Lorraine Gilbert Studies Solo Exhibitions
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Marlene Creates
Marlene Creates Marlene Creates is an environmental artist and poet living and working in a small patch of boreal forest in Precise Moments in Portugal Cove, Newfoundland and Labrador. Her devotion to the natural world is evident in a tireless body of work that has been evolving since the mid-1970s, encompassing Particular Spots photography, video, assemblage, poetry, and multi- disciplinary events. Often using simple and unassuming An interview with Caitlin Chaisson gestures, Creates’ work touches on complex ecosystems that are powerfully sensitive to the ephemeral and the fragile. While Creates’ artistic process has been humbly attempting a form of self-erasure in recent artwork — authorship akin to that of a slowly receding tide — she has nevertheless produced a lasting and enduring contribution Far to the field of contemporary art. This year, the artist’s achievements are being Afield celebrated with a major touring retrospective exhibition: Marlene Creates: Places, Paths, and Pauses organized by the Beaverbrook Art Gallery in partnership with Dalhousie Art Gallery. Marlene Creates. A Hand to Standing Stones, Scotland 1983. 1983. [Excerpt]. Sequence of 22 black & white photographs, selenium-toned silver prints. Image size 8 x 12 inches each (20 x 30 cm). From the collection of Carleton University Art Gallery, Ottawa. Photo: courtesy of the artist. Caitlin Chaisson: You describe yourself as between nature and culture? an environmental artist and poet. Could you begin by MC: I think we need a dramatic shift in our culture elaborating on what this position means to you, and how — and I mean culture in the broadest sense. I don’t just you have come to use it to define your art practice? mean the arts; I mean our global consumer culture. -
CV Photo/Ciel Variable, Montreal, No
A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University, -
Regular Public Council - Agenda Package Meeting Tuesday, January 7, 2020 Town Hall - Council Chambers, 7:00 PM
AGENDA Regular Public Council - Agenda Package Meeting Tuesday, January 7, 2020 Town Hall - Council Chambers, 7:00 PM 1. CALL OF MEETING TO ORDER 2. ADOPTION OF AGENDA 3. DELEGATIONS/PRESENTATIONS - 4. ADOPTION OF MINUTES 2019 Merry and Bright Winners Thank you to Deputy Chief Eddie Sharpe 4.1 Adoption of the Regular Public Council Minutes for December 10, 2019 Regular Public Council_ Minutes - 10 Dec 2019 - Minutes (2) Draft amended 4.2 ADOPTION OF MINUTES Adoption of the Special Public Council Minutes for December 19, 2019 Special Public Council_ Minutes - 19 Dec 2019 - Minutes DRAFT 5. BUSINESS ARISING FROM MINUTES 6. COMMITTEE REPORTS PLANNING & DEVELOPMENT COMMITTEE - Councillor Harding 1. Report Planning & Development Committee - 17 Dec 2019 - Minutes - Pdf RECREATION & COMMUNITY SERVICES - Councillor Stewart Sharpe 1. Report Recreation/Community Services Committee - 02 Jan 2020 - Minutes - Pdf PUBLIC WORKS - Councillor Bartlett No meeting held ECONOMIC DEVELOPMENT, MARKETING, COMMUNICATIONS AND TOURISM - Councillor Neary 1. Report Page 1 of 139 Economic Development, Marketing, Communications, and Tourism Committee - 16 Dec 2019 - Minutes - Pdf PROTECTIVE SERVICES - Councillor Hanlon 1. Report Protective Services Committee - 16 Dec 2019 - Minutes - Pdf ADMINISTRATION AND FINANCE - Deputy Mayor Laham 1. Report Administration and Finance Committee - 18 Dec 2019 - Minutes - Pdf 7. CORRESPONDENCE 7.1 Report Council Correspondence 8. NEW/GENERAL/UNFINISHED BUSINESS 8.1 2020 Schedule of Regular Council Meetings For adoption - Deputy Mayor Laham Schedule of Meetings 2020 9. AGENDA ITEMS/NOTICE OF MOTIONS ETC. 10. ADJOURNMENT Page 2 of 139 Amended DRAFT MINUTES Regular Public Council: Minutes Tuesday, December 10, 2019 Town Hall - Council Chambers, 7:00 PM Present Carol McDonald, Mayor Jeff Laham, Deputy Mayor Dave Bartlett, Councillor Johnny Hanlon, Councillor Darryl J. -
