DOCSLIB.ORG

Welcome to 1984; Reactions from Concordia by Howard Shrier If Only He'd Called It 2084

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Welcome to 1984; Reactions from Concordia by Howard Shrier If Only He'd Called It 2084 Campaijne de souscription Capital Campaign de l'Urnversite Concordia Concordia University ~ Volume 7 Number 15 January 12, 1984 Welcome to 1984; reactions from Concordia By Howard Shrier If only he'd called it 2084. slightest disloyalty is turned in from every man, millions of So your SIN is punched in and Friends with tlie Computer'' is Then our grandchildren could by friends, co-workers or their threads in all. If these threads the computer heaves up your of­ the slo·gan at Computerland (600 have suffered all the doom and children. The Party has absolute were to suddenly become visi­ ficial portrait: ''Bank of Montreal stores worldwide). Hewlett­ gloom. control of the past, present and ble, the whole sky would look 0166 balance $56.00, Mastercard Packard computers are ''Setting But no, 1984 was the inverse of future. like a spider's web, and if they credit limit $1,000. Tested for You Free," complete with but­ the year in which he wrote it. It Winston's revolt is brief and materialized as rubber - buses, social disease three times this terfly logo. was !like 1948) the Chinese Year unspectacular, consisting mainly trams and even people would all year. Rents Russ Meyer's "I'm optimistic that there is of the Rat (remember the rats in of illicit sex and reading. He is lose the ability to move." Beneath the Valley of the mtra technology for computer securi­ · the nasty climax in Room 101?). caught, and tortured until he ac­ In Canada, all the data trails Vixens every Saturday night." ty and decentralization," says And it was within the SO-year cepts Big Brother as his saviour. are linked by the Social In­ McCarthy ,would have loved Professor Gary Boyd of Educa­ limit on royalties, so descendants surance Number (SIN) . Though this. · tional Technology. '' I ' m could cash in on the predictable To most readers, 1984 means Lester Pearson promised it The technology for invasion of pessimistic that there are groups record sales (100,000 in Canada Big Brother. Constant sur­ would never be used as such, it privacy is at hand. Computers of people who do not care to- see alone in 1983, triple 1982 sales, veillance. With a telescreen in has become Canada's unofficial and SIN are like crowbars and them used. and going strong). every room, no word or gesture Identity Card. shivs. " Who dominates society? - Whatever the reason, George is private . We have no Few transactions are possible ''It does happen,'' says Charles Money, corporations. Things Orwell called his anti-Stalinist telescreens yet, but we have without it. Banking, credit, job Giguere, associate dean of happen in ways that serve their tract 1984. The future and the computers and more and more of applications, health records, tax Engineering and Computer interests." burden are ours. us are buying them (Enroll your returns, my video club, an Ot­ Science. "Credit ratings, for ex­ Boyd does agree with the per­ Now every politician paying kids now!). Most Canadians tawa diaper service, junior ample, create a lot of informa­ sonal computer people, though, lip service to human rights can (68% says Gallup) fear for their hockey association - stop me tion sharing. But that's not and feels personal computers are and will refer to it in this year's privacy. when it gets ridiculous (which totalitarianism. It's not control of more a safeguard than threat. "It speech. _ Solzhenitsyn writes in The was back when Pearson promis­ what you say or think." Govern­ keeps records where they are Every editorialist and theorist Cancer Ward: '' As every man ed, and someone believed him). mental snooping, he says, is needed, rather than having them in every field, from National goes through life, he fills in a "technologically there but social­ disappear into some vast, cen­ Review to National Lampoon, is number of forms for the record, ly unacceptable.'' tralized system." clinking' his two cents' worth. each containing a Is Robert Kaplan listening? John Daniel, Vice Rector Could The Thursday Report be number of ques­ The companies that Academic, agrees: "It's the exact still? (Even at the risk of succum­ tions . there are sell and service the opposite of the telescreen, which bing to herd journalism?) thus hundreds of computer are trying tied everyone together. The Without further ado or l i t t l e hard not to appear micro-computer and video apology, and with the help of threads the villain in cassette recorder have made us members of the university com­ radiating 1984. much more autonomous." munity - here's our 1984 vs. "Make Anyway, what kind