INTERVIEWS, ESSAYS, ARTICLES
Descriptions of the Texts
and Links to their Pages
Robert Enright at Not without Design, Regina,
Eugene Knapik for Work Seen Magazine,
Joan Murray, The Unpublishable Interview,
Opening Address, Doug Morton Retrospective,
Opening Address, Jan Gerrit Wyers Retrospective,
Folk Painters of the Canadian West: Jan G. Wyers,
Canadian Art VIII #3, Art in Canada, Spring
I.M. Tamplin, Bloore at 80, Paintings 1988
Regina Five Interviews at Not Without Design,
Terrence Heath, Not Without Design,
I.M. Tamplin, R.L. Bloore, Drawings 1960-
Kay Kritzwiser, Tamplin Collection Donation,
John Mays, Regina Five In a Creemore High School Gym,
T. A. Heinrich, Ronald Bloore, New Directions,
Barry Lord, Bloore and Contemporary Criticism,
Robert Fulford, Bloore at the Here and Now,
Time Magazine, Win Hedore, I Remember Dada,
David Burnett, Introduction,
Hank Roest, Bloore's Dialectic,
By far the most important and longest text on Bloore is the catalog essay by Terrence Heath for the travelling exhibition, Not Without Design which he curated in 1990. That entire text is here on the site, its four chapters distributed across four pages, notes and references on a fifth.
Bloore published many articles in periodicals in his day, especially in artscanada magazine as a contributing editor. These will be added in time. Also some drafts and notes for public talks and university lectures exist in the Bloore Archives at the University of Regina and there are many audio recordings in the library of York University.
A constant theme when Bloore spoke about art, is that exclusive knowledge does not elevate art nor privilege its appreciation.
The Regina Five Interviews in Border Crossings Magazine
I'm doing a bunch of four-feet by four-feet paintings now, which makes my wife a little happier because she keeps asking what am I going to do with 34 eight by eight-foot paintings. I mean, people have got eight and a half-foot ceilings. So they're stacked up,
Former student fellow painter with Bloore in the studio
I've been in the Heart of God. It was a little wee mosque insofar as you would walk in on an angle and turn. It was very small. You go inside and the dome of it, decorated the traditional way, was practically pulsating. Glorious blue, gold, white. By the way, it was all marvellously non-figurative, except for the Arabic inscriptions from the Koran. Art can be very moving at times — not too many times. The more you get up off your ass and travel and see, the less you like, but what you do like is incredible, an intense experience.
with a separate page of Notes and Comments etc.
The whole mistake of Western Art was made by Giotto. He painted the sky blue. Duccio didn't do it. Cimabue didn't do it. None of my great Byzantine men did it. They knew what they were doing. Giotto paints the sky blue - what the hell happens? No longer did the Byzantine figures loom into space. No, you got a little picture window of the world
Bloore's talk at the Art Gallery of Greater Victoria
published as the Forward to the exhibition catalog
Morton's bold imagery is difficult to place within a Canadian visual art milieu because his roots seem to be in the apparently contradictory sources of pre-war French Purism and German Expressionism... His individual, recognizable manner of image-making retains something of Purism's simplified shapes and the potency of Expressionism's colours.
Bloore's talk at the MacKenzie Art Gallery Regina
published as the Forward to the exhibition catalog
Now, as back then, I consider it to be one of the few major iconic visions in the art of Canada or of the Great Plains.
Canadian Art, Vol. XVII #2, March 1960
This article for Canadian Art illustrates Bloore's views on such things as what it is to be a painter, how art should be appreciated and how it should be analyzed. Most importantly, though, it illuminates the wonderous work of Jan Wyers.
Canadian Art, Vol. VIII #3, The Art Forum
In this letter from New York to the Art Forum in Canadian Art magazine Bloore does not mince words in attacking the provincialism he had, temporarily, left behind.
In 2005, when Illi Tamplin was retiring as Director of the AGP, she had two ideas for her third and last Bloore show. First was the need for a retrospective that would feature the paintings done since the Not Without Design retro of 1991. And second was an examination of the emergence, or revelation, of the masonite substrate as the field in Bloore's latest panels, a subject Tamplin analyses in this catalogue essay in relation to the gold-leaf grounds of Bloore's beloved Byzantine and Japanese art
The Regina Five Interviews by Robert Enright
When Terrence Heath's Bloore Retrospective touched down in Regina's Mackenzie Gallery, all the five were there and Robert Enright interviewed each one of them about the show,
Art McKay and
Ron Bloore himself.
