Canadian Art

Audio

Attila Richard Lukacs: Renewed Directions

Winsor Gallery, Vancouver May 12 to Jun 11 2011
Attila Richard Lukacs <em>Silver Garden</em> 2011 Attila Richard Lukacs Silver Garden 2011

Attila Richard Lukacs <em>Silver Garden</em> 2011

Attila Richard Lukacs’ latest show drew a standing-room-only crowd when it opened last month at Vancouver’s Winsor Gallery. Long-time friends, patrons and assorted art-world groupies gathered to take in the buzz around the artist’s unexpected spin into the world of the abstract. Known primarily for his figurative work, Lukacs was debuting a new series of abstract paintings, some whimsical sculpture and a process-oriented video.

The exhibition does not disappoint. With its variety—from a group of paintings in muted grey and white (an apparent nod to Gordon Smith) to fluorescent graffiti-inspired tableaux to cheeky sculpture made of vintage 1946 US Army jockstraps—Lukacs’ sense of inventiveness shines through.

Lukacs’ exploration of the medium of painting continues here unabated. In his “grey” series, he brushes, drips, pours and scrapes paint in an effort to make it animate. In a video installation—a slow-motion loop of dripping paint—he tries to capture the very lifeblood of painting in the moment before it becomes static. It's an animistic ballet of paint, one infused with the same energy that has always been present in his work.

Throughout these and other pieces, there’s a visceral sense of movement that speaks to what Lukacs calls his “tantric” process, a kind of Pollock-inspired ritual.

“I’m like a snake,” says Lukacs in this in-depth interview of his fresh venture into the abstract, “that every so often needs to shed its skin.” Listen in for more revelations on how this 30-year veteran of the Canadian art scene is viewing his new (or renewed) directions.

Audio Stream: Attila Richard Lukacs: New Directions, Renewed Practices

This article was first published online on June 2, 2011.

RELATED STORIES

  • Exposure 2010: Top 10 to See

    The sixth annual Exposure photography festival kicks off this week with 30 venues and nearly 40 exhibitions in Calgary, Banff and Canmore. Canadian Art’s top picks for the fest range widely, from conceptual group shows to intimate solo offerings.

  • Attila Richard Lukacs & Michael Morris: Polaroid Overload

    Attila Richard Lukacs’ extensive archive of Polaroid figure studies offers both creative clues and nostalgic nudges. Yet the design of a related exhibition at the Art Gallery of Alberta, coordinated by Michael Morris, seems to favour overwhelming density over useful insight.

  • Rewind: The Basement Show

    This review from our Spring 2004 issue takes a look at "The Basement Show," which took place in the subterranean innards of a '50s-era modern office tower turned condominium. According to reviewer Keith Wallace, the venue had the ambience of Vancouver's alternative exhibition spaces from 20 years ago.

 

FOUNDATION NEWS

[an error occurred while processing this directive]

ONLINE

  • Janet Cardiff and George Bures Miller: Black Birds

    New York critic Joseph R. Wolin heads to the Park Avenue Armory where Janet Cardiff and George Bures Miller are creating a buzz (and other sounds) at the US premiere of a dark, nightmarish installation originally created for the 2008 Biennale of Sydney.

  • Grange Prize 2012: Hot Shots

    One of Canada’s largest cash-value art prizes—$65,000 in total with $50,000 going to the winner, $5,000 to three runners-up—announced its finalists this week. Take in their wide-ranging works in this slideshow.

  • Wanda Koop: Into the Woods

    A visit to Wanda Koop’s cabin near Riding Mountain National Park in southern Manitoba proves intriguing for Vancouver critic Robin Laurence. There, Laurence writes, Koop bridges old Grey Owl myths with a new series of paintings on our increasingly digital culture.

  • Brad Tinmouth: Survival Strategies

    The basement of an art gallery may seem an unlikely place to create an emergency shelter. However, Xpace's lower gallery is an ideal setting for Brad Tinmouth's “If Times Get Tough or Even If They Don't,” which evokes a cold-war bunker.

  • Wim Delvoye: Blame it on Paris

    Silk-covered pigs, lattice-cut car tires and a tattooed man are just a few of the works that Belgian artist Wim Delvoye has shuttled into the old, Gothic wing of the Louvre this summer. Jill Glessing reviews, finding a terrific amalgam of high and low.

More Online

Report a problem