of govern­ Orwell's. ment would snoop so much and try so desperately to control its 1984 is the story of Winston citizens?' Smith's rebellion against If you live in Quebec, you'll totalitarian Oceania (nee wish you hadn't asked. Orwell England), which represses predicted a "new aristocracy" of citizens with Thought Police and ----­ "bureaucrats, scientists; techni­ electronic surveillance. cians, trade union organizers, Big Brother watches over all. publicity experts, sociologists, Language is perverted and purg- teachers, journalists and profes­ ed of words like freedom. sional politicians." Anyone suspected of the See 1984 page 7. Page 2 THE THURSDAY REPORT January 12, 1984 Profiles Losique questions procedures in choosing new rector Professor Serge Losique asked ding to Le Devoir, only two can­ built from the ashes by Dr. The Thursday Report to print the didates had been proposed by O'Brien in the most difficult following Open Letter to the Board the Search Committee: Mr. times and not a small company of Governors. Patrick Kenniff (8 votes) and (sic) . As Rector of the University, Del King To the Editor: Mrs. Therese Lavoie-Roux (5 Dr. O'Brien deserves our- full I Normally, when a party or a votes)? respect. That is one of the main Head receiver & shipper, Distribution big institution is getting a new Was this intervention conceiv­ reasons why 400 professors "Wrap it up and charge it" leader, there are celebrations. In ed to stop Dr. O'Brien despite wrote an open letter of thanks to may have been your favorite the case of Concordia, there is the fact that the Search Commit­ our leader and Rector Dr. J. W. phrase this past Christmas sadness and disbelief about what tee did not recommend him? Is it O'Brien. season, but for Del King happened to our University. You true that the members of the The Chairman of the Board of wrapping and charging takes read The Link and Le Devoir and Board of Governors did not Governors owes us an explana­ on a different dimension. gradually the real story is coming know the names of the can­ tion. The faith in this University King is the head receiver out. All this mess must be didates prior to their meeting at is undermined and we cannot go and shipper in the Sir George cleared up, and the Board of noon? If ··it is true, it is into history as having permitted Williams campus Distribu­ Governors should appoint an in­ unbelievable that for such an im­ a "small group" (as Le Devoir tion department, and he's one . dependent committee im­ portant job, the members of the said) to act in such a way in the busy man. mediately to see how it Board were not allowed time to name of the "University com­ After the holidays before happened. study in depth the values of the munity". ·without this approach, the semester is to begin, Once the popular name of Dr. proposed candidates. The we are destroying all the values Distribution is the centre of J.W. O'Brien was leaked in The University community should and principles of higher activity in the University: Link, the Search Committee know if . there was a pre­ education. moves, incoming shipments, should have been disbanded and meditated set up. Finally, I insist that I am not in cataloguing of each shipment, if not, all other candidates' If the procedures followed any way criticizing the can­ designating the workload, it names should have been made were fair, why did the Board didates who applied for the Rec­ all happens at once. he's proud of the efficiency of public too, that is simple fairness decide at the same meeting to tor's job because I do not know In his position, King does his department and the to ·all concerned. create a committee to review all them, I am simply questioning more than push papers, he cooperation among his team, Did anyone question the im­ the procedures for future Rector the procedures and morality of coordinates the services in his whom he refers to as "a great partiality of some members of nominations? Why is it so sud­ my University. section, including the man­ bunch of guys". the Search Committee when all denly urgent when a new Rector To brush aside these and other power, eleven workers. Del has been married for 13 these leaks came out? Many is appointed for the next five questions will be detrimental to King started at the Universi­ years and has an eight year other questions must be years? Why did not the Board or Concordia University. ty in Mail Services, and was old daughter to whom he answered. Is it true that a non the Chairman of the Board (who Serge Losique transferred to Distribution in devotes a lot of time. He takes member of the Board of Gover­ was also Chairman of the Search Professor in Cinematographic 1968. her skating and also likes to nors was brought to deliver the Committee) ask Dr.
