Stéphane Aquin interviewed about Sound + Vision
Howdy!
[note: I made significant additions, and so I bumped this back up to the top]
Click here if you'd like to download the film [80MB Quicktime File]. Last Thursday, Scott and I went over to the Musée des beaux-arts to interview Stéphane Aquin, the contemporary art curator there, and the person most responsible for Sound + Vision. If you'd like to watch the film without downloading, click on the appropriate button below.
If you'd like to see the exhibit, it is up on the walls of the Montreal Museum of Fine Arts until October 22.
Then, if you would like more information, The Voir review, by he who shall remain nameless - goes for the kneejerk criticism of not enough Quebecois artists, and then shows how incompetent he is as a tourist, since he admits that 'sometimes he can't find contemporary art when he travels.' (My best guess is he thinks the MOMA is a 'contemporary' art museum - it ain't.)
The La Presse review, by he who alternates between being offensive and not admiting to making mistakes. Ignoring for the moment, the personal differences between what he likes and what I can't stand - the one piece that I find absolutely horrible, he adores. He states that the only artist missing is Janet Cardiff, except that he doesn't realize that the AGO only has one Cardiff piece that is extremely large and extremely fragile, and the two pieces that the National Gallery owns are even larger, and more fragile, or in other words they don't travel. He also forgets about Tom Dean, Jana Sterbak, Nelson Henricks, and Jan Peacock, all of whom have work that is collected by the three museums that is not fragile.
The Gazette review by Henry Lehmann, a reasonable review, except he lets the MBAM off the hook, with regards to artists from the Maritimes, because he did not realize that three quarters of the exhibit comes from the National Gallery, And he mistakes the sand (ie 'sands of time') in Rheinmetal/Victoria 8 as snow.
And the Le Devoir review by Stéphane Baillargeon, where he too, for the most part gets it right (for some reason he thinks the Kevin Schmidt piece is good as well, and uses it as the foundation for his review).
[note to Jennifer McMackon, I would consider this post more like a lambast.]
[note: I made significant additions, and so I bumped this back up to the top]
Click here if you'd like to download the film [80MB Quicktime File]. Last Thursday, Scott and I went over to the Musée des beaux-arts to interview Stéphane Aquin, the contemporary art curator there, and the person most responsible for Sound + Vision. If you'd like to watch the film without downloading, click on the appropriate button below.
If you'd like to see the exhibit, it is up on the walls of the Montreal Museum of Fine Arts until October 22.
Then, if you would like more information, The Voir review, by he who shall remain nameless - goes for the kneejerk criticism of not enough Quebecois artists, and then shows how incompetent he is as a tourist, since he admits that 'sometimes he can't find contemporary art when he travels.' (My best guess is he thinks the MOMA is a 'contemporary' art museum - it ain't.)
The La Presse review, by he who alternates between being offensive and not admiting to making mistakes. Ignoring for the moment, the personal differences between what he likes and what I can't stand - the one piece that I find absolutely horrible, he adores. He states that the only artist missing is Janet Cardiff, except that he doesn't realize that the AGO only has one Cardiff piece that is extremely large and extremely fragile, and the two pieces that the National Gallery owns are even larger, and more fragile, or in other words they don't travel. He also forgets about Tom Dean, Jana Sterbak, Nelson Henricks, and Jan Peacock, all of whom have work that is collected by the three museums that is not fragile.
The Gazette review by Henry Lehmann, a reasonable review, except he lets the MBAM off the hook, with regards to artists from the Maritimes, because he did not realize that three quarters of the exhibit comes from the National Gallery, And he mistakes the sand (ie 'sands of time') in Rheinmetal/Victoria 8 as snow.
And the Le Devoir review by Stéphane Baillargeon, where he too, for the most part gets it right (for some reason he thinks the Kevin Schmidt piece is good as well, and uses it as the foundation for his review).
[note to Jennifer McMackon, I would consider this post more like a lambast.]
posted by Zeke's, the Montreal Art Gallery on 20.8.06
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