The Veneration of Ruskin

“The Veneration of Ruskin” celebrates the 19th century art critic John Ruskin. The 200th anniversary of his birth will take place in 2019. The project draws on Kadour’s interest in apotheosis, altar making, and still life paintings. The series of eleven collages cannibalize Ruskin’s drawings and Dutch flower paintings. Accompanying the collages is an altar to Ruskin that features a fabric tapestry and a table of objects and flowers designed to evoke the still lifes used in the collage. In addition to an exhibition, the project is manifested in a zine and a catalog that reproduces the eleven collages and the source works Kadour used to make them.

In the catalog essay, Kadour explains that he selected Ruskin because of a personal affinity with the writer and artist, because of his vision of the role of art in society, and because he was “moved by Ruskin’s sadness, the self-torment, and his beautiful mind to venerate him with flowers.”

Kadour works conceptually and manifests concepts in prints, photographs, and small sculptures designed to be exhibited in installation. The project continues Kadour’s exploration of influences that began in 2012 after the death of his grandmothers. In the project, “Twelve Days of Christmas Gifts for Yoko Ono,” each day from December 25th, 2012 to Epiphany on January 6th, 2013, Kadour made a “Christmas gift” for Yoko Ono, gifts for grandmothers who were no longer there, inspired by a cultural grandmother. The objects varied from prints to small sculptures to a collection of Edo-period Japanese poetry to performative acts. Each “gift” was documented and images and the instructions were shared online and through social media and later as a book. The project also continues Kadour’s work using altar making as an expression of contemporary art. The series “My Junk Taste Like Flowers” is both a documentation of objects and an expression of joy about them. This series is photographs of sculptures made with “junk” which are venerated with flowers. Kadour writes, “Arranging my junk was like restacking and reordering memories. The whole was other than the sum of its parts.”

In “The Veneration of Ruskin,” the collages serve as secular version of the Stations of the Cross leading the viewer to an artistic altar. The purpose of this is rooted in an understanding of Modernism that relocates the divine to the individual. Kadour cites a deep human need to apotheosize heros, something that is increasingly difficult to do in our society. While Kadour is interested in expressing veneration for a personal hero, the purpose of the exhibition is to model behavior and encourage the viewer to ask of themselves: Who would they venerate and how?


Shrine to Ruskin

Shrine to Ruskin is a variable installation of a fabric tapestry, found and plaster objects, and silk flowers on a raised surface. The objects and flowers are intended to evoke the still lifes used in the collage. About Altar Making

Veneration of Ruskin Collages

The series consists of eleven prints: 10″x8″ collages on 15″x12″ paper. Edition of 5 plus two artist proofs. INQUIRE TO PURCHASE

Apotheosis Ruskin

This zine, Apotheosis Ruskin, is an aesthetic rehash of the series in book form. Details: 24 pages | 7”x5” | saddle-stitched booklet | 2017 | ISBN 978-1-927587-21-8 | AVAILABLE HERE

The Veneration of Ruskin

The catalog shows eleven collages and the source works Kadour used to make the collages. An essay about why Kadour chose Ruskin also appears in the catalog. Details: 28 pages | 10″x8″ | saddle-stitched | 2017 | ISBN 978-1-927587-22-5 | AVAILABLE HERE

Talk: “Ruskin at 200”

In a forty-five minute slide-show and talk, Kadour speaks about Ruskin’s philosophy of art in society, the importance and problem apotheosis in contemporary society (and art in particular, i.e. How do we separate art from problematic artists), and the concept of secular altar making.

Deals for the New Century


We experience so much artwork online; we forget that what we’re seeing is actually little boxes. I think we tend to confuse these little boxes of information for the actual artwork they represent. Deals for the New Century is the second piece in a series of work that plays with that idea. My goal is to make interesting print panels that stand alone as non-representational works that when assembled, become a common image. In the case of Deals for the New Century, that image is Monty Hall from the iconic TV game show, Let’s Make a Deal. In doing this, I also make something that one cannot truly experience online. On a computer screen, the mind puts the image together. It is only through experiencing the individual panels that one can experience the pieces as intended, as pixelated fragments one must assemble with their hands.

