As I’ve done now for the past two years, I’m taking advantage of the lull afforded by the end of the holiday season and a lingering cold to reflect back upon the best of what Hamilton’s art scene had to offer in 2010.
While tracing back through the year’s exhibitions and events, I was gratified to discover that some of the most memorable moments in Hamilton’s visual arts were wrought at the local level and very often in unconventional spaces. A longer list would have seen more acknowledgements of the efforts put forward by the likes of Know Your Ghosts and Buttrum & Sons’ respective non-traditional presences on James Street North, but the shorter list that follows focuses on singular exhibitions and events across a range of platforms that prove what the local art community can accomplish.
And so, in no particular order, my top five for 2010:
An Early Winter @ 118 James Street North, November 11-20
Of all the exhibitions to make this year’s list, this was the most recent and the one at the forefront of my mind when the time came to choose worthy contenders, but it was going to be here regardless of whether it had taken place in January or November. Curator Ola Wlusek pulled together an understated selection of sculpture, drawing and sound from Svava Thordis Juliusson, Sarah Kernohan and Eric Powell that fused itself flawlessly to a cold, derelict storefront property and made for one of James North’s most magical transformations this year.
Brendan Fernandes, until we fearless @ Art Gallery of Hamilton, June 10-October 3
Kenya-born Canadian artist Brendan Fernandes provided the perfect antidote to what was a sometimes problematic series of exhibitions in the AGH’s Vital Africa program with his funny and intelligent investigations of post-colonial cultural identities. Curated by the AGH’s newly-appointed contemporary art curator Melissa Bennett, until we fearless provided a smart and immersive introduction of Fernandes’ work and included a new sound-based work created in collaboration with Hamilton musician and pub owner Jeremy Greenspan.
Pattern and Form @ The Print Studio, February 26-April 10
Curated by Hitoko Okada, the astute pairing of Arounna Khounnoraj and Emma Nishimura brought together delicate material sensibilities that pulled more than their weight in sombre significance in this exhibition of works that nimbly dissected the margins of printmaking’s capabilities as a medium. In the interests of full disclosure, I need to point out that I sit on The Print Studio’s Board of Directors, which would normally make me pass over any of their shows for this list, but it was frankly too good to not receive the praise it so thoroughly deserves.
Supercrawl @ James Street North, September 25
Last year’s inaugural Supercrawl was plagued by rain, but that didn’t stop organizers from pushing forward with ever more ambitious plans that made this year’s event one of the best of the year. Giving Supercrawl a full day to shine well away from the Art Crawl’s second Friday was a much-appreciated strategy, and a full roster of brilliant bands and creative moments both planned and spontaneous, indoors and out, made for a constantly upbeat atmosphere.
Shelagh Keeley @ McMaster Museum of Art, September 10-October 30
Shelagh Keeley’s decades-long engagement in drawing and book-based works stand as evidence of the powerful potential in these under-appreciated media, and this first major retrospective of her career was long overdue. Carol Podedworny at the McMaster Museum co-curated this impressive survey with Linda Jansma at Oshawa’s Robert McLaughlin Gallery, which also co-produced the excellent catalogue to the exhibition. While forward-looking exhibitions of the present moment are vital to Hamilton’s cultural landscape, historically relevant landmarks such as this one are equally important, and Shelagh Keeley’s retrospective in particular was a real gem.
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COMMENTS / ONE COMMENT
Robert Morpheal added these pithy words on Dec 31 10 at 5:37 pmI think that in looking back on a year, has to be as though upon a life, from its death bed. (Perhaps Steph, easier to do while suffering a horrific cold.) You look back and ask the question as to what was really monumental, worth living or daying for, among what was experienced. What stands out as a “peak experience” from all the other trash and treasures hunts of the past 12 months. What gem truly shines as something of personal experience and as worthy of a future. In some instances, that stance might cause one to roll over into one’s grave, surrendering that final breath of cultural despair. Damn it was a frustrating, boring, tedious, predictable, cultural year. Or you might say there is something that did make it more worthwhile than that. I leave that to each individual to answer for themselves. What was there that ought to be remembered in the next millennium, that was worth living and dying for, this year ? …. drum roll…..
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