THE ENDURING RELEVANCE OF PIONEERING OCCULT ARTIST ROSALEEN NORTON

She's My Muse | Neshan Tung

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"I came into this world bravely, I'll go out bravely."

~ Rosaleen Norton, artist, occult practitioner, daughter of Pan, before her death in 1979

Rosaleen Norton has only recently begun to get the cultural recognition she deserves. Despite being a tremendously influential and defining artist of the mid 20th century, Rosaleen’s unapologetic artistic legacy remains relatively obscure compared to her counterparts. Perhaps this has to do with how she was outcasted, crudely mocked and relentlessly hounded by the media. She was branded by most as a depraved, satanic witch. In the 1940s and 1950s, she became a national fascination and was perceived as a major threat to the social norms and moral orthodoxy of a predominately Christian Australia. Her artwork, tragically misunderstood, was torched by the government, confiscated by police and censored by major museums and galleries in Melbourne. She remains the only Australian artist whose work was physically destroyed by order of the courts. Rosaleen also faced charges of obscenity for her provocative paintings depicting Greek gods and goddesses, female sexuality and ritual magic. In a recently made film about the artist, director Sonia Bible proclaims that Rosaleen was once “the most persecuted artist in Australia.”

Rosaleen Norton with one of her paintings, c. 1945-1950. Source.

Born in Dunedin, New Zealand in 1917 and plagued with spiritual visions as a child, Rosaleen had always been fascinated by the otherworldly. What seems now to be an instance of cosmic foreshadowing, at 14 she was expelled from school for supposedly corrupting fellow schoolgirls with her “deviant” drawings. By her twenties, Rosaleen was mastering her occult and artistic skills, practicing Aleister Crowley trance magic and creating paintings that fused her search for transcendence with her spiritual beliefs. Being openly bisexual – in addition to her unconventional appearance, love for animals, bohemian lifestyle and penchant for worshipping and painting figures like Pan (a Greek god who resembles and is often mistaken for Lucifer) – made her a true outsider amidst the hyper conservative landscape of mid-century Australia. A 1949 exhibition of her work held at the Rowen-White Library in the University of Melbourne ended with a police raid and charges of obscenity. Later, her book The Art of Rosaleen Norton with poems by Gavin Greenlees (published by Walter Glover in 1952) was heavily censored in Australia and banned in America, and resulted in Glover also facing charges.

Rosaleen Norton with her cat, c. 1950. Source.

Even though she was admired by visionaries like Carl Jung and Kenneth Anger, the scope of Rosaleen’s far-reaching cultural impact has yet to be fully realized and appreciated. She was a subversive, fearless artist who spearheaded a path forward for generations of eccentric and bold female artists to be themselves. Her unprecedented body of work has endured despite decades of backlash and unlawful attempts at suppression. Over half a century later, her art has begun to slowly resurface in various Australian exhibitions— such as one held in 2000 that was solely dedicated to the display of her paintings in Kings Cross, Sydney (where she lived most of her life) by enthusiasts of her work. Others include the S.H. Ervin Gallery’s Windows to the Sacred: An Exploration of the Esoteric in 2013, and the City Gallery Wellington’s Occulture: The Dark Arts in 2017.

Rosaleen Norton sketching, c. 1945-1950. Source.

Despite renewed interest in Rosaleen, her work is not easy to access. Other than a handful of articles and images on Google, there is no widely accessible digital archive documenting her work, nor is it featured in any permanent exhibitions. Most of it resides in archives, private collections and rare books that are hard to come by. Rosaleen’s legacy and life’s work could have easily been lost to history. That begs the question: how many brilliant female artists have we lost due to museum censorship and government persecution? How can we ensure that the bodies of work produced by visionary artists who challenge the status quo are not lost due to museum practices that support nationalistic agendas? How can we reconcile with the fact that exclusion and censorship remain prevalent issues in museum spaces, and what can we do about it? All of us have the responsibility to continuously challenge and unsettle cultural institutions by questioning what gets to be remembered and who is included.

                                        Rosaleen Norton in Kings Cross, Sydney, c. 1943. Source.