Participation in Creation and Redemption Through Placemaking and the Arts
MAKING A PLACE ON EARTH: PARTICIPATION IN CREATION AND REDEMPTION THROUGH PLACEMAKING AND THE ARTS Jennifer Allen Craft A Thesis Submitted for the Degree of PhD at the University of St Andrews 2013 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3732 This item is protected by original copyright This item is licensed under a Creative Commons Licence UNIVERSITY OF ST ANDREWS ST MARY’S COLLEGE INSTITUTE FOR THEOLOGY, IMAGINATION AND THE ARTS MAKING A PLACE ON EARTH: PARTICIPATION IN CREATION AND REDEMPTION THROUGH PLACEMAKING AND THE ARTS A THESIS SUBMITTED BY: JENNIFER ALLEN CRAFT UNDER THE SUPERVISION OF TREVOR HART TO THE FACULTY OF DIVINITY IN PARTIAL FULFILLMENT FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ST ANDREWS, SCOTLAND MARCH 2013 2 TABLE OF CONTENTS Declarations 3 Acknowledgements and Dedication 5 Abstract 7 General Introduction 8 1 The Wide Horizons of Place: An Introduction to Place and Placemaking 16 §1: A Theological Engagement with Place and Placemaking 45 2 Placemaking in the Community of Creation: The Theological Significance of Place in Genesis 1-3 47 3 Divine and Human Placemaking in the Tabernacle and Temple: Place, Human Artistry, and Divine Presence 70 4 Making a Place on Earth: Divine Presence, Particularity, and Place in the Incarnation and its Implications for Human Participation in Creation and Redemption through Placemaking 93 Summary of Section One 125 §2: -
ANNE RAMSDEN Born/Née Kingston, Ontario. Habite Et Travaille À/Lives and Works in Montréal. Solo Exhi
1 ANNE RAMSDEN Born/née Kingston, Ontario. Habite et travaille à/lives and works in Montréal. www.anneramsden.com Solo Exhibitions/Expositions individuelles 2016 Metal Objects, La Vitrine, Montréal. 2010 La Collection et le quotidien, Galerie SBC, Montréal. 2007 La Collection et le quotidien, Musée de Rimouski, Qc. 2005 Anastylosis: Photographs, Leo Kamen Gallery, Toronto. 2004 Telling Objects, Vestlandske Kunstindustrimuseum, Bergen, Norvège. 2004 Anastylose : photographies, Galerie Art Mûr, Montréal. 2002 Anastylosis : Inventory, Southern Alberta Art Gallery, Lethbridge. 2001 Winter Garden, Swamp ward Window Project, Kingston, On. 2001-2002 Expose, 8 installations-vitrine, Artexte, Montréal. 2000 Anastylose : un inventaire, Galerie de l’Université du Québec à Montréal. 2000 Anastylose : un inventaire, Centre culturel de l’Univ. de Sherbrooke. 1999 Anastylosis : Childhood, Catriona Jeffries Gallery, Vancouver. 1998 Patina, Musée de Rimouski, Rimouski, Québec. 1997 Possession, Catriona Jeffries Gallery, Vancouver. 1996 Galerie Samuel Lallouz, Montreal. 1994 Residence, Oakville Galleries, Oakville, Ont. 1992 Blind Spots, Front Gallery, Vancouver. 1990 Urban Geography, Mendel Art Gallery, Saskatoon. 1990 Urban Geography, UBC Fine Arts Gallery, Vancouver. 1990 Relations, Galerie Dazibao, Montréal. 1988 Relations, Artspeak Gallery, Vancouver. Group Exhibitions/Expositions de groupe 2017 The hold: Studies in the contemporary collection, Agnes Etherington Art Centre, Kingston. 2016 Stare, Vancouver Art Gallery. 2016 L'état des choses, Musée de Rimouski, Rimouski. 2015 Melancholy Bay, Belkin Art Gallery, Vancouver. 2015 Through a Window, Simon Fraser University Galleries, Vancouver. 2015 Sous-exposées, Galerie d'art Stewart Hall, Montréal. 2014 Hibernus, John B. Aird Gallery, Toronto. 2014 Selective Memory: Artists in the Archive, Glucksman Gallery, Cork, Ireland. 2014 Porcelain: Breaking Tradition, Division Gallery, Arsenale, Toronto. -