Load more

Recommended publications
  • Program Fall 2019 Automne 2019
    Communauté d’apprentissage continu de McGill POUR LE PLAISIR D’APPRENDRE PROGRAMME AUTOMNE 2019 PROGRAM FALL 2019 McGill community for lifelong learning FOR THE JOY OF IT mcgill.ca/mcll_joy MCGILL COMMUNITY FOR LIFELONG LEARNING 688, rue Sherbrooke ouest, bureau/suite 229, Montréal (Québec) H3A 3R1 Téléphone | Telephone: 514 398-8234 Télécopieur | Fax: 514 398-2757 Courriel | Email: [email protected] Site web | Website: www.mcgill.ca/mcll_joy Facebook: www.facebook.com/mcll.joy METRO MCGILL ROBERT-BOURASSA BOULEVARD PRESIDENT KENNEDY AVENUE MCLL 688 SHERBROOKE BUS SHERBROOKE STREET WEST 24, 356 Our location is wheelchair accessible, and has direct underground access to the metro. UNIVERSITY STREET DEAN’S MESSAGE Dear MCLL Members, For many of us Fall is a bitter-sweet season. We bid adieu to summer fun and begin to plan for winter, but we also have renewed energy to reflect, to learn. Some of this we will do on our own, in the privacy of our heads and homes. In fact, though, knowledge production is very much a “team game” in the words of Gratton and Scott, authors of “The 100-Year Life”. As they note, “…close collaborative relationships, rich in trust and reputation, allow you to access much wider areas of knowledge and insight…”. And what better place to build up your knowledge stockpile than at the McGill Community for Lifelong Learning (MCLL) and the School of Continuing Studies. Together we, -YOU-, transform and enrich our lives and those around us. At the heart of MCLL lies peer learning. Learning and teaching through collective inquiry and exploration not only enriches us individually but as a community.
    [Show full text]
  • Une Bibliographie Commentée En Temps Réel : L'art De La Performance
    Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4.
    [Show full text]
  • Suzy Lake Rank: Professor Office: 409 Zavitz Hall E-Mail: [email protected] [email protected] Website: Education: 1980 M.F.A
    SUZY LAKE Name: Suzy Lake Rank: Professor Office: 409 Zavitz Hall E-mail: [email protected] [email protected] Website: www.suzylake.ca Education: 1980 M.F.A. Fine Art Concordia University 1966-68 Fine Art Wayne State University 1965-1966 Fine Art Western Michigan University SOLO EXHIBITIONS 2007 Beauty at the End of the Season, Paul Petro Contemporary Art, Toronto, Ont. 2006 Concealed, Revealed; Hallwalls Gallery; Buffalo New, York On Stage 1972-75, Paul Petro Contemporary Art, Toronto, Ont. 2005 Visages de Suzy Lake, “L’Ete Photographic de Lectoure”, Le Centre de Photographie de Lectoure; Lectoure, France 2004 Whatcha Really Really Want.... (Canadian Idol), Paul Petro Contemporary Art, Toronto, Ont. Chrysalis; A 10 -Year Survey, Hart House, University of Toronto; Toronto, Ontario 2003 Who Pulls the Strings; Paul Petro Contemporary Art, Toronto, Ont. 2002 Attitudes et Comportements, Musee Regionale du Rimouski, Rimouski, Quebec Beauty at a Proper Distance, Gallery 44 (vitrines), Toronto, Ontario Beauty, Paul Petro Contemporary Art, Toronto 2000 Fascia, Galerie Trois Points; Montreal, Quebec 1999 Macdonald Stewart Art Centre; Guelph. Ontario Fascia; Paul Petro Contemporary Art; Toronto 1997 Re-Reading Recovery, (Mois de la Photo), Paul Petro Contemporary Art; Montreal, Quebec Too Many Stones, Mount St. Vincent Univ. Gallery; Halifax, Nova Scotia Chrysalis, (Contact '97) Paul Petro Contemporary Art; Toronto, Ontario 1996 Too Many Stones, Woodstock Regional Art Gallery; Woodstock, Ontario 1995 Authority is an Attribute... part 2, Art Gallery of Peterborough; Peterborough, Ontario 1994 Desire and the Landscape, Emma Ciotti Gallery; Iroquois Falls, Ontario 1993 A Point of Reference (retrospective tour), Canadian Museum of Contemporary Photography; Ottawa, Ontario: Surrey Art Gallery; North Vancouver, British Columbia; Surrey Art Gallery; North Vancouver, British Columbia; Glenbow Art Gallery; Calgary, Alberta; London Regional Art Gallery; London, Ontario 1991 Authority is an Attribute..