This article was printed in the Winter 1993 issue, Vol. 12 No. 1, with the title “Roy Kiyooka and the Regina Five.”
Catalog essay for the travelling retrospective exhibition
Ronald L. Bloore, Not Without Design
organized by the MacKenzie Art Gallery, Regina
This is the fullest analysis yet published of Bloore's ideas on art and art making. These five website pages contain the entire english text which runs over 17,000 words and is the only such large work here. The essay was published in the catalogue of its eponymous traveling show curated by Heath and organized with Andrew Oko, director of the Mackenzie Gallery. The exhibition was hosted in Edmonton, Calgary, Hamilton, Halifax and Regina.
“This exhibition of my work was completely hers. It was her development, her selection, her concept. She never faltered in the development of the show, though often she was challenged by the enormity of the decisions. She selected the frames, she wrote and designed the catalogue. She even corrected my biography!”
The AGP Tamplin Collection Donation
by Kay Kritzwiser for the Globe and Mail, Nov. 12
“The unexpected announcement was received with a standing ovation.” The Globe and Mail reported on the opening at the Art Gallery of Peterborough of the “Drawings 1960 - 1988” show.
Regina Five In Creemore, with Olive Price-Adams
John B. Mays, Globe and Mail, October 12, newspaper article
The Regina 5 Exhibition Number Two, a display of 25 paintings (five each)...[that ends] after only three days in Creemore since the basketball stars-to-be will be wanting their gym back. But the show will go on
T. A. Heinrich, artscanada magazine, May/June, article with photos
Ronald Bloore is a romantic Euclidean, interested in constant speculation rather than a final order. He is also a teacher and talker with positive, sharply defined, tersely expressed opinions. These often display a nice balance between humour and scorn. He also has a strongly spiritual side of Emersonian cast but tinged with non-rational mysticism. It is this very private sense that nourishes and perhaps at bottom inspires his art, an art that might be uncomfortably austere were it not warmed and humanized by memories
Barry Lord, for Canadian Art Magazine Oct. ’66, pp 22-4
Lord's review shows well how acutely some aspects of an artist's work can be grasped, or let us say accepted, while the most important aspects are grossly, willfully misunderstood so they may be forced into the service of a horribly misguided but fashionable ideology.
Robert Fulford, Toronto Daily Star, March 3, newspaper review
For a painter who has never had an exhibition to call his own, Ronald Bloore owns a considerable reputation. His paintings have been bought by the National Gallery and some important private collectors, he was included in the Canadian display at last year's Sao Paulo biennial
Time Magazine, Canadian Edition, Nov. 7, article with photos
When Regina's university art gallery opened an exhibition "Images and Studies" by a local unknown named Win Hedore, Gallery Director Ronald L. Bloore - a telegram in hand - regretfully announced that the artist could not be present. That seemed to be a sensible precaution on Hedore's part
On the Introduction Page is Burnett's essay from p.162 of
“Masterpieces of Canadian Art From the National Gallery of Canada”
Many of his paintings comprise only linear forms; others include stars, circles, arches, or triangles, forms he has described as “symbol-like elements,” not because he proposes specific meaning by them but because they are forms deeply embedded in the history of art. In structural terms, he has been greatly influenced by architectural forms, particularly those of ancient civilizations, whose currency has never been devalued.
RLB on Art, Artists, Methods and Others on RLB
Go into the Blue Mosque and the Hagia Sophia in Istanbul where space, rather than the object, is really the sacred thing, and you become identified with it - you're enveloped with the space and light.
by Hank Roest, Estate Trustee and author of this site
Bloore's dialectic is rooted in rejecting resolution as a satisfactory solution. The demonstration that something can be beautifully and completely resolved is tantamount to an assurance that some things are ultimately fathomable and that is a dangerous falsehood. It is a lie, Bloore said, we have been telling ourselves since Giotto.