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<\/a><\/figure>\n<\/div>\n\n\nInstallation view of John Massey, Red, White & Blue. Courtesy of Clint Roenisch Gallery<\/p>\n\n\n\n
The title refers to the colours of the American flag. These colours, when applied to the prints, draw political parallels between the past and the present USA; while also making the prints more vibrant. The original prints depicted a culture where white males were dominant in the culture and their activities were celebrated. An example of this is the \u201cWolves\u201d where two wolves – one red and one blue – are seen with a male hunter holding a rifle in hand, dressed in a camouflage outfit of red, white and blue.<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nJohn Massey, Wolves, 2019, hand-painted archival print on Canson Rag Photographique, 24 x 35 inches. Courtesy of Clint Roenisch Gallery<\/p>\n\n\n\n
Originally beautifully framed, in milled maple with water gilded 22kt gold and printed on Japanese paper, these etchings were done reflecting a different time. The depictions in the engravings are of mostly white men and they represent the 19th century. Massey, after the 2016 US election, saw these prints relevant of what was happening politically in the USA now: the embracing of past values and a loss of liberalism. Gregory Burke has written a wonderful essay which better captures the essence of this exhibition and the context of Massey’s work in the attractive hard bound book that accompanies the show.<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nJohn Massey, The Smoking Room, 2019, hand-painted archival print on Canson Rag Photographique, 25 x 35 inches. Courtesy of Clint Roenisch Gallery<\/p>\n\n\n\n
Massey, who has been exhibiting since 1979, has been known for “developing a visual language that embodies conceptual content”. This exhibition is indeed a good example of this description. Massey has exhibited nationally and internationally and now teaches at the University of Toronto, John. H. Daniels Faculty of Architecture. His father was an architect and his grandfather the first Canadian born, Governor General, Vincent Massey. John Massey also taught experimental art in the 80’s at OCADU. Many of his past works, including some video pieces, referenced himself and sometimes included himself in the actual video work.<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nJohn Massey at the opening reception. Photo: Phil Anderson<\/p>\n\n\n\n
The 15 painted, archival prints transfer the engravings into the present. Two of my favourite works were the \u201cWolves\u201d and \u201cJack\u201d mounted on the south wall of the gallery. The etching, Jack, has a bearded older male with a model ship. The original black and white print seems very dire but after it is painted it becomes somewhat comical.<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nJohn Massey, Jack, 2018, hand-painted archival print on Canson Rag Photographique, 37 x 30 inches. Courtesy of Clint Roenisch Gallery<\/p>\n\n\n\n
Massey drops in contemporary objects at times to bring the prints into the present and enrich them wit a new meaning. I found myself oddly reconnecting with the past while being attracted to the works themselves.<\/p>\n\n\n\n
Massey hasn’t exhibited in a while (since at Diaz Gallery in 2016) and given the attendance at the reception people were anxious to see his new work. This exhibit took a year in the planning. Indeed, I look forward to more exhibitions of Massey’s ingenious works as they have us talking about art and the changes in our world.<\/p>\n\n\n