drawing

Newspaper Rock State Historic Monument, on the access road to Canyonlands National Park, Utah

Newspaper Rock is a curious mound, an erratic in the manner of Uluru – a mound projecting from a sandstone wall, covered in petroglyphs that range in age from 2000 to 100 years old, made by a number of groups from the Anasazi to the Navajo.  I saw this first in the mid 1980s on a driving trip to the four corners where Utah, Arizona, New Mexico and Colorado meet, in a single point.  A surveyor's dream.  

In those days the American landscape was completely graffitied.  At the time in Canada highway crews painted over all the tags beside the road with carefully matched rock-coloured paint, so in contrast US highways were very noisy with much crude writing. 

Newspaper rock seemed of a piece with all this drawing on stone; an even array of mark-making.  We have given over our ability to make drawings to a variety of professionals.  We don't write any more, everything is typed, we don't make little drawings much: graphic design and photography is so pervasive.  Graffiti on the side of railway cars is the only thing in my environment these days that is personal, hand-done, anarchic. And this is something of a shame.   We should all spend the weekend with a pencil in hand, making lots of little marks on paper.  It would be very interesting to see what it is that we actually draw. 

Chile

What more is to be said about the Chilean mine rescue, given the acres of print about the seamy side of whatever story there is.  Why do we, in the developed nations, do this?  Why are we so intent on turning everything into a sleazy soap opera?  Is there a real problem with how right-wing is the president and whether or not the mining minister, having gone to Stanford and by definition is a member of the comprador bourgeoisie and whether or not miner 18 was separated and was living with someone else – does it matter? 

It was the most amazing saga I can remember since the invasion of Iraq, which I also watched in 24 hrs a day coverage on BBC World.  I remember thinking when the US had reached Baghdad airport, 'holy crow, that is the same distance away from where I live as if a hostile army had reached Calgary airport, a 20-minute dash up the Deerfoot'.

With the miners, yes the Mapuche hunger strike was concurrent, yes, the other miners thrown out of work by the same company that was mining the San José mine are protesting, but the world is now watching.  The attention on Chile is acute.  Canny politicians moving their underdeveloped country into first world status are not able to sweep anything under any sort of rug now. 

The oldest miner, Omar Reygadas, says of course he will go back to the mines.  He is a miner.  It is a reminder of when being a miner was a source of immense pride in the developed nations.  The miner's strike, broken by Margaret Thatcher, put paid to mining in the UK.  The Cape Breton miners, the men of the deeps, went to the wall along with the cod fishery.  However, Canada is still a mining country; we are a primary resource nation.   Would Christian Paradis have spent 50 of the last 70 days at, say, the tar sands, or a potash mine if there was a crisis involving the workers?   Somehow I doubt it.

Ireland Park

Kearns Mancini Architects, Ireland Park Foundation, 2007Paul Whelan has written about Ireland Park in the new issue of On Site.  It commemorates the huge wave of emigrants from the 1847 Irish famine.  Incredibly, over a six-month period, 37,000 immigrants washed through Toronto, population 20,000, on their way to both inland and to the United States. 

Walls with names seems to be a necessary memorial component now: these names of people who died on the voyage or shortly after, about 20% of the total, are inscribed in the interstices of a rough difficult craggy cliff. 
And, also necessary it seems, are the figurative statues, in Toronto's Ireland Park part of a set, the other half being in a park in Dublin: the wraiths who left, and if they didn't die, arrived in North America. 

Migration stories: is there a point at which oral history – the journeys, the reason for emigration in the first place, the subsequent struggle to re-establish a life –is lost?  And is that when we start to build memorials?  

coal mining towns

Eric Ravilious. The Vale of the White Horse,  circa 1939. Pencil and watercolour on paper: 451 x 324 mm Tate Collection N05164. This cutting of small villages into the landscape, especially in the L S Lowry painting (of yesterday's post) where in the front of the village are some fenced off yards as stony as can be, brings to mind the 3000 year-old Uffington White Horse cut into the Berkshire Downs.  These are inscriptions in the landscape, rather than sprawls across its surface. 

