Delighted to be included in this Group show
at the Art Gallery of Burlington.
My interpretation of the sublime ...
a gentle sunrise on the lake ... Lake Ontario, Burlington
Showing posts with label Burlington Art Centre. Show all posts
Showing posts with label Burlington Art Centre. Show all posts
Wednesday, July 23, 2014
Thursday, January 23, 2014
THE BOXER - 'Black History Month' in Burlington, Ontario, Canada
If you find yourself in Burlington, Ontario, Canada during the month of February, be sure to swing into the Burlington Art Centre on Lakeshore Blvd to catch another aspect of the festivities for 'Black History Month'. Hanging in the Community Hall will be a repro of an oil painting I did several years ago. It will be up for a month.
Alternatively, if you find yourself at the 35th Annual Art Auction at the same venue on February 7th, take a wonder through the Centre and find this work. It may not be IN the auction, but it IS 'for sale'. Asking $250 for the one-off photo print, signed and dated by moi. The original, in oil, 28" square, is $6500 (Canadian) framed in 2" black wood. If interested in either purchase, contact me directly.
As for the genesis of this painting, it's a good story. A very blonde Dutch friend and I were traveling around Central America when we landed in Panama City. We decided to walk around the waterfront and, quite literally, fell into a local 'boxing club'. Loud, smelly, very male, oozing testosterone and 100% black, we had a rather curious 'aha' moment about 'skin colour' and, tangentially, racism ...
In a perfect world, skin colour shouldn't 'matter' at all.
But it does. Black, White, Red, Yellow or a mix: we are who we are.
The Boxer (of Panama City) - oil on board, by m.l.holton
As for the genesis of this painting, it's a good story. A very blonde Dutch friend and I were traveling around Central America when we landed in Panama City. We decided to walk around the waterfront and, quite literally, fell into a local 'boxing club'. Loud, smelly, very male, oozing testosterone and 100% black, we had a rather curious 'aha' moment about 'skin colour' and, tangentially, racism ...
In a perfect world, skin colour shouldn't 'matter' at all.
But it does. Black, White, Red, Yellow or a mix: we are who we are.
Tuesday, January 15, 2013
35 ONLINE @ The Burlington Art Centre
One of my oils will be presented in the ONLINE Auction, starting January 17th. - Link to 35 ONLINE Auction **Direct link to my item - HERE.
Feb 11th, update: SOLD. (Someone got that for a real steal!)
Virtual Tour of the Burlington Art Centre.
Wednesday, July 21, 2010
The Hamilton Spectator Review of MEMORY'S SHADOW: The Exhibit
Jef Mahoney, Art Critic at The Hamilton Spectator newspaper, had this to say about my current pinhole & photo-collage photography show in the Perry Gallery at the Burlington Art Centre ... (He TOTALLY 'gets it'!)
For directions to the BAC, link 'here'
To purchase THE BOOK, go the tab at the top of this blog, under 'MLH BOOKS' , or contact me directly at lyn holton @ gmail dot com . There are ONLY 50 in the 'Collector's First Edition'. When they are gone, that's it. Nada mas.
Monday, July 19, 2010
MEMORY’S SHADOW: Pinhole & Photo-Collage Photography by Margaret LIndsay Holton
If you just can't get to Southern Ontario before August 19th, I strongly advise getting a copy of the book 'MEMORY'S SHADOW: Pinhole & Photo Collage Photography' (as seen above) by moi.
With 55 never-before-seen additional images, (and an incisive 'fore-word' by Canada's very own OUTSTANDING documentary film-maker, Peter Wintonick), this hardcover BOOK really is a NATIONAL TREASURE!
With only 50 copies available in this 'Collector's First Ediiton' - priced at just $160 (plus tax) - it's a steal!
Excellent review by Jeff Mahoney of the Hamilton Spectator - here.
With 55 never-before-seen additional images, (and an incisive 'fore-word' by Canada's very own OUTSTANDING documentary film-maker, Peter Wintonick), this hardcover BOOK really is a NATIONAL TREASURE!
