MAWA 30Th Anniversary Brochure
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Contributors
Contributors Andres Ajens is a Chilean poet, essayist, and translator. His latest works include /E (Das Kapital, 2015) and Bolivian Sea (Flying Island, 2015). He co-directs lntemperie Ediciones (www.intemperie. cl) and Mar con Soroche (www.intemperie.cl/soroche.htm). In English: quase ftanders, quase extramadura, translated by Erin Moure from Mas intimas mistura (La Mano Izquierda, 2008), and Poetry After the Invention ofAmerica: D on't L ight the Flower, translated by Michelle Gil-Montero (Palgrave Macmillan, 2011). Mike Borkent holds a doctorate from and teaches at the University of British Columbia. His research focuses on cognitive approaches to multimodal literatures, focusing on North American visual poetry and graphic narratives. He recently co-edited the volume Language and the Creative Mind (CSLI 2013) with Barbara Dancygier and Jennifer Hinnell, and has authored several articles and reviews on poetry, comics, and criticism. He was also the head developer and co-author of CanLit Guides (www. canlitguides.ca) for the journal Canadian L iterature (2011-14). Hailing from Africadia (Black Nova Scotia), George Elliott Clarke is a founder of the field of African-Canadian literature. Revered as a poet, he is currently the (4th) Poet Laureate of T oronto (2012-15). The poems appearing here are from his epic, "Canticles," due out in November 2016 from Guernica Editions. Ruth Cuthand was born in Prince Albert and grew up in various communities throughout Alberta and Saskatchewan. With her Plains Cree heritage, Cuthand's practice explores the frictions between cultures, the failures of representation, and the political uses of anger. Her mid-career retrospective exhibition, Back Talk, curated by Jen Budney from the Mendel Art Gallery in Saskatoon, has been touring Canada since 2011. -
A Translocal Approach to Dialogue-Based Art
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2017 A Translocal Approach to Dialogue-based Art KNOWLES, RACHELLE MARIE VIADER http://hdl.handle.net/10026.1/10269 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. A translocal approach to dialogue-based art by Rachelle Marie Viader Knowles A thesis submitted to Plymouth University in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY August 2017 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. Acknowledgements First and foremost, I would like to thank my supervisors, Dr Sarah Bennett (Director of Studies) and Dr Geoff Cox (Second Supervisor). At every step of this journey, Sarah and Geoff have supported, provoked, challenged and pushed my thinking always a step further than I thought it or I could go. I am deeply grateful for the attention, diligence and commitment they have given to this process and the exceptional support they have given to me. Thank you. The experience of undertaking this PhD has been one of joyful collegiality and friendship with a group of peers beyond anything I could have hoped for. -
Wanda Koop, on the Edge of Experience, National Gallery of Canada, Ottawa, from February 18 to May 15, 2011 Sheena Ellison
Document generated on 09/26/2021 2:33 p.m. Ciel variable Art, photo, médias, culture Wanda Koop, On the Edge of Experience, National Gallery of Canada, Ottawa, From February 18 to May 15, 2011 Sheena Ellison Lieux Places Number 89, Fall 2011 URI: https://id.erudit.org/iderudit/65165ac See table of contents Publisher(s) Les Productions Ciel variable ISSN 1711-7682 (print) 1923-8932 (digital) Explore this journal Cite this review Ellison, S. (2011). Review of [Wanda Koop, On the Edge of Experience, National Gallery of Canada, Ottawa, From February 18 to May 15, 2011]. Ciel variable, (89), 85–85. Tous droits réservés © Les Productions Ciel variable, 2011 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/ Wanda Koop On the Edge of Experience National Gallery of Canada, Ottawa From February 18 to May 15, 2011 Hybrid Human series, 2010, acrylic on canvas, video projection, installation image, ngC, ottawa, photo : William Eakin “Wanda Koop: On the Edge of Experience” an affective installation that builds on the to her oeuvre. Themes can be traced throu- had fled prior to her birth in Vancouver, is a major attraction of the Prairie Scene fes- now-familiar large-scale works on plywood ghout her career – particularly the evolution British Columbia, in 1951), and global tival, the fifth presentation of this biannual and adds projected video and sound, media of the image from static to dynamic. -