    [Show full text]
  • Cheryl Simon, Ph.D
    Cheryl Simon, Ph.D. 758, rue Lusignan, Montréal, Québec H3C 1Y9 514-932-3491/514-770-3491 _______________________________________________________ Research + Education 1998 – 2000 Post-Doctoral Research, SSHRC-funded, at the University of Rochester, Visual + Cultural Studies Program, directed by Janet Wolffe • Entitled, Following the Archival Turn: Photography, the Museum and the Archive, the research project considers the photographic archive in both its concrete and abstract manifestations, exploring the dynamic role it has played informing a range of twentieth century art, art historical, museological and photographic activities. Looking at specific historical and contemporary, artistic and theoretical, European and North American examples, the study addresses the various implications of an 'archival turn' for aesthetic, historical, social, cultural, institutional, and/or disciplinary discourses and practices. 1992 – 1998 Ph.D. in Humanities/Interdisciplinary Studies in Society and Culture (Communications, Cultural Studies of Popular Culture; Film Studies, Film Noir & Melodrama, Feminist Film Theory; Literary Theory), Concordia University, Montreal • Thesis: Gender, Genre and Globalization: Discourses of “Femininity” in the Popular Culture of the 1990s The dissertation considers the political scope of appropriation and pastiche practices in recent popular cultural narrative production. Specifically, it addresses crime narratives about women that revive historical genres and forms: feminist hard-boiled detective fiction, the film noir renaissance and tabloid journalism. 1992 Photography Program, The Banff Centre for the Arts, Banff, Alberta 1991 The Arts Journalism Program, The Banff Centre for the Arts, Banff, Alberta 1983 - 1988 M.F.A. Studio Arts/Photography, Concordia University, Montreal • Thesis Exhibition: impulse, an exhibition of enlarged, colour, photographic stills from 8mm home movies circa 1960.
    [Show full text]
  • The Notre-Dame Street Overpass Sidewalk: from Bill Vazan's
    Palimpsest III: The Dialectics of Montreal’s Public Spaces Department of Art History, Concordia University The Notre-Dame Street Overpass Sidewalk: From Bill Vazan’s Highway #37 to Today Philippe Guillaume September 2010 Cynthia I. Hammond, and Anja Bock, eds. Palimpsest III: The Dialectics of Montreal’s Public Spaces An already-made geography sets the stage, while the willful making of history dictates the action …1 The sidewalk plays a fundamental role as a place of transit in the modern city, as well as being a space of sensorial experience. A specific walkway can represent aesthetic change across generations while, nonetheless, eliciting sensory experiences where the pedestrian’s feeling of safety is axiomatic. Such a space is seen in a photograph that is part of Montreal artist Bill Vazan’s conceptual project Highway #37, created in 1970. Detail 151 (Fig. 1), a black and white photograph, illustrates an eastward view of Notre-Dame Street taken from the southern sidewalk along the Notre-Dame Street overpass, a viaduct that spans over the old Dalhousie and Viger stations rail-yards. This is a historic locus linked to travel: this epic street exits Old Montreal towards the eastern part of the island. On today’s maps it spans between Berry and St-Christophe streets. When viewed through Vazan’s framing, this cityscape still serves as a striking palimpsest of the city’s modernist past, where, formally, the sidewalk encompasses all the elements associated with a safe space for pedestrian travel. A comparative view of the landscape seen in Vazan’s photograph between the time it was made and the present further enriches the narrative of this place, which nowadays sits on the cusp of the city’s salient tourist space, Old Montreal.
