EXHIBITION RECORD

The Path of Color: Gershon Iskowitz

Saturday, June 15, 2002 through Sunday, September 15, 2002

Gershon Iskowitz immersed himself in the experience of light and color. His work evidences the transformation from early figurative work towards the bold and expressive abstractions of his mature career. The exhibition of this painting, Autumn A introduces the art of Gershon Iskowitz (1921-1988) to audiences in Florida. It is one of the most remarkable and accomplished paintings of the artist’s career. Elegant, vibrant and exuberant, there are few other paintings of this size, sweep and impact by the artist. Relatable images are in the principal contemporary art collections of Canada: The Art Gallery of Ontario, National Gallery of Canada, University of Lethbridge and Canada Council Art Bank.

We celebrate the donation of two exemplary paintings, this plus one other, both at the heart of the artist’s achievement from The Gershon Iskowitz Foundation, Toronto, Canada. Gershon Iskowitz was one of the founders and key contributors to international Modernism. His work traces his path out from underneath the effects of deep scarring psychological experiences of human darkness and despair towards a joyous celebration of color.

The War Years
The life of Gershon Iskowitz is an inspiring story of triumph over heartache and suffering. Born in Kielce, Poland, in 1921, Iskowitz was a mischievous, energetic, and nervous child. His ability to draw a remarkable likeness at a young age quickly isolated him from the townsfolk he found to be so inspiring. Drawing faces was believed to be taboo by the Orthodox Jewish community. In the fall of 1939, as Iskowitz was preparing to begin his studies at The Academy of Fine Arts in Warsaw, Poland was invaded by Germany. Iskowitz and his brother Yosl would spend the next four years in anguish and starvation within the concentration camps of Auschwitz and Buchenwald. His father, mother, sister and another brother were sent away for resettlement and subsequently murdered by the Nazis, while Yosl was killed at Auschwitz. Iskowitz strongly believed his own survival was attributable to his devotion to painting. Yet, had he been caught engaged upon art making in the camp, this act was punishable by death. "Why did I do it? I think it kept me alive. There was nothing to do. I had to do something in order to forget the hunger. It's very hard to explain, but in the camp painting was a necessity for survival."

The Toronto Years
In 1945, Iskowitz was among the survivors to be liberated by Allied troops. He spent two years in a hospital recovering from a bullet wound he received while trying to escape Buchenwald. Thereafter, he resumed his studies taking private lessons from Oskar Kokoschka at the Academy of Fine Arts in Munich. Consumed by his past, Iskowitz immigrated to Canada in 1949 to begin a new life in Toronto. His work evoked painful wartime imagery and memories. Characterized in works like The Watercarriers of 1952 (illustration at top of essay, left), Iskowitz seemed more concerned with expressive color than description and representation. Gradually, his work began to transform from a fascination with the European landscape tradition to loose impressions of the countryside north of Toronto. By the sixties, works like Sky, (illustrated at top of essay, right) become expressive abstractions of light and color. A major impetus for the evolution toward works bearing his signature style commenced in 1967 when Iskowitz took his first helicopter ride around the vicinity of Churchill, Manitoba. Enchanted by the experience, dazzled by the patterns of brilliant color and form, his work reflected the impact of this trip instantly. His colors became more intense, combining qualities of texture and transparency. By painting layer after layer of irregular forms, Iskowitz had created a sensation of looking down through patches of clouds. It is interesting to consider that these images, while in response to his helicopter trips, were consistent with his earlier works; the morphic shapes and expressive color transformed from the cobblestones and the impressionistic haze of works like The Watercarriers and Sky.

"My paintings are not abstract. They're real. They're very, very much real. I see those things."

Life On Spadina Avenue
Gershon Iskowitz worked in Toronto for over 37 years, the bulk of that time spent in his studio on Spadina Avenue in the heart of the downtown. Socializing in the bars and cafes along Spadina during the day, every night was solitary, painting alone in his studio. He was an intuitive and spontaneous painter; a work could change appearances dozens of times. With the stylistic changes which occurred in his painting, the mood of his works likewise transformed from one of suffering and anguish to one of joy. Iskowitz strongly believed in the therapeutic qualities of painting and of radiant color. This vitality is present in his work, whether in visions of nature, peering through trees up to a brilliant sky, or in his vibrant dots floating over luminous fields of color. Iskowitz displayed an extraordinary talent for color and light; he devoted his life to painting. His explorations of color offer to us an opportunity to experience nature in a new light, and provide for the artist a path away from memories of a darker past.

"Painting is just an extension of myself. It's a plastic interpretation of the way I think. It's just me."

Gershon Iskowitz (1921-1988)
Iskowitz' career as an exhibiting artist was distinguished. His work came to public attention in Canada through a 1957 group exhibition at Hayter Gallery, Toronto and his first solo exhibition at the prestigious Here and Now Gallery, 1960-61. He exhibited perennially with Gallery Moos 1964-80s and at the influential Martha Jackson Gallery, New York in 1977. His works were featured in numerous landmark exhibitions, Toronto Painting 1953-1965, organized by the National Gallery of Canada, and the national touring exhibitions: The Canadian Canvas; and Changing Visions: The Canadian Landscape, shown at The Edmonton Art Gallery and The Art Gallery of Ontario. In the 1972 Venice Biennale, Iskowitz represented Canada, along with sculptor, Walter Redinger. His work was shown in 1975 in a solo exhibition at the Glenbow Museum, Calgary. Dr. Roald Nasgaard, now chair Department of Art, Florida State University (an affiliate of The Appleton Museum of Art) organized the 1982 Iskowitz retrospective exhibition for The Art Gallery of Ontario. He authored an important exhibition catalog concerning the artist’s work. The exhibition circulated to five major Canadian art centers. Subsequently, the show traveled to Canada House Gallery, London, England. His career is the subject of a book by Adele Freedman, Gershon Iskowitz: Painter of Light, published in 1982. In 1998, the Foundation awarded one of the largest public gifts of the artist’s work to the collection of the University of Lethbridge, Alberta, Canada (at that time headed by Jeffrey Spalding). Currently, Professor Spalding is Director of The Appleton Museum of Art. He is at work upon an international touring exhibition of Iskowitz’ work which is planned to be shown at the Appleton, elsewhere in Florida, plus New York City, Munich, Europe and Canada.

THE GERSHON ISKOWITZ FOUNDATION is a non-profit, charitable organization dedicated to the promotion of and support to the visual arts in Canada. Conceived by the painter Gershon Iskowitz in 1985, the private Foundation honoring his name was created to reflect his strong belief in the visual arts in Canada, and in particular, in its artists. Iskowitz' vision for the Foundation included the awarding of a Prize to artists in recognition of their significant achievement as well as support to innovative projects for exhibition and publication. Each year the Foundation awards the Gershon Iskowitz Foundation Prize, the most prestigious visual arts award in Canada.

Ryan Doherty
Former curatorial assistant, Appleton Museum
&
Jamie Flower
Former Appleton Curatorial Fellow