Ruth Cuthand CV
RUTH CUTHAND Born in 1954 in Prince Albert, SK, Canada. Lives and works in Saskatoon, SK, Canada. EDUCATION 1992 MFA, University of Saskatchewan, Saskatoon, SK, Canada 1983 BFA, University of Saskatchewan, Saskatoon, SK, Canada SOLO EXHIBITIONS 2016 Don’t Breathe, Don’t Drink, dc3 Art Projects, Edmonton, AB, Canada 2015 Don’t Drink, Don’t Breathe, Mann Art Gallery, Prince Albert, SK, Canada 2014 BACK TALK: Ruth Cuthand (works 1983-2009), Plug In ICA, Winnipeg, MB, Canada 2013 BACK TALK: Ruth Cuthand (works 1983-2009), Thunder Bay Art Gallery,Thunder Bay, ON, Canada 2012 BACK TALK: Ruth Cuthand (works 1983-2009), Confederation Art Centre, Charlottetown, PEI, Canada BACK TALK: Ruth Cuthand (works 1983-2009), Mount Saint Vincent University Art Gallery, Halifax, NS, Canada 2011 BACK TALK: Ruth Cuthand (works 1983-2009), Mendel Art Gallery, Saskatoon, SK, Canada 2010 Dis-Ease, Red Shift Gallery, Saskatoon, SK, Canada 1999 Indian Portraits: Late 20th Century, Wanuskewin Museum, Saskatoon, SK, Canada 1993 Location/Dislocation, Mendel Art Gallery, Saskatoon, SK, Canada 1992 Misuse is Abuse II, MFA Exhibition, University of Saskatchewan, Saskatoon, SK, Canada 1990 Misuse is Abuse, Mendel Art Gallery, Saskatoon, SK, Canada Traces of the Ghost Dance, Artists with Their Work, MacKenzie Art Gallery, Regina, SK, Canada SELECTED GROUP EXHIBITIONS 2016 Counter History and the Other, Wanuskewin Heritage Park, Saskatoon, SK, Canada 2015 Oh, Canada, Glenbow Museum, Illingworth Kerr Gallery, The Esker Foundation and Nickle Galleries, Calgary, AB, Canada -
Art Institutions and the Feminist Dialectic
Ontario Association of Art Galleries December 3 and 4, 2008 Art Institutions and the Feminist Dialectic Program Description Art Institutions and the Feminist Dialectic aims to explore, through panel discussions, working groups, and a series of conversations, the unique challenges and opportunities presented by the exhibition, acquisition, and preservation of feminist artwork by looking back over the last thirty-five years in Ontarioʼs public art gallery practice. What feminist artwork has come into Ontario collections? Both Museum London and the McIntosh Gallery are acquiring major pieces by Rae Davis and, in recent years, a number of Ontario public art galleries, including the National Gallery of Canada, the Art Gallery of Ontario, and the Textile Museum of Canada, have mounted major exhibitions and acquired significant works of art that take up a feminist dialectic. Performative or performance-based works by Rebecca Belmore, Jana Sterbak, and Janet Cardiff have recently been chosen to represent Canada at the Venice Biennial, while Lisa Steele, Suzy Lake, and Colette Whiten are featured in WACK! Art and the Feminist Revolution, a major international exhibition of feminist art organized by the Museum of Contemporary Art, Los Angeles. Given that artworks that arose from the activism and social consciousness of the late 1960s and that addressed civil rights, war protest, and feminism have been entering public art galleries and museums in recent years, a new discussion of how feminist work performs in the museum space is timely. This two-day symposium will address issues, contradictions and paradoxes around the exhibition, acquisition, and preservation of feminist artwork by Ontario public art galleries. -
SOME CURRENT PROBLEMS with PAINTING Master of Fine Arts
SOME CURRENT PROBLEMS WITH PAINTING by Andy Patton Department of VisuaI Arts Submitted in partial hrlfilment of the requirements for the degree of Master of Fine Arts Faculty of Graduate Studies The University of Western Ontario London, Ontario December, 1996 O Andy Patton 1997 National Library Biblioth&que nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wedlinglor, Street 385, Wm WONK1AW OltewaON KlAW Canada Canada The author has granted a nm- L'auteur a accord6 me licence non exclusive licence allowing the exclusive pennettant a la National hiof Canada to Bibliothkpe nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distti'buerou copies of his/her thesis by any means venQe des copies de sathtse de and in any form or format, malting qyelque manibe et sous ~uelque this thesis avaiIable to interested fonne que ce soit purrnettre des persons. exemplaires de cette Wse ii la disposition des pefsonnes int&ess&s. The author retains ownership of the L'auteur conserve la propri6te du copyright in his/her thesis. Neither droit &auteur qui proege