    [Show full text]
  • SUZY LAKE 1947 Born in Detroit, Michigan, USA Currently Lives and Works in Toronto, Ontario, Canada Education 1978 Master Of
    SUZY LAKE 1947 Born in Detroit, Michigan, USA Currently lives and works in Toronto, Ontario, Canada Education 1978 Master of Fine Arts, Concordia University, Montréal, QC, Canada 1968 Bachelor of Fine Arts, Wayne State University, Detroit Michigan and Western Michigan University, Royal Oak, Michigan, USA Forthcoming Exhibitions 2017 Suzy Lake, Ryerson Imaging Centre, Toronto, ON, Canada Suzy Lake: Performing An Archive, Art Gallery of Windsor, Windsor, ON, Canada (touring) 2016 The Feminist Avant-Garde of the 1970s. Artworks from the SAMMLUNG VERBUND collection, Vienna, curated by Gabriele Schor, The Photographers' Gallery, London, UK, (opening 6 October 2016 runs thru 8 January 2017); touring: 2017 Museum of Modern Art, Vienna, Aust; ZUM, Karlsruhe, Germany; 2018 Brno House of Arts, Brno, CZ; Stavanger Art Museum, Stavanger, Norway Form Follows Fiction: Art and Artists in Toronto, curated by Luis Jacobs, Art Museum (Justina M. Barnicke Gallery/University of Toronto Art Centre), Toronto, Canada Toronto: Tributes and Tributaries, Art Gallery of Ontario, Toronto, Canada Selected Solo Exhibitions 2016 Suzy Lake: Performing An Archive, McMaster University of Art, Hamilton, ON, Canada Suzy Lake: Performing An Archive, Georgia Scherman Projects, Toronto, ON, Canada 2014/15 Introducing Suzy Lake, Art Gallery of Ontario, Toronto, ON, Canada (retrospective, publication) 2013 Suzy Lake, The Darling Foundry, featured exhibition of Mois de la Photo “Drone: The Automated Image”, Montreal, QC, Canada (catalogue) Suzy Lake: Whose Gaze Is It Now, Grande
    [Show full text]
  • Full Text (PDF)
    Document generated on 09/24/2021 10:42 p.m. Vie des Arts English reports Volume 45, Number 184, Fall 2001 URI: https://id.erudit.org/iderudit/52969ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this review (2001). Review of [English reports]. Vie des Arts, 45(184), 70–76. Tous droits réservés © La Société La Vie des Arts, 2001 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ un gallery space. One is covered with a 1960s survive only in the form of camouflaged coloured cloth with documents, photographs, books, films \- artificial greenery on it and the other and videos due to their ephemeral O has a blue willow patterned cloth conception, he has also created topped with fragments of willow installations over the decades on the QJ ware pottery. Again there is an inter­ landscapes of world's five conti­ i_ play between two realities that sym­ nents. Early in his career, Bill Vazan bolizes the ongoing struggle between commented on his early use of grids, man and nature. Nature is represent­ scanning and framing techniques in un ed by the artificial greenery and man photography stating: "They are two- by the pottery shards.
    [Show full text]
  • Bill Vazan Exploring the Limits of Sculpture James D
    Document généré le 30 sept. 2021 18:57 Espace Sculpture Bill Vazan Exploring The Limits of Sculpture James D. Campbell Un certain Montréal sculpté (suite et fin) Montreal Sculpture: From a Certain Perspective (continuation and conclusion) Numéro 21, automne 1992 URI : https://id.erudit.org/iderudit/10109ac Aller au sommaire du numéro Éditeur(s) Le Centre de diffusion 3D ISSN 0821-9222 (imprimé) 1923-2551 (numérique) Découvrir la revue Citer cet article Campbell, J. D. (1992). Bill Vazan: Exploring The Limits of Sculpture. Espace Sculpture, (21), 42–47. Tous droits réservés © Le Centre de diffusion 3D, 1992 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ ^f- 'JMStO/J Exploring the Limits of Sculpture James D. Campbell ver the course of more than thirty years, oriented artist now working in Canada, his oeuvre has always revealed a highly sophisticated social Bill Vazan, Observed, 1990-1992. (Detail). OMontreal-based artist Bill Vazan has estab­ 15 engraved granites. 1,5 x 6 x 4,8 m. lished himself as an important practitioner of con­ and environmental conscience and has demon­ Installation in Agnes Etherington Gallery, ceptual, photographic and land-oriented art.