Nanaimo, which today sprawls determinedly north and west up the mountain, was originally a coal mining town, incised in the woods as a tidy fan-shaped diagram around the harbour.   You can see it drawing from the British colliery typology: small compact houses in small compact towns.  One can already see, in the 1891 map, new development inching northward.  In 1891, 762 working men lived in the south end; 70% were miners.  
They are almost gone, but Nicol Street (now the Island Highway going south) until fairly recently was lined with tiny miners' houses, no bigger than two rooms.  It was a rough place, early Nanaimo, very unlike its present prosperous and prolific self.

Nanaimo, 1891

unstable surfaces

La Jolla, California, 2007Now, here's an example of the ground beneath one's feet being completely ambiguous, certainly mysterious: how deep is the slump beneath this sink hole?  Is it at the level of the water table, or the aquifer, or a mile deep?  This photo looks like something by Jeff Wall: a small suburban crisis.

If you click on the picture it will take you to a Guardian photo series of other, recent sink holes.

Andreas Gursky

Andreas Gursky. Ocean V, 2010. 
Chromogenic Print 
366,4 x 249,4 x 6,4 cm. Courtesy Sprüth Magers Berlin.

Andreas Gursky is showing his series Ocean I-VI at Sprüth Magers Berlin right now.  The images are large – all around 2.5-3.5 m x 3m+, and originated in the kinds of views on flight monitors that show whatever the plane is flying over.  These are all images of the oceans, the land shows as busy little fragments around the edge: peripheral and of no great mystery compared to the seas which show as deep and silent.

Gursky apprenticed with Bernd and Hilla Becher, and something of their stillness underlies all his work.  While Ocean I-VI might look like straight satellite images, and indeed the bits of land are from satellite photos, the oceans themselves have been constructed.  There are no clouds or storms, their proportions aren't geographically correct – they take cartographic licence as all maps do.

These pieces of water all have names, but Gursky has called them simply Ocean I, Ocean II; just as land doesn't have all the political and economic markings we understand as constituting land inscribed on its surface, neither do the oceans have pink dotted lines floating on them marking 250-miles limits, or large letters floating across them saying Pacific Ocean.  Really, maps as we know them, are very crude. 

Gursky has, for many years, done large photographs of large things: immaculate and perfectly regimented crowds in North Korea, flattened screens of social housing projects, any repetitive elements that are so vast in number that they become a kind of colour field, which of course is the thing that pulls him away from the often near-identical photographs of Ed Burtynsky.  Repetition and the small shifts in detail in like objects were at the core of the Becher's work: I doubt they were wildly interested in water towers although they photographed hundreds of them. Their project was photographic, setting the camera in a precise and repetitive relationship with the subject, removing all the seductive elements the camera so easily exploits: colour, sun and shade, fast-frame capture of birds, wind, people.

Much is written about Gursky's work as a critique of capitalism: here are capitalism's excesses, with Burtynsky, Gursky and Polidori as a club going about documenting all its evils.  I'm not sure this is quite how it is, or all that it is.  There is a photographic project here, rather than a documentary project.  Oceans I-VI is not documentary, it is a construction of a mystery, of inaccessibility, of understanding something one can only see in the abstract; the near-impossibility of clicking out of the abstract into some sort of existential, phenomenological present, which can only be found at the scale of standing with one's feet in the water at Departure Bay and thinking 'this water goes to Japan'. 

James Trevelyan

James Trevelyan. Frozen Lake, 1986. 27 x 20", mixed media on paperThis drawing came up for auction recently.  There are four large Calgary art auctions a year, each with about 600 lots, maybe 400 of which are paintings of the mountains in landscape format, blue skies, sharp shadows on the peaks, snow at the top, usually a river in the foreground.  The views are often recognisable from the road or from hikes radiating out from the old CPR towns - Banff, Lake Louise, Field, Craigellachie, Glacier, Golden and date from the days when artists came from England or Ontario and Québec via the CPR to Banff to paint.  It established a way of looking at the mountains: from a safe distance, from a valley, in the summer.

Today these same towns are ski centres, contemporary art has long turned away from landscape painting, and although there are some brilliant abstract painters of landscapes across the prairies, few look at the mountains and it is rare indeed to find much work painted from the depths of winter.  The obvious reason is that it is bloody cold in the winter. 