References:

https://whatmagicisthis.com/2020/04/10/rosaleen-norton/

https://theconversation.com/friday-essay-why-rosaleen-norton-the-witch-of-kings-cross-was-a-groundbreaking-bohemian-154184

https://hyperallergic.com/144377/a-documentary-for-the-witch-of-kings-cross-australias-persecuted-occult-artist/

https://archive.org/details/bookofliesthedisinformationguidetomagickandtheoccult/page/n431/mode/2up?q=rosaleen+norton

https://www.talesfromthegrave.org/post/an-artist-who-practiced-the-occult-and-worshipped-pan

https://magazine.artland.com/the-fear-of-art-contemporary-art-censorship/

https://www.theguardian.com/film/2021/feb/09/sex-magic-occult-art-and-acid-the-story-of-the-infamous-witch-of-kings-cross

IDENTITY, REPRESENTATION, AND INDIGENEITY: ART IN THE HOSPITAL

Exhibition Reviews | Joanna Wreakes 

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For this Exhibition Review we venture out west to Edmonton and the McMullen Gallery, located inside the University of Alberta Hospitals. An intriguing space, the free public gallery looks to reach a wide audience including medical staff, patients, and the greater public. Currently showing at McMullen Gallery is The Future All At Once, a solo exhibition of work by Lauren Crazybull, Alberta’s first provincial Artist in Residence.

View of The Future All At Once in Edmonton's McMullen Gallery. Photo courtesy of Joanna Wreakes

The exhibition features 10 portraits she completed during a recent residency at McLuhan House in Edmonton. Each portrait represents someone that the artist knows personally.

With windows facing into the hospital, Crazybull’s vibrant work draws in visitors passing by who may not have realized that the gallery was there at all!

Looking into the gallery from the hospital's main hallway. Photo courtesy of Joanna Wreakes

Upon entering, viewers are immediately greeted by a large introductory text panel, featuring a reproduction of one of the portraits in the exhibition and the same bright colours found throughout. The introductory panel was written by the artist. In it, she speaks of using portraiture to confront (mis)representation of Indigenous peoples. The title of the exhibition, The Future All At Once, was inspired by thinking both back to her childhood and towards shaping Indigenous Futures - on this topic the artist says "today is a future for our past selves."

The artist and Tyler Sherard, executve director of Friends of University of Alberta Hospitals and McMullen Gallery, work on installation of the exhibition while being filmed by a local journalist. Photo courtesy of Joanna Wreakes.

The majority of works in the exhibition are acrylic on unstretched canvas and all are unframed. Each piece is installed in such a way that it appears to be almost floating off of the walls. By not installing the artworks flat to the wall, beautiful shadows and slightly curled edges of the canvas are visible. The effects that are created here only add to the depth of the work. Though the gallery is relatively small, it’s easy to lose track of time gazing at the expressive portraits.

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Crazybull's work is also extremely appropriate considering the location of McMullen Gallery and mandate of the Friends of University Hospitals, the non-profit that overseas the gallery, collection, and other arts programming in the hospital. The benefit of art on people's wellness is beginning to be discussed in both the arts and healthcare realms - remember when the news broke about doctors prescribing museum and art gallery visits? The bright colours and use of portraiture in this setting can be extremely beneficial in aiding patient, staff, and visitor well-being. 

"Power and Vulnerability" by Lauren Crazybull. Photo courtesy of Joanna Wreakes.

Crazybull will also be completing a short residency at McMullen Gallery during the exhibition. From July 24th to 26th, she will be working in the gallery from 1 to 3 each day. Members of the public are encouraged to visit during this residency to see the exhibition and engage with the artist.

To finish this review, a powerful quote from the artist that is included in the introductory text:

“I believe that our choice to be vulnerable in our healing & uprising has created power."

"Self Portrait" by Lauren Crazybull. Photo courtesy of Joanna Wreakes.

The Future All At Once opened on June 8th and runs until August 4th. If you find yourself in the Edmonton area make sure to take a trip to McMullen Gallery to see it!

THE ART OF MARKETING: THE MUJI EXHIBITION

Muse News | Amy Intrator

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The word “exhibition” always piques my interest, so when I saw an ad for an exhibition titled What is MUJI, I couldn't resist investigating.

Exterior of the What is MUJI exhibit at Yonge and Bay. Photo courtesy of Amy Intrator. 

Well, what is MUJI? MUJI is a Japanese retail company that has locations across the world and sells everything from home storage to toothbrush holders.