    [Show full text]
  • Bill VAZAN « Soundings » De La Planète Bleue Soundings from the Water Planet
    Bill VAZAN « Soundings » de la planète bleue Soundings from the Water Planet Une exposition itinérante réalisée par le Musée d’art contemporain des Laurentides / A travelling exhibition produced by the Musée d’art contemporain des Laurentides Du 5 mars au 5 avril 2014 / From March 5 to April 5, 2014 Mes compliments et mes remerciements s’adressent à M. Bill Vazan pour la qualité de son travail et pour avoir accepté que l’exposition «Soundings» de la planète bleue / Soundings from the Water Planet soit présentée à la Galerie d’art du Centre culturel de l’Université de Sherbrooke. J’ai la certitude que son art sera apprécié des nombreux visiteurs de la galerie. Du Musée d’art contemporain des Laurentides, mes remer- ciements s’adressent à Mmes Andrée Matte, conservatrice, et Iris Amizlev, commissaire de l’exposition «Soundings» de la planète bleue. De la contribution de l’équipe du Centre culturel, je remercie Bernard Langlois, contremaitre à la direction des opérations, Mario Haché, chef technicien, et son équipe formée d’Emmanuel Foulon, Bruce Giddings, Jean Grondin, Gilles Jean, Marc Longpré et André Morin. À plusieurs reprises, j’ai pu compter sur la collaboration de Cynthia Arsenault, Julie Béchard, Jean-Pierre Couture, Nathalie Cyr, Geneviève Lacombe, Anne-Sophie Laplante, Marie-Josée Malenfant, Sophie Pouliot et Sonya Sheridan. Je les en remercie. L’accueil à la Galerie d’art est de la responsabilité de Joannie Bélanger, Joannie Guimond Villeneuve, Sarah Koenig et Maude Ménard-Labrecque. Je les en remercie ainsi que tout le personnel d’accueil du Centre culturel. J’exprime ma gratitude à M.
    [Show full text]
  • Curriculum Vitae
    CURRICULUM VITAE BARBARA TODD SELECTED EXHIBITIONS Bold face type signifies a one-artist exhibition. 2019 • In Faux-Structure, Opalka Gallery, Albany, NY. • Artists of the Mohawk Hudson Region, The Hyde Collection, Glens Falls, NY. 2018 • Fait-main/Hand-made – Musée national des beaux-arts du Québec, Quebec City, QC. • Bombhead – Vancouver Art Gallery, Vancouver, BC. • Home – Collarworks, Artist-run Center, Troy, NY. • Interwoven – Albany Public Library, Albany, NY. • Connecting Threads – Surrey Art Gallery, Surrey, BC. 2017 • Passé inaperçu /Gone Unnoticed - Biennale internationale du lin de Portneuf, Deschambault-Grondines, QC. • Artists of the Mohawk Hudson Region, Albany Institute of History and Art, Albany, NY. 2016 • Reclamation, Collarworks, Troy, NY. • Artists of the Mohawk Hudson Region, The Hyde Collection, Glens Falls, NY. • Blood, Toil, Tears, Art Gallery of St. Albert, St. Albert, Alberta. 2015 • Barbara Todd : Colour Play, Galerie Art Mûr, Montreal. • The Nature of Conflict, Warren G. Flowers Gallery, Dawson College, Montreal. 2014 • Dreamland, Museum London (ON) (originated by the Textile Museum of Canada). • Things We Do in Bed, Danson House, Bexley Heritage Trust, Kent, England. • Homespun, Albany Public Library, Albany, NY. • The Black & White Show, Albany Center Gallery, Albany, NY. 2013 • Studio Art Faculty Exhibition, Emma Willard School, Troy, NY. • Barbara Todd:African Market Textiles, Waterford Public Library, Waterford, NY. 2012 • Grey Matters, Albany International Airport. • Friend of a Friend, Thomson Giroux Gallery, Chatham, NY. • Dreamland, The Textile Museum of Canada, Toronto. • Barbara Todd – Teaching a stone to talk, The Tom Thomson Gallery, Owen Sound, ON. • Barbara Todd – Side by Side, Galerie Art Mûr, Montreal. • Disparaître, Diagonale, Montrea, QCl. 2010 • Femmes artistes.