Annual Report 2018
ANNUAL REPORT 2018 1 Table of Contents Vision and Mission 2 Board and Committees 3-4 From the Chair 5-6 Director’s Report 7-8 Campaign Report 9 Curatorial Report 11-12 Acquisitions & Loans 13 Exhibitions 15-17 Programs 19-21 Attendance 23 Members 25-26 Sponsors and Donors 27 Docents and Guides Bénévoles, Staff 28 Photo Credits and publications 29 1 Vision The Beaverbrook Art Gallery Enriches Life Through Art. Mission The Beaverbrook Art Gallery brings art and community together in a dynamic cultural environment dedicated to the highest standards in exhibitions, programming, education and stewardship. As the Art Gallery of New Brunswick, the Beaverbrook Art Gallery will: Maintain artistic excellence in the care, research and development of the Gallery’s widely recognized collections; Present engaging and stimulating exhibitions and programs to encourage full appreciation of the visual arts; Embrace and advance the province’s two official language communities, its First Nations Peoples and its diverse social, economic and cultural fabric; Partner to meet its goals, with the governments of New Brunswick and Canada, the general public, the private sector, cultural and educational institutions, artists and other members of the artistic community; Conduct its stewardship of the affairs of the Gallery in a financially sustainable manner; Serve as an advocate for the arts and promote art education and visual literacy; Inspire cultural self-esteem and enjoyment for all New Brunswickers. 2 Board of Governors James Irving (Chair) (E) Andrew Forestell (Secretary-Treasurer) (E) Maxwell Aitken Jeff Alpaugh Thierry Arseneau Ann Birks Earl Brewer (E) Hon. Herménégilde Chiasson, ONB Dr. -
Joan M. Schwartz, Ph.D
Joan M. Schwartz, Ph.D. Professor and Head Department of Art (Art History and Art Conservation) (cross-appointed to the Department of Geography) Queen’s University Ontario Hall 318C, 67 University Avenue, Kingston, ON, Canada K7L 3N6 (613) 533-6000 ext. 75453 [email protected] EDUCATION 1998 Ph.D. (Geography), Queen's University, Kingston, ON “Agent of Sight, Site of Agency: The Photograph in the Geographical Imagination” 1977 M.A. (Geography), The University of British Columbia, Vancouver, BC “Images of Early British Columbia: Landscape Photography, 1858-1888” 1973 B.A. (Hons), Department of Geography, University of Toronto, Toronto, ON. “Agricultural Settlement in the Ottawa-Huron Tract, 1850-1870” EMPLOYMENT HISTORY Academic positions (2003-present) Professor and Head, Department of Art (Art History and Art Conservation; cross-appointed to Geography), Queen’s University, Kingston, ON, 2015- Associate Professor / Queen’s National Scholar, Department of Art (cross-appointed to Geography), Queen’s University, Kingston, ON, 2003-2015 (tenure granted 2009) Positions held at the National Archives of Canada, Ottawa (1977-2006) Senior Specialist, Photography Acquisition and Research, 1999-2003 (Unpaid Leave 2003-2006) Photography Preservation Specialist, Preservation Control and Circulation, 1999. Chief, Photography Acquisition and Research Section, 1986-98 (Education Leave 1996-97) Photo-Archivist, Photography Acquisition and Research, 1977-86 Previous employment (1975-1977) Policy Officer, Operations Directorate, Public Service Commission, -
Download Artist's CV
Robert Polidori 1951 Born in Montreal, Canada 1980 State University of New York, Buffalo, NY, M.A., Film 2020 Guggenheim Fellowship 2008 Liliane Bettencourt Prix de la Photographie for Parcours Muséologique Revisité 2006-07 Deutscher Fotobuchpreis for After the Flood 2000 Alfred Eisenstadt Award for