The Toronto MUJI located in Atrium by the Bay recently underwent a major renovation, and in the interim period, the store was opened in a smaller space close-by. The store has now re-opened in its new location, also in Atrium by the Bay, but occupying an astonishing 19,110 square feet, making this store the largest MUJI store outside of Asia. The store’s old location is now being used for a pop-up exhibit What is MUJI, which is on display from November 19th to December 23rd. The “exhibition” may be a clever way to use up space before the lease is over, or it might be a marketing ploy, but either way, the “exhibition” prompts a consideration of the line between art and commercialism.

The exhibit is hosted in a storefront, which is pretty common for exhibitions in downtown Toronto, but also a sure-fire way to bring customers into the space. During the course of my visit, I overheard the exhibit attendant directing several people to the exit that leads to the new store. A reverse "exit through the gift shop" of sorts.

Once you’re inside the front doors of the store, you’re greeted by an introductory panel on a white wall – one that is reminiscent of the didactics in most white cube art galleries.

Introductory panel in the What is MUJI exhibit. Photo courtesy of Amy Intrator.

The intro panel contains a surprising amount of depth. From detailing the history of the brand to describing the company’s ideology, which aims for universality over minimalism, “this will do” over “this is what I really want.” After reading the thoughtful introduction, I was expecting an exhibit with equally surprising insight. As it turned out, the objects on display throughout the exhibit were the opposite of surprising, but rather products from the store that were mounted with simple text that described the object’s utility. At first, I was disappointed and even a little irritated, but by the time I reached the end of the exhibit, I realized the exhibit had warned me from the beginning that I was stepping into a space of radical utility, not show-stopping art. And, as promised, there were a few times reading object descriptions where I had my own “this will do” moments where I was tempted to go into the actual store to buy an object that would make my own day-to-day life simpler. 

The umbrellas on display in the exhibit. An example of a radically useful object. Photo courtesy of Amy Intrator.

There were also a few moments in the exhibit where the creators clearly were playing with art exhibit conventions to market MUJI products. One of my favourite “art winks” was the “Mattress with Legs.” The product, a bench-like couch, is positioned against a wall in such a way that it looks exactly like a typical bench in an art museum. It was only upon looking more closely that I realized the “bench” was actually a bed that MUJI sells. The subtly of the mattress was my “aha” moment when I realized the creators of the exhibit might actually be in on the joke, and they may be playing around with exhibit conventions to create this completely unconventional piece of marketing.

The "Mattress with Legs" display, which looks similar to a typical bench at an art exhibit.
Photo courtesy of Amy Intrator.

This exhibit probably won’t change your life, but for me, attending this pop-up exhibit was an interesting moment in trying to discern the line between art and advertisement. In this case, it’s fairly obvious that the exhibit crosses into the territory of full-blown commercialism, but sometimes it is harder to discern between commercial exhibits and cultural exhibits, between art and marketing.

Is this playful approach to exhibitions useful for the museum professionals, or is there a danger in blurring the line between marketing and art?

THEY HIDE, YOU SEEK

Exhibition Reviews | Maddy Howard

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So, what's your zodiac sign? I'm a Sagittarius, which I guess means that I'm generous, idealistic, and have a great sense of humour. I like to think that's pretty accurate.

Sagittarius. Photo courtesy of Maddy Howard.

On Friday, the Gardiner Museum welcomed a new exhibition dedicated to the twelve Zodiac signs. David R. Harper: Zodiac explores the twelve signs of the Zodiac through the medium of ceramics. The exhibition is inspired by the astrological imagery associated with each sign. These works create a rich way of looking at and interacting with the Zodiac. The artist explains the works are "not based on what we typically read for a certain sign, but how those characteristics translate into the world." 

These original works were commissioned as a part of New + Now, which is an annual celebration of emerging artists and contemporary ceramics, both in Canada and internationally.

Leo. Photo courtesy of Maddy Howard.

Now, you're probably wondering, "what on earth does hide and seek have to do with this exhibition?" Well, I'll tell you. Zodiac is one of the more interesting and unique exhibitions I've been to recently and that is because each piece is spread out throughout the entire museum.

