.: Art In The Nightless City

Saturday, October 04, 2008

Art In The Nightless City

This is the third year for the contemporary art event known as Nuit Blanche... For the third sleepless night, Toronto is transformed by artists, art in galleries, museums and unexpected places. From bridges and tunnels to warehouses and stadiums, with more than 155 destinations

My evening begins close to home as Church street is transformed into the ETHEREAL FOREST - A Night In Molly Wood's Bush.
Trees and bushes spring up for two blocks as a hazy fog cuts through the various venues. In all there over ten art installations and five live dance performances.

I make my way down a crowded Younge Street at almost 9 pm the streets are totaly alive for this all night event.

Dundas Square is ground zero for Scotia Banks Information hub!

It's in the middle of Eaton Centre that I experience Fujiwara Takahiro’s "Into the Blue" is a giant, illuminated, transparent cone-shaped balloon. Its shape is achieved through the stacking of inflatable donut-shaped soft acrylic tubes of successively diminishing sizes. "Into the Blue" will presents two distinct faces. From a distance, it reflects and refract the surrounding light. Up close, one is able to walk beneath the work and experience it as an environment. Looking up into the interior presents a dazzling light array, refracted through the complex layers of soft acrylic material.

From Eaton Centre I move to Nathan Phillips Square for Stereoscope 2008, an interactive light installation in Toronto City Hall. This installation is presented by the German group Project Blinkenlights and transforms the landmark towers into a huge display screen by arranging lamps behind each of the 960 windows of the building. The façade serves as an ever-changing and evolving kaleidoscope of graphic animations automatically generated and interactively orchestrated. In fact the public directly influences "Stereoscope" through a variety of interfaces including smartphones, the web and physical controllers located right at Nathan Phillips Square.

Here is a brief clip of the towers in action!

In only two years, the economic impact of this event has increased from $1 million to $4.9 million. More than 500 artists and 125 cultural institutions participated in the 2007 event, and again this year the TTC remained open all night for only the second time in decades! Support from the arts community, corporate sponsors and the City of Toronto has been unparalleled – providing the resources to further expand the event into new exhibition sites, to improve traffic flow and increase the scale and scope of monumental art projects. Additionally, a Volunteer Advisory Board was established to assist in selecting and guiding curators and the curatorial process for years to come. The event is highly dynamic, evolving to reflect the talent and vision from which it began. Toronto continues to embark on its cultural renaissance, and no event reflects this more than Scotiabank Nuit Blanche!
Note: All images and text (not specified) is copyrighted by Christopher Cushman. This site does not specify or denote the sexual orientation of any model and as such please post your comments accordingly.

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The Dance Through Life Project

Photograph project dedicated to capture the Art of Dance within the parameters of everyday life. The project hopes to capture the innate relationships between dance and everyday life. Images of dance performed in non-traditional locales hopefully demystifying dance as being inaccessible and drawing the obvious metaphor that while all can not express life with such movement and physicality, we all love with our own signature grace. Therefore we all dance.

Order your copy today by clicking on the books above!

Through New Eyes: The Photography of Christopher Cushman by Rinaldo Walcott

The Black male body remains an enigma despite its over representation in the public sphere. The dominance of hip hop culture globally, driven in part, but not exclusively by the innovative sounds of rap music have made Black men a standard by which Black men and other men judge themselves in contemporary culture. However, there is a paradox, because despite the prevalence of hip-hop’s popular global impact, Black men are also still some of the most despised men in Western culture. Stereotypes of criminality, disease and danger still abound and organize Black men’s lives, even within hip hop culture. Thus representations of Black men tend to be much more restricted, than open-ended. The struggle to bring Black men into complex open-ended representations has been an on-going historical struggle. One of the most potent forms of representation in the last one hundred and fifty years has been the photograph. Photography has offered the promise to represent the real in a manner that has both seduce its viewers and baffled them with its artifice. Black male photographic representations in the last half of the twentieth century and into the twenty-first have promised to rescue Black men from the confines of mis-representation and stereotype. One of the most difficult and complicated circumstances of Black male representations has been in the realm of representing their sexuality. Black men’s sexuality is still over-burdened by a perceived threat and danger, especially now in the hyped-up era of the downlow. Then along comes Cushman. I first hear of Christopher Cushman’s photography from my boyfriend. He told me of a guy who was taking photographs of black nudes based upon how they wanted themselves to be seen, not how he posed them as his models. When I met Cushman he confirmed that he did indeed work from the models’ suggested posed and not impose his own. The idea is a great one because it allows the models agency in choosing what they believe to be an adequate representation of who they are. While it is now true that in contemporary culture subjects have learned to play for the camera, offering us artifice on command, this artifice can be understood as exposing inner senses of self and being. Cushman’s photography captures and reveals those inner desires. Look at me, many of the models seems to say. But look at me anew, is also what they seem to project and insist on. Cushman’s eye lavishes these Black male bodies with glimmers of light revealing their nuance personalities. While most of the men are naked their individuality comes clearly through. And yet, their eyes too reveal that they belong to a community, a family and possess desires, fantasies and needs. In these photographs, as viewers we are given new eyes to see beyond our inner voyeur. Cushman channels, Robert Mapplethorpe, Rotimi Fani-Kayode and many other artists, commercial and amateur photographers who seek to rescue the Black male body from the disastrous depths of mis-representation, and who almost always fall short. The conversations that his models create between his work and others whether unconscious or not reveal the profound influence of the image in our time. However, in Cushman’s eyes the Black male body is not being rescued, instead it stands on a self-made pedestal, not arrogantly announcing its existence but coolly (its signature) singing its own praisesong as swathes of light and behind the camera love washes over it. In each moment a small but significant revelation is made. Each revelation offers us the opportunity of an Epiphany – to think a thought about a Black man that we have not thought before. Professor Rinaldo Walcott is a cultural critic and Canada Research Chair of Social Justice and Cultural Studies at the University of Toronto. He lives and writes in Toronto.

FIERCE! Being Black, Being Gay in America

"What Chris has done with this important collection of images, Fierce: Being Black, Being Gay in America, A Photographic Essay, is to seek, lift, and affirm the identity and visibility of men-who love-men and express it in many ways. His photographs display Midwest American men from the outlandish and flamboyant, to the subdued and subtle. You’d think these were “ladies who lunch;” muscular men dressed for the “Park” in lace, and floppy hats to give effect for all to see. Brothers connecting in places we know are safe, such as our nightclubs, the discos, and special events targeting our interests.

The importance of Fierce is paramount: all men are created equal, and share a space on earth. These portraits of men have to be recognized as God’s beauty and not His damnation. Time will thank those who were strong and dared enough to express themselves for all to see and appreciate in a manner that’s loving and creative. Time will also thank us for not living in a paranoid state of mind, and afraid of our own shadows. Remember, this cluster of work isn’t Robert Mappelthope’s approach to black imagery, but the approach of documenting men as they wanted to be seen: with and without sexual stimulation, for shock value."

Curtis A. Lipscomb
Executive Director Kick – The Agency for L-G-B-T African-Americans
Detroit Michigan / 2005
www.e-kick.com