sa these. Ni the thesis nor substantial extra& fiom it may be printed or otherwise reproduced with the author's autrement reproduits sans son permission. Abstract and Keywords This essay examines several problems in contemporary painting, beginning with the question of painting's real or imagined centrality within the visual arts. The question then asked is whether or not there is anvthing fundamental which distinguishes painting from the other arts, by looking at the example set in sculpture by Richard Serra.The conclusion reached, in opposition to Serra, is that what distinguishes painting are its conventions, following the work by the critic, Yve-Alain Bois, and Ludwig Wittgenstein. -
Art and Cold Cash
Ruby Arngna’naaq is an Inuk from Baker Lake, Nunavut, Exhibition now residing in Ottawa. Ruby co-produced “Inuit Myths 13 February–4 April 2009 and Legends” for the Inuit Broadcasting Corporation, and has worked in the Inuit cultural sector as a politi- REcEption cal activist and a representative on arts boards. Sheila 7–10 pm, Friday, 13 February Butler is an artist and teacher, working primarily in panEl discussion drawing and painting. She has exhibited in solo and group exhibitions in Canada and abroad, including in 3 pm, Saturday, 14 February the national touring exhibition, “Just My Imagination,” 2005–07. Jack Butler’s hybrid practice uses the means In association with Art and Cold Cash, and methods of visual art to produce research in three Video Pool Media Arts Centre presents the work domains—medical science, collaborations with Inuit of ARNAIT VIDEO PRODUCTIONS, 2 pm, Saturday, artists, and money. Jack exhibits internationally and 4 April, at Cinematheque. Discussion to follow. his work is included in public and private collections. Patrick Mahon’s work as an artist includes print-based projects that engage with historical and contemporary aspects of “print culture” and involves responding to gallery and museum collections through artistic and curatorial gestures. He lived in the North from 1986 to pLATFORm wishes to thank Manitoba Arts Council, 1988. Today Patrick is a Professor of Visual Arts at the Winnipeg Arts Council, and The Winnipeg Foundation for University of Western Ontario, and is currently Chair of their continued support, as well as the Canada Council for the Arts, and Calm Air for supporting this project. -
WANDA KOOP Born 1951, Vancouver, BC Lives and Works in Winnipeg, MB
! WANDA KOOP Born 1951, Vancouver, BC Lives and works in Winnipeg, MB EDUCATION 2009 Doctor of Law (honoris causa), University of Manitoba, Winnipeg, MB 2007 Doctor of Letters (honoris causa), Emily Carr Insitute of Art & Design, Vancouver, BC 2002 Litt.D. (honoris causa), University of Winnipeg, Manitoba, Winnipeg, MB 1975 Lemoine Fitzgerald School of Art, University of Manitoba, Winnipeg, MB SELECTED SOLO EXHIBITIONS 2017 In Absentia, Night Gallery, Los Angeles, CA 2016 Wanda Koop: In Absentia, Division Gallery, Toronto, ON Wanda Koop: paintings + drawings (1984-2016), Galerie Division, Montréal Trick Rider, Canadian Museum of Human Rights, Winnipeg, Manitoba 2015 VIEW FROM HERE, Winnipeg Art Gallery, Winnipeg, MB 2014 Interplay, Michael Gibson Gallery, London, ON 2013 Wanda Koop: 1951-, Division Gallery, Toronto, ON Wanda Koop, Galerie Division, Montrealm QC 2012 No News, Galerie Division, Montreal, QC Interface, Michael Gibson Gallery, London, ON 2011 Wanda Koop…On the Edge of Experience, National Gallery of Canada, Ottawa The Studio Room, Michael Gibson Gallery, London, ON No News, Galerie Division, Montreal QC Interface, Michael Gibson Gallery, London, ON Wanda Koop…On the Edge of Experience, Winnipeg Art Gallery, Winnipeg, MB Wanda Koop: Decades, Mayberry Fine Art, Winnipeg, MB 2009 FACE to FACE, Richmond Art Gallery, Richmond Art Gallery, Richmond, BC VIEW from HERE, Michael Gibson Gallery, London, ON 2008 BuroDjikstra, Rotterdam, The Netherlands Interweave, Birch Libralato, Toronto, ON2007 Deep Bay, Michael Gibson Gallery, London, -
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies a Thesis Submit
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Art and Art History University of Saskatchewan Saskatoon By Kim Ennis © Copyright Kim Ennis, April 2012. All rights reserved. Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of Art and Art History University of Saskatchewan 3 Campus Drive Saskatoon, Saskatchewan S7N 5A4 Canada i Abstract Landscape painting and formalist painting, both terms taken in their broadest possible sense, have been the predominant forms of painting on the prairie, particularly in Saskatchewan, for several decades. -