    [Show full text]
  • Tangible and Intangible Lines Henry Lehmann
    Document généré le 25 sept. 2021 20:44 Ciel variable Art, photo, médias, culture Tangible and Intangible Lines Henry Lehmann Cartographie Résumé de l'article Mapping Henry Lehmann aborde la production conceptuelle de Bill Vazan en Numéro 76, juin 2007 considérant Worldline comme une oeuvre incontournable. Évoquant les pierres taillées de l’artiste, l’auteur définit la ligne comme étant un élément URI : https://id.erudit.org/iderudit/20724ac central de son travail. Tracée, brûlée ou sculptée, la ligne parcourt et unit tant les oeuvres conceptuelles de Vazan que les objets d’art qu’il construit. Aller au sommaire du numéro Lehmann y voit des références à l’information, à une ligne de pensée, à un geste artistique, au temps, à une forme de décoration, à un outil scientifique, à une tradition artisanale et même à un symbole platonique. Éditeur(s) Les Productions Ciel variable ISSN 1711-7682 (imprimé) 1923-8932 (numérique) Découvrir la revue Citer cet article Lehmann, H. (2007). Tangible and Intangible Lines. Ciel variable, (76), 20–23. Tous droits réservés © Les Productions Ciel variable, 2007 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche.
    [Show full text]
  • Programme Automne 2015 Fall 2015 Program
    PROGRAMME AUTOMNE 2015 FALL 2015 PROGRAM www.mcgill.ca/mcll_ joy COMMUNAUTÉ D’APPRENTISSAGE CONTINU DE MCGILL POUR LE PLAISIR D’APPRENDRE MCGILL COMMUNITY FOR LIFELONG LEARNING FOR THE JOY OF IT MCGILL COMMUNITY DEAN’S MESSAGE FOR LIFELONG LEARNING First, a warm welcome to new members of the McGill Community for Lifelong Learning—and welcome back to returning members. Fall always signals new 688, rue Sherbrooke ouest, bureau/suite 229, Montréal (Québec) H3A 3R1 learning opportunities—an exciting time for all of us. I hope that the slate of study groups, lectures, workshops and outings contained Téléphone | Telephone: 514 398-8234 Télécopieur | Fax: 514 398-2757 herein captures your imagination and invigorates your thirst for meaningful intellectual and social engagement. Courriel | Email: [email protected] Underlying MCLL’s educational experiences is a commitment to fostering Site web | Website: www.mcgill.ca/mcll_joy community. When you take part in MCLL activities, you have the opportunity to invest yourself in a dynamic environment where your feedback and input Facebook: www.facebook.com/mcll.joy are valued and necessary. On a recurrent basis, MCLL convenes events that are intended to encourage T discussions amongst members on the role and direction of their community. At the outset of the semester, an information session will be convened for new mem- STREE bers to introduce them to MCLL. This is a great way to meet other first-timers and ITY find out what will be in store during the semester. Returning members invested METRO or interested in moderating may also wish to attend the beginning-of-term MCGILL ERS IV Moderators’ Workshop during which you will learn about the craft of creating UN engaging study groups and facilitating group discussion.
    [Show full text]