August 7, 2006

Graham Gillmore (14 images in this album) CANADIAN ARTISTS IN VANCOUVER

Graham Gillmore


Biography

Born Vancouver, Canada

Attended Emily Carr College of Art and Design Vancouver, Canada



"On the Dire Artist Statement" by Karla Pearce
Like it or not there comes a time in all artist’s careers when they have to tackle the issue of coming up with an artist statement. An artist statement should be a one page document that provides a window into the artist’s world. Ideally it is intelligent, informative, and adds to the understanding of the artist. Sometimes this document is written for a gallery, grant proposal or exhibition. Other times, artists just feel the need to explain their work. The whole point of an artist statement is to make you sound intelligent. Artists need to know how to intelligently talk about their work.
Many times in the past few years I have read artist statements that do the opposite. Most artists are not professional writers and have difficulty dealing with the unique problem that writing about their own work poses. Some artists' statements become overly personal explanations about what art means to them. Not many artists are able to articulate intelligent insight into their work. So why fight it? Artists (most) are in the business of making art not writing. It is perfectly acceptable to hire a professional writer to write an artist statement that makes you sound like the intelligent professional artist that you are. But if you feel like tackling the job yourself here are a few do’s and don’ts.
Things to think about while writing an artist statement.
* Explain the sources for your imagery. All artists must discover where they connect within the contemporary art world regardless of the reasons that drive them to create.
* Talk about your subject matter and how it relates to the world in a social political way. Like it or not most art is political. Where does yours fit?
* Stay away from esoteric ramblings and overly personal explanations about what art means to you and what you are trying to accomplish in your work. These ideas belong in a personal journal not a public artist statement.
* It’s good to be influenced by other artists but do not compare your self to a long dead master. Phrases like, My work is like Pablo Picasso’s or I am following in the foot steps of Salvador Dali will make an artist sound pretentious. Instead try I am influenced by…and you can use as many artists, writers, poets and musicians as you like.
* If you wish to label your paintings with a particular historical category, do not call yourself an impressionist, cubist, fauvist…etc. These are historical movements and all the people that were involved in them are long dead. Instead try, I paint in the style of an impressionist. Or better yet, call your self a post-modernist. It is the art movement that we are currently in.
* Speak about your medium if it is unusual or interesting in some way, but viewers aren’t going to get to excited if you tell them that you work from a photograph in your studio or that you paint in oils or watercolour. They can see that in your paintings. Instead talk about your technique in terms of harmonies, discords and composition. Your process of creating is a holistic one and need not be dissected into how I made this.
* And most importantly, get someone to edit your work! All writers professional or not have editors. I have several and would not dream of publishing anything until it has passed by an editors trained eye.
"There is one thing one has to have: either a soul that is cheerful by nature, or a soul made cheerful by work, love, art, and knowledge." ~ Friedrich Nietzsche

For the last three years I have been writing and promoting artist's work in the West Kootenays. It has been an educational experience for me. In this time period I have seen a lot of things that I have wanted to address that are not necessarily about individual artists. I have been teaching art to adults and children alike for the last eleven years and have decided to put some of my expertise as an art educator and art reviewer to use in my column The Creative Edge. This will include simple technical tips for artists to improve what they do, interesting facts about art history, and ideas about what art is and where it came from. I will still continue to review shows and individual artists from time to time as I love expanding my creative awareness through viewing and exploring art. - Karla Pearce




Exhibitions

2001 Galgria Fucares Madrid, Spain

2000 Nicolo Sprovieri London, UK

2000 Full Serve, Kenny Schachter/Rove New York, NY

2000 "Art Fair Chicago", OMR Gallery Chicago

2000 "Pink", Catherine Clark Gallery San Francisco , CA

1999 "Not Finished", Monte Clark Gallery Vancouver, Canada

1999 "Finishes I've Never Booked", Linda Kirkland Gallery New York, New York

1999 "Cinco Continentas a una Ciudad", International Salon of Painting Mexico City, Mexico

1999 "Tongues and Ashes", Kitchner-Waterloo Gallery Kitchner, Canada

1999 "Les Peintures", Galerie René Bloin/Galerie Lilian Rodriguez Montreal, Canada

1999 "ARCO '99 International Art Fair", Monte Clark Gallery Madrid, Spain

1999 "Armory Art Fair", Sperone New York, NY

1999 Refuselon Gallery San Francisco, CA

1998 "Growth Stunts", Monte Clark Gallery Vancouver, Canada

1998 "My Influenza", Gian Enzo Sperone Gallery Rome, Italy

1998 "Whose Words", Dorsky Gallery (curated by Kenny Schachter) New York, New York

1998 "Cambio New York", Sandra Gering Gallery (curated by Kenny Schachter) New York, NY

1998 "Whose Words", Dorsky Gallery (curated by Debra Bricker Balken) New York, New York

1998 "Pop Surrealism", The Aldrich Museum of Contemporary Art Aldrich, Connecticut

1998 South Carolina Museum South Carolina

1997 Greg Kucera Gallery Seattle, WA

1997 Lombard Fried Gallery New York, NY

1997 "Below the Border/Above the Border", Catherine Clark Gallery San Francisco, CA

1997 "Canadian Artists in the Big Apple", curated by Glen Cumming New York, NY

1996 "Sex, Drugs, and Explosives", London ArtForms (curated by Kenny Schachter) London, England

1996 Lombard Freid Gallery (curated by Kenny Schachter) New York, NY

1996 Arlington Museum of Art Arlington, TX

1996 "Field Days, Cerulean Embankments", Geoffery Young Gallery Great Barrington, MA

1996 Refusalon Gallery San Francisco, CA

1996 "Hi Infidelity", Monte Clark Gallery Vancouver, Canada

1995 "You Ruined Me With Your Experiments", Monte Clark Gallery Vancouver, Canada

1995 "OY", 121 Greene Street (Curated by Kenny Shachter) New York, NY

1995 "Way Cool", Exit Art/The First World New York, NY

1995 "David Greenberg and Diego Cortez Present..", Taste Venue New York, NY

1994 Update, White Columns Gallery New York, NY

1994 "Group Show", Pat Hearn Gallery New York, NY

1994 "Spleen", Monte Clark Gallery Vancouver, Canada

1994 "Breeders", White Columns Gallery New York, NY

1992 "From Soup to Nuts; Popart, its legacy in the age of consumption", Works Festival, Alberta College of Art Edmonton, AB

1991 "Lyrical Uses of Beauty", White Columns Gallery New York, New York

1989 "Gillmore, Grossman, Root", 49th Parallel New York, NY

1989 "4th International Triennial of Drawing", Kunsthalle Nuremberg, Germany

1988 "London Life Young Contemporaries", London Regional Art Gallery London, ON

Refuselon Gallery San Francisco, California

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