Teacher Resource
TEACHER RESOURCE CURRICULUM THEMES Environment; Technology; Painting CURRICULAR CONNECTIONS GRADE 3 | CP3.7- Students will be discussing GRADE 11 | CR20.2- Students will explore the artwork of Wanda Koop and the relationship interpretations of an artwork by Wanda to the featured environment and create a Koop, including exploring how her artwork response artwork that expresses their own relates to her environment and modern relationships to a specific environment. technologies. WANDA KOOP: SIGHTLINE As we can see in Sightline (Cityscape with Red Cross) the crosshairs (or “target”) in the piece sit directly over a compact city block with large open spaces on either side, conveying the environment of a city on the prairies. The crosshairs are a way of locating something, of targeting, of pointing to a goal or an objective. Usually, this is to cause damage; it comes from archery and rifling and was used to indicate where an arrow or bullet would fly. More recently it has come to be used for photography; the crosshairs in the camera indicates something that is worth taking a picture of, and therefore something that should be paid attention to. The practice of hunting is similar to the practice of photography. We refer to both hunting and photography in similar ways: in photography, we refer to recording an image as “capturing” or “shooting,” and another term for a gun’s crosshairs is its “sight.” Both are about targeting, locating, and choosing a moment. In this work, Koop has chosen to locate the crosshairs on the center of the piece, over the city part of the image. -
Essais Bibliographiques / Book Review Essays Art Exhibition Catalogues
Document généré le 29 sept. 2021 14:02 Études/Inuit/Studies Art exhibition catalogues BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. Amy Karlinsky Art et représentation Art and representation Volume 28, numéro 1, 2004 URI : https://id.erudit.org/iderudit/012645ar DOI : https://doi.org/10.7202/012645ar Aller au sommaire du numéro Éditeur(s) Association Inuksiutiit Katimajiit Inc. ISSN 0701-1008 (imprimé) 1708-5268 (numérique) Découvrir la revue Citer cet article Karlinsky, A. (2004). Art exhibition catalogues / BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. / WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. / WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. Études/Inuit/Studies, 28(1), 161–170. https://doi.org/10.7202/012645ar Tous droits réservés © La revue Études/Inuit/Studies, 2004 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. -
Barbara Tekker – Exhibition Essay
Fig. 1. Sharon Alward, Christian Woman of Virtue, 2000, performance/video. http://ccca.concordia.ca/artists/work_detail.html?languagePref=en&mkey=79166&title=Christia n+Woman+of+Virtue++&artist=Sharon+Alward&link_id=13742. Fig. 2. Ann Beam, Angel of the West Dreaming, 1996, cement, tin, and plywood, 50.8 x 76.2 cm. http://ccca.concordia.ca/artists/work_detail.html?languagePref=en&mkey=30830&title=Angel+o f+the+West+Dreaming&artist=Ann+Beam&link_id=171. Fig. 3. Sheila Butler, The Angel of God Appears at the Friday Night Movie, 1982, mixed media on paper, 76.2 x 104.1 cm, collection of Denis Lessard, Montreal. http://ccca.concordia.ca/artists/work_detail.html?languagePref=en&mkey=73225&title=The+An gel+of+God+Appears+at+the+Friday+Night+Movie&artist=Sheila+Butler&link_id=179. Messengers in a Skeptical World Barbara Tekker The emphasis on the artist and the distancing from religious to secular themes is typical of contemporary art, leading art historian James Elkins to assert: “[A]mbitious successful art is thoroughly non-religious.”1 Indeed, even Canadian artist and curator A.A. Bronson (b. 1946), whose own art deals with spirituality and is founder of the Institute for Art, Religion and Social Justice in New York City, believes that iconic symbols of religion have no place in today’s art.2 Bronson has stated that an artist “who uses religious language risks being cast out of the inner circles of contemporary art.”3 Is such art then categorized as irrelevant and outdated? What would propel contemporary artists to include religious symbolism in their artwork? Featured in this exhibition essay are three contemporary Canadian artists who have ignored Bronson and others who have similar views, and have injected the theme of angels into their work: Winnipeg- based performance artist Sharon Alward (b.