With only 50 copies available in this 'Collector's First Ediiton' - priced at just $160 (plus tax) - it's a steal!
Excellent review by Jeff Mahoney of the Hamilton Spectator - here.
Order below with Paypal and/or your credit card.
Need help with this purchase? Contact -
mlhpro at hotmail dot com
Exhibition ENDS August 19th, 2010.
mlhpro at hotmail dot com
Exhibition ENDS August 19th, 2010.
Monday, July 5, 2010
'MEMORY'S SHADOW' @ The Burlington Art Centre, Summer 2010
MEMORY'S SHADOW:
Pinhole & Photo Collage Photography
by Margaret Lindsay Holton
by Margaret Lindsay Holton
Exhibiting in The F.R. Perry Gallery
Opening: JULY 15th Closing: AUGUST19th.
Artist's Reception: SUNDAY, July 18th, 2-4pm.
Artist's Talk: Monday, July 26th, 6:30pm
MEMORY'S SHADOW,
the complimentary hard-cover PHOTOBOOK -
with foreword by award-winning
Canadian documentary film-maker,
Peter Wintonick O.C.
- is NOW available - link 'here'.
Artist Statement:
I have long been fascinated by how the human mind ‘records' things, events and moments in time and how those memories are later evoked thru the means of storytelli ng. The emotional tonal value of memories often shape-shift until they calcify into a ‘story' worth telling. These tales, in turn, provide us with identity. They act as cohesive glue and connect us as families, friends, group-tribes, and even, nation states.
We all carry emotional connections to past incidences. These emotional connections often ‘exist' in a fuzzy zone that swirls between fact and fiction. What ‘authenticates' a memory is often a physical thing, some kind of talisman or ‘keepsake' – like a piece of furniture or jewelry, a familiar landmark or a photograph. The physicality of these items ground the story and sets the tale in Real Time and Place.
However, our current superabundant capacity to photo-document EVER YTHING has begun to dramatically alter and even replace the other means by which we do ‘record' our own individual human experiences. For example, we all know that television is omnipresent in every North American home and is often the ‘focus' of family life and early education. There, we are inundated with an assortment of ‘crafted' memories that are primarily designed to induce us to buy stuff. Interspersed throughout these commercials is ‘entertainment' or ‘news' that supposedly inform us of all that goes on in the world outside the realm of our own experience. As a net result, OUR memories are increasingly ‘built' by producers/directors, writers and photographers that have absolutely NOTHING to do with the day-to-day evolution of our own physicality in our own naturally evolving landscape. Most now willingly accept this as ‘the norm'. Collectively, we have allowed external manufactured memories to define, and bind, us. Friends now ‘connect' when they talk about their favourite ‘tell-a-vision' shows …
Lately though, within the past decade, there has been a major shift in our memory or image consumption because, increasingly, through the internet, and with such distribution channels as YouTube, Flickr, Twitter, and Facebook, we are no longer at the mercy of bulk mass-produced corporate image-makers of memories. We are now telling our OWN quirky stories, yet using the SAME tools. We too can now ‘play back', ‘rewind', ‘fast forward' or simply ‘surf'. We can drag a past moment forward into the present, and then, if we like, physically reshape that moment to have a future ‘life', as a ‘new' image. We can now manipulate and EDIT our own recorded photo images with ease. We have all BECOME our own producers, directors, writers and photo editors. We can all technologically manufacture our own memories.
My own sense though is that this heavy emphasis on the technology to actually re-PLACE our authentic Selves in time and space acutely undermines our own INNATE capacity to ‘remember' who and what we have been and are doing. We have FORGOTTEN that photography is ONLY a tool to document a memory - not the ‘memory event' itself.
With this book (and exhibit), it is my desire to stimulate a deliberate ‘dissonance' and force the viewer outside the seamless ‘comfort zone' of contemporary ‘DOC-U-ME photojournalism'.
