insurance values and updated titles and send it to the organizers. Finish all remaining sewing. Begin folding quilts with tissue paper and plastic bags. Start packing the boxes.
Tuesday June 25 - Finish boxing up the exhibition with care. Label everything.
Wednesday June 26- The boxes will be picked up between 10 am and 5 pm.
I've worked so hard for this solo show. I've worked 10 hours a day for over a year.
I've been able to do it by working on three different pieces each day for one week, and then switching to three new ones the following week. I've had to abandon a few that I just couldn't finish.
Most of the pieces are large scale. Most are very simple, and have grids of dots or circles.
They are abstract, folk-like. They are not representational.
Not from the real world. Not from the news.
The quilts in this exhibition seem to be a throw back to a simpler time.
The fabrics in the Dresden Plate quilt have faded. Some of them are worn out and need replacing. Why? They are all at least fifty years old. The fabrics in the applique's are from my high school and early marriage sewing projects. I unpicked the circles from the worn white cotton that was the original background of a quilt I made as a bride, and placed them onto new squares of silk, linen, or lightweight wool cloth.
C.G. Jung called the circle and square combination a metaphor for the inner life.
Friday, June 14, 2024
All the Time in the World
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you are a single star - finishing the quilting a week ago |
When I run after what I think I want
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you are a single star - sewing on the binding - in the car on way to cottage Thursday June 6 |
My days are a furnace
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love the soul inside of me - making a sleeve Friday June 7 |
of stress and anxiety.
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the good and the true - making a display sleeve for it Saturday June 8 |
If I sit in my own place of patience,
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Ned's 75th |
what I need flows to me,
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April with some of her work at the cottage Monday June 10 |
and without pain.
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Ben holding up my Cloudy Day piece Monday June 10 |
From this I understand that
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home on Manitoulin with my garden Tuesday June 11 |
what I want also wants me,
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The promotion for the interview begins Wednesday June 12 |
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making a sleeve for your fragile life Thursday June 13 |
There is a great secret here
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love meditation: intimacy and new sleeve Thursday June 13 |
For anyone who can grasp it. Rumi
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Friday June 14 |
Tuesday, May 28, 2024
My job
I remember the moment I became an artist and it was because I had such a strong feeling that I had to communicate it. The moment was when I saw my young children playing in the sunshine. I was overwhelmed by the wonder of watching my children and I painted them.
Quilts came into my life early and I continue to make them.
I like that quilts take a long time to make and seem to hold the lives that whirl around while they are being stitched.
I like that quilts are used to protect and care for people.
I like that the old patterns tell stories with a secret code. The strips of cloth in this one look like streaks of lightening.
The title of the quilt is Thunder and Lightening. In order to have a good storm you have to have both thunder and lightening, and in order to have a good piece of art, you have to have both art and craft.
An artist is someone who pays attention and tries to communicate an emotion.
My work's job is to awaken other people to their own feelings. Those feelings inside them, their hopes and dreams and memories as well as the wonder in our beautiful world.