Perhaps a less obvious reason is our fear of winter.  The winter on the prairies and in the mountains is not the cozy Group of Seven kind of winter where snow lies like puffy duvets on everything and shadows are a lovely violet or a deep azure.  This is black and white winter, hard and mean. The frozen lake in James Trevelyan's drawing is scoured clean by a high mountain wind, its ice like basalt.  And yet there is a lovely intimacy in this piece, an ambiguity of surface and light that one never finds in work painted on bright sunny days. 

Like lots of Canadians, lots of Canadian artists go to Mexico for the winter.  I'd take this view of a sere, cold, empty, beautiful winter over the florid landscapes of the south any day.  Visually, I get this climate. 

Roger's Pass

Trans-Canada Highway at Roger's Pass, winter.

How to cross something so impenetrable.  Everyone, from First Nations to the railway to the highways followed the rivers, but rivers drop down from summits, and there is always a point where the mountains must be crossed.  The railways drilled long tunnels through mountains, the highways that followed eighty years later couldn't and so we have a series of rather heart-stopping passes throughout BC: Roger's Pass, Crowsnest Pass, the Creston-Salmo Highway, the Coquihalla, the Hope-Princeton.  One approaches them gingerly and with great respect.  

On this drive, three thin lines: the CPR, the CNR and the Trans-Canada are the only visible signs of our occupation of these huge landscapes.  In the winter there is little traffic, campsites and viewing spots are all closed and under 10' of snow, radio is inaccessible, one can drive for miles without seeing another car.  One is thinking of absolutely nothing other than driving and the road.  It is remarkably calm.  Then a truck hurtles by, throws a rock at your windshield and the rest of the trip has a big silver crack across your view.


British Columbia

This map is from Derek Hayes' 2002 Historical Atlas of Canada, the most beautiful of all the historical atlas projects. The image is linked to Google books where one can see just how beautiful.

One of the conditions of the colony of British Columbia joining Canada in 1871 was the building of an overland link from BC to the rest of Canada.  This was the commission given to the CPR and completed in 1884.  Is BC a different world than the rest of Canada?  They certainly think so.

This map, drawn in the 1870s when much of BC was simply unknown to surveyors and engineers, shows just how much of a conundrum this territory must have seemed. After sailing breezily through the flat land of the prairies where nothing can be hidden from view suddenly there is the wall of the Rockies. Even today, on the much improved Trans-Canada, one cannot get through BC quickly, and the older Highway 3 through the Crows Nest is very convoluted. However, such roads keep one more alert than driving through southern Saskatchewan in a 500 mile straight line.

I like this map for the dismay it seems to exude.  BC was going to be a hard project.

Eric Ravilious: the scale of the land

Eric Ravilious. Chalk Downs, 1940. watercolour. 23 x 14 in. (56 x 47 cm)Eric Ravilious was a British war artist who died in 1944 when the RAF reconnaissance plane he was on disappeared off Iceland.  He did a number of things before the war: murals, woodcuts, graphic design, drawing and painting in the pale, flat sketchy way that a number of artists who had studied at the Slade used in the 1930s and 40s.  Supreme draughtsmanship, coupled in Ravilious's case with a deep love of the Sussex landscape which was at the time under threat from development, informs the painting above. 

It is small, and the brushmarks are those of a watercolour brush, used quite dry, and in places stippled.  It was a way of working that was fast and portable.  For Ravilious, nature is not wilderness, it is the impacted landscape of earth worked for millennia under many belief systems for agricultural use.  The fence line is important: it delineates territory, the road cuts the growing surface of the land the same way as the huge chalk hill carvings such as the Westbury horse, or the Cerne Abbas giant.

The chalk drawings are neolithic, perhaps druidic.  They are made by removing the thin layer of turf to reveal the limestone below.  They will disappear if not kept clear, which they have been for 3000 years.  It is this immense continuity that Ravilious sees in his landscapes, combined with the modernity of the age in which he lived.  A steam train chugs across the plain beneath the Westbury horse.

The Imperial War Museum held a centenary Ravilious (1903-1944) exhibition in 2004.  A most beautiful book was published to accompany it: Imperial War Museum. Eric Ravilious. Imagined Realities. London: Philip Wilson Publishers, 2003.  Their website gives an overview.

Eric Ravilious. The Westbury Horse, 1939. © Estate of Eric Ravilious 2004