Deals for the New Century was used to illustrate How To Price Your Art (2015).

print on paper
36”x24” (sixteen 9”x6” panels)
2015, open edition










Love Guns & Other Weapons of Affection

In April 2013, I started listening to “Grenade” by Bruno Mars:

Easy come, easy go, that’s just how you live
Oh take, take, take it all but you never give
Should’ve known you were trouble from the first kiss

Had your eyes wide open, why were they open?
Gave you all I had and you tossed it in the trash
You tossed it in the trash, you did

I started thinking about how wrapped up the language of love is with violent imagery. I know it’s not an original topic, but I think it’s worth revisiting. You don’t enter into love. You fall into love. Cupid shoots you in the heart. I will die without you. Hearts are broken. Until death do us part. Music lyrics repeat the rhetoric of love and violence back to us.

Then the week of April 15th, 2013 happened. Let me recap: At 2:49PM in Boston, two men exploded pressure cooker bombs at the finish line of the Boston Marathon. A few days later, the entire Boston Metropolitan area was “sheltering-in-place” while the bombers and police re-enacted Fast and Furious 3 in the city streets. Meanwhile, in Washington, D.C., the Senate failed to pass the Manchin-Toomey Background Check Deal, a piece of legislation supported by 90% of Americans that would have closed loopholes and forced gun-dealers to check the backgrounds of their customers. Also that week, more than twenty cars in twenty cities in Iraq were packed with explosives and detonated killing seventy-five people. The violence was aimed at disrupting provincial elections on April 20th. To say nothing of the attacks that week in Somalia, Pakistan, Afghanistan, Syria, and Bangalore, India or the rockets fired into Israel on Wednesday, Thursday, and Sunday that week.

From the comfort of my studio in Montreal, I thought about how easy it is to shake my head at violence while listening to Bruno Mars sing,

To give me all your love is all I ever asked
‘Cause what you don’t understand
Is I’d catch a grenade for ya
Throw my hand on the blade for ya
I’d jump in front of a train for ya
You know I’d do anything for ya

In my lifetime, it is unlikely I will see a grenade explode. I will most likely never hold an AK-47. I will never experience a bomb explosion. As such, I will never really be able to muster the empathy needed to fully comprehend the reality of violence. And because of that, violence is a beautiful abstraction. Violence is colorful, dramatic, theatrical. I experience it vicariously in awful movies about spies racing in Minis through the streets of Paris. I watch men punching each other in the face on the hockey rink while I eat chicken wings on the couch. I revel in Warhol’s Orange Car Crash Fourteen Times. And I listen to music without thinking too much about the reality of the lyrics.

One of my favorite paintings is William Adolphe Bouguereau‘s Dante and Virgil in Hell. The protagonists watch as the con artist Gianni Schicchi bites the alchemist Capocchio on the neck in the most homoerotic way possible. And there lies the lure of violence: it is intimate because it is physical. It is sexy because it is powerful. We are reminded of violence everywhere. Security checks are becoming commonplace. You enter a concert, your backpack is checked for weapons. You get on a plane, your shoes are checked for bombs. Signs at hospitals and schools tell you guns are prohibited, as if it is normal to carry guns and these places are the exception.

Violence is part of humanity. It has been with us since the beginning of time and will be with us until the end of time. But so has mythology and religion and unicorns and evil spirits and bad magic. What if violence wasn’t something we actually did but something we simply thought of? What if violence was simply a rhetoric? Not something we did, but something we imagined. It’s beautiful power reserved for song lyrics and pretty pictures.

So I asked myself, what if I embrace the culture of violence, its erotic quality and potency? And then I thought about the objects of violence: weapons. I’d much rather have a picture of a handgun than an actual handgun. I would rather drop an electrofunk bomb than a real one. I would rather have a grenade that exploded in color than one that sent shrapnel flying through the air or into the legs of a runner finishing a marathon. I began to think that those violent song lyrics were not talking about weapons of destruction but weapons of affection. They were recasting grenades and bombs and guns, removing them from the theatre of havoc and chaos and putting them squarely in the arsenal of love and intimacy. They are changing their moral colour.

I began to imagine what these weapons would look like: two-dimensional reductions of form, multiple colors. The result is a series of prints, “Love Guns & Other Weapons of Affection”, that present a grenade, a bomb, an assault rifle, and a handgun as colorful memories of their actual counterparts.

four 8”x10” prints; 2013 ; edition of 100; signed & numbered
pack of greeting cards with matching buttons