That's right, the exhibition is not in one place! Pieces are interspersed around the museum, intervening in the regular gallery spaces and encouraging visitors to participate in this museum-wide scavenger hunt.

Aries. Photo courtesy of Maddy Howard.

I thoroughly enjoyed this exhibition and was totally invested in going through every single gallery and finding the Zodiac pieces. I would recommend grabbing the Zodiac pamphlet at the beginning of your tour (which you can grab at the counter when you purchase your ticket). This way, you can see what each piece looks like, but it won't tell you where to find them. That's all on you. 

Make sure you check every. single. room. And maybe bring a pen to check off pieces that you've found, which I did to make sure I saw every single piece. I missed Cancer and had to go back through to find it.

Zodiac map. Photo courtesy of Maddy Howard.

The exhibition encourages you to walk through the museum and enjoy the wide variety of ceramics on display. These pieces are meant to be found and enjoyed with the rest of the works in the galleries. When you're looking around the galleries, keep an eye out for the little sign beside the works that indicate the piece is a part of Zodiac. It was really enjoyable to walk through a gallery and spy that little sign and know that you've found another piece.

There are no labels to tell you about the piece, but I actually enjoyed that pieces stood alone and stood out to the visitor. All the information you need is in the pamphlet, and it allowed visitors to take their own meaning away from the works. 

Zodiac label for Aquarius. Photo courtesy of Maddy Howard.

Zodiac offers visitors a fun and unique experience. By dispersing the pieces throughout the museum, visitors are encouraged to embark on their own scavenger hunt. You become responsible for finding the pieces and seeing the complete exhibition. It also promotes visitors to hit every single room, to check and see if there is a Zodiac piece there. There are some spaces that I might not have been interested in seeing if I wasn't looking for the different signs. It was rewarding to find the installations, but to also experience the whole of the museum, instead of picking and choosing only some galleries to see. 

Pisces. Photo courtesy of Maddy Howard.

Zodiac opened November 16, 2018 and runs until January 6, 2019, so wander on over to the Gardiner Museum to find your own Zodiac sign.

Source.

MARIA HUPFIELD: THE ONE WHO KEEPS ON GIVING

EXHIBITION REVIEWS

BY: TABITHA CHAN

First room in the exhibition

(Photo: Tabitha Chan)

Maria Hupfield is an Indigenous Canadian artist who combines hand-sewn sculptures and multimedia video installations to create a dynamic conversation about the complex relationship between humans and objects. Her work encourages viewers to consider the significance of objects beyond their physical materiality and to reflect on the process of how objects become embedded with meaning. These ideas are illustrated in her current solo exhibition titled “The One Who Keeps On Giving” at The Power Plant Contemporary Art Gallery.

Hupfield is a member of the Anishinaabe Nation at Wasauksing First Nation, Ontario. Her work often draws from her Indigenous heritage to explore the relationships between people, places and objects. She replicates objects that are typically seen as “Indigenous” or regionally specific in industrial felt to neutralize their materiality and to examine what it means for them to take on a new “contemporary” identity.

Second room in the exhibition

(Photo: Tabitha Chan)

The exhibition is presented in two adjoining rooms. White walls and bright lights characterize the first room that visitors enter into, while the second room is distinguished by darkness and shadows. The first room features six groupings of work that are related to each other thematically, but can also be viewed as standalone installations. All of the groupings use similar materials such as industrial felt and poplar plywood, highlighted by neon yellow panes of colour. The second room features Hupfield’s newly commissioned installation for the gallery, which stems from an oil painting of a seascape by the artist’s late mother.

In the first room, there are three video works. In the film, It Is Never Just about Sustenance or Pleasure (2016), the artist is seen walking through the desert of Santa Fe wearing handmade mitts and boots (the same ones that are displayed in the gallery). In this desert, there once existed a waterway. The objects themselves are a reference to wetlands, as the mitts are typically worn for snowmobiling and the boots for river fly-fishing. Hupfield replicates these objects in felt to emphasize that they have been adapted to serve a new purpose in the midst of climate change.

It Is Never Just About Sustenance or Pleasure (2016)

(Photo: Tabitha Chan)

The tactility of Hupfield's handmade objects make them feel personal, like they belong to someone and that each one carries a story beyond its functional purpose. The chosen objects are readily recognizable and accessible, both in size and purpose. Objects include: a canoe, a cassette recorder with headphones, a snowsuit, a snowmobile helmet and a light bulb. 