I want to re-engage the viewer's Mind's Eye using the INNATE memory mech anisms OF OUR OWN MINDS to re-awaken the inner Self to the essential non-chronological components of our individual capacity for ‘memory making' and authentic self-expressive ‘story telling'….
I have done this by juxtaposing the eerie grounded Black and White ‘realism' of pinhole photography with the ephemeral capriciousness of heavily edited transparent collage colour photography.
I think it works - IN THE MIND ... What do YOU think?
- 78 images have been published in this COLLECTOR'S EDITION
- 22 images will be in Exhibition. Opening July, 2010
I have long been fascinated by how the human mind ‘records' things, events and moments in time and how those memories are later evoked thru the means of storytelli ng. The emotional tonal value of memories often shape-shift until they calcify into a ‘story' worth telling. These tales, in turn, provide us with identity. They act as cohesive glue and connect us as families, friends, group-tribes, and even, nation states.
We all carry emotional connections to past incidences. These emotional connections often ‘exist' in a fuzzy zone that swirls between fact and fiction. What ‘authenticates' a memory is often a physical thing, some kind of talisman or ‘keepsake' – like a piece of furniture or jewelry, a familiar landmark or a photograph. The physicality of these items ground the story and sets the tale in Real Time and Place.
However, our current superabundant capacity to photo-document EVER YTHING has begun to dramatically alter and even replace the other means by which we do ‘record' our own individual human experiences. For example, we all know that television is omnipresent in every North American home and is often the ‘focus' of family life and early education. There, we are inundated with an assortment of ‘crafted' memories that are primarily designed to induce us to buy stuff. Interspersed throughout these commercials is ‘entertainment' or ‘news' that supposedly inform us of all that goes on in the world outside the realm of our own experience. As a net result, OUR memories are increasingly ‘built' by producers/directors, writers and photographers that have absolutely NOTHING to do with the day-to-day evolution of our own physicality in our own naturally evolving landscape. Most now willingly accept this as ‘the norm'. Collectively, we have allowed external manufactured memories to define, and bind, us. Friends now ‘connect' when they talk about their favourite ‘tell-a-vision' shows …
Lately though, within the past decade, there has been a major shift in our memory or image consumption because, increasingly, through the internet, and with such distribution channels as YouTube, Flickr, Twitter, and Facebook, we are no longer at the mercy of bulk mass-produced corporate image-makers of memories. We are now telling our OWN quirky stories, yet using the SAME tools. We too can now ‘play back', ‘rewind', ‘fast forward' or simply ‘surf'. We can drag a past moment forward into the present, and then, if we like, physically reshape that moment to have a future ‘life', as a ‘new' image. We can now manipulate and EDIT our own recorded photo images with ease. We have all BECOME our own producers, directors, writers and photo editors. We can all technologically manufacture our own memories.
My own sense though is that this heavy emphasis on the technology to actually re-PLACE our authentic Selves in time and space acutely undermines our own INNATE capacity to ‘remember' who and what we have been and are doing. We have FORGOTTEN that photography is ONLY a tool to document a memory - not the ‘memory event' itself.
With this book (and exhibit), it is my desire to stimulate a deliberate ‘dissonance' and force the viewer outside the seamless ‘comfort zone' of contemporary ‘DOC-U-ME photojournalism'.
I want to re-engage the viewer's Mind's Eye using the INNATE memory mech anisms OF OUR OWN MINDS to re-awaken the inner Self to the essential non-chronological components of our individual capacity for ‘memory making' and authentic self-expressive ‘story telling'….
I have done this by juxtaposing the eerie grounded Black and White ‘realism' of pinhole photography with the ephemeral capriciousness of heavily edited transparent collage colour photography.
I think it works - IN THE MIND ... What do YOU think?
- 78 images have been published in this COLLECTOR'S EDITION
- 22 images will be in Exhibition. Opening July, 2010
...
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