Most visitors will have encountered a similar light bulb fixture in their basement, and have a memory of turning it on by pulling on the metal chain. Hupfield has even replicated the electrical outlet that connects to the light bulb in felt. Hupfield’s felt objects are compelling enough to provide an entry point for visitors to venture their own guesses as to what the work is about and why the artist chose to replicate them in this way.

Handmade replicas of objects in industiral felt

(Photo: Tabitha Chan)

Without having some knowledge of Hupfield’s biographical details, her sculptures and installations in the first room may still be intimidating for viewers who are not comfortable or experienced in looking at contemporary art independently. The second room helps to diffuse this tension, as visitors are able to partake in a shared experience, while learning about Hupfield’s personal heritage and narrative. 

The second room has an intimate and solemn atmosphere. The only light emitted in the room is from two floor-to-ceiling video projections that face one another, and from a small cut out rectangular window that looks out onto the Lake Ontario harbour. There are two objects in the room: Bound with Georgian Bay by Peggy Miller (1974) and Jingle Spiral (2015). Both objects make appearances in the projected performances. 

Small cut out window looking out onto Lake Ontario

(Photo: Tabitha Chan)

This painting below inspired Hupfield’s performance with her siblings, which took place in their hometown of Parry Sound, Ontario on Georgian Bay. In this performance, Hupfield holds the painting facing inwards, as her siblings dance and sing around her to celebrate the memory of their mother. Hupfield and her siblings re-enacted the same performance in the gallery space to ground the work within the exhibition.

In the gallery version of the performance, Hupfield holds the painting facing outwards. These recorded performances are projected one after the other on opposite sides of the gallery. The running time of each performance is 15 minutes – this means that visitors could potentially not even realize that there is a second film if they enter the room early on in the first film.

There are five square boxes configured in a circle in the middle of the room for viewers to sit and watch the performances. This seating arrangement resembles a campfire setting, encouraging viewers to have a community experience. This room is successful in being able to tell a very personal story to the artist, while inviting visitors to collectively partake in it. As visitors look out onto the Lake Ontario harbour, this act gives them the ability to ground their own experience in the exhibition. Their act of looking outwards is a parallel to the oil painting of the Georgian Bay seascape.

Bound with Georgian Bay by Peggy Miller (1974)

(Photo: Tabitha Chan)

CLOSING THOUGHTS

Being in the same room as objects that are seen in the performances gives visitors a way to connect and reflect on Hupfield’s personal narrative. Although the objects are often worn in the performances, the same objects that are displayed in the exhibit do not invite visitors to interact with them. They are remnants of the performance, and in this way, a symbol of past memory.

The two rooms are not binary opposites, but compliment each other through their differences and give viewers the opportunity to form their own interpretations based on what is revealed in the artworks themselves. In trying to understand the relationship between the two rooms, viewers are able to grasp the big idea of the exhibition.

Regardless of visitors’ familiarity or comfort level with contemporary art, the key to understanding this exhibition is time. This exhibit can only be fully appreciated if visitors have time to experience it and to take the initiative to personally reflect on the meaning of the exhibition. To properly engage in the content of the artwork, visitors have to spend time watching and listening to the performances.

The Power Plant Contemporary Art Gallery uses an interpretive strategy in this exhibition that is quite open ended and largely reliant on the viewers’ own agency to think actively. There is a quality of poetic abstraction with regards to how this exhibition has been curated. Viewers are able to develop their own conclusions, as long as they are willing to embark on their own journey and physically, as well as metaphorically, travel between the two rooms.

“The One Who Keeps On Giving” is open until May 14, 2017 at The Power Plant. The gallery has also made it possible to virtually visit all of their current exhibitions on their website.

JEFF NYE: RECOVERY ROOMS

EXHIBITION REVIEWS

BY: TABITHA CHAN

Sunlit Delivery Room with Fuschia, oil on canvas
(Photo: Tabitha Chan)

Jeff Nye's “Recovery Rooms" is a solo exhibition featuring a series of his oil paintings at the Varley Art Gallery of Markham. Nye is a Canadian artist, writer and curator based in Newmarket, ON. He received his BFA from Concordia University and his MFA from the University of Regina. This exhibition is a testament to how gallery didactics can effectively give the objects an added layer of meaning and strengthen the story being told in the exhibit.

As I walked into “Recovery Rooms," my first thought was that this exhibition must be about spaces and how colour can be used to characterize or collapse a space. At this point, I hadn't read the introductory panel or any object labels. When it comes to contemporary art exhibitions, my personal preference is to first spend time looking at the artwork without having knowledge of the artist or the context he/she is creating in.

I find this method of looking more enjoyable because it gives me a chance to have an unbiased first interpretation and attempt at “understanding" the artwork on my own. After a brief look at all the artwork, I will then read the gallery didactics to become properly informed. It's quite an intriguing experience to be able to compare my first impression to how my understanding changes after a formal explanation.

Dusk in the Delivery Room with Baby's Tears, oil on canvas 

(Photo: Tabitha Chan)

At first glance, Nye's paintings seem only to be technical studies and observations of space. After reading the extremely descriptive object labels, I realized there was a lot more to the work. Phrases like “Delivery Room" and “Baby's Tears"jumped out at me. Each painting depicts a specific room at a specific time of day, confirming part of my original interpretation. All of the rooms are lived spaces, both domestic and institutional (homes, workspaces and hospitals).

Looking at the work a second time after reading the object labels, I took a step back and tried to visualize the comprehensive space Nye was depicting. I noticed how the contrast between light and dark colours created shadows and depth - shapes that looked like windows and doors. I took a step forward and began to notice smaller details, like what objects were painted in each room - trees and potted plants. What was the meaning behind the juxtaposition between linear planes of space and the figural scribble marks?

Dusk in the Delivery Room with Baby's Tears, oil on canvas, detail 

(Photo: Tabitha Chan)

I thought about the relationship between how the work was painted and how it was described in its object label. Nye's application of oil paint is thick and heavy. Each brushstroke can be seen, and almost felt viscerally because of its physicality. As a viewer, you don't know what his first and last brushstroke was. Nye has chosen specific colours to evoke a particular mood in each painting in relation to the time of day described in the label. What does dusk feel like?

All of these components point to the life of an environment and how physical spaces are markers of memory. I read the introductory panel and learned that Nye had lost his daughter: “Through these works, the artist invites us to witness his private struggle, one that has affect both his professional and private life. Like scars accumulated upon the surface of the canvas, Nye uses the colour and texture of the oil paint to bring up memories of a specific time and space."  

Overcast Morning in the Living Room with Sapphire Showers, oil on canvas 

(Photo: Tabitha Chan)

Learning about this one biographical detail again added an entirely new layer of meaning to the work. I suddenly saw each painting, each room, as memories of a bigger story. The physical spaces depicted were linked to psychological spaces of transition. Nye's paintings are not simple - the choices in colour, the application of paint and the interweaving composition are all components that strengthen the overarching story. How can painting describe emotions of heartbreaking loss and unimaginable grief? From personal experience, as an artist, the act of making art is a way to make sense of the world and sometimes to preserve a past that inevitably slips out of reach.

 

Bright Daylight in the Studio with Prayer Plant, oil on canvas 

(Photo: Tabitha Chan)

“The mnemonic spaces in these paintings are places that I have called home, places where I have worked, and spaces within hospitals. The houseplants that wind their way through the compositions are mementos, purchased on each anniversary of the loss of our baby daughter, Angelica. These paintings are a way of making sense of change – those life and death moments that throw us off balance, or send us spinning out of control altogether." (Source - Artist's Website)

Sunset in the Potting Shed with Baby's Tears, oil on canvas 

(Photo: Tabitha Chan)

REFLECTION ON ABSTRACT ART

Abstract art can seem intimidating because the artist's intent is more elusive. I hope through my experience in this exhibit, you've realized that there is definitely more to abstract painting than meets the eye. I think it's important to remember that it's okay not to understand or to know exactly what the artist is trying to say. Even if you read all of the gallery didactics, or go to an artist talk, you will never have a complete understanding of what the artist is trying to convey. And that's okay. You're not the artist.

How do you approach contemporary abstract art exhibitions? Are you like me, and enjoy forming your own first impressions? Or do you read the introductory panel and object labels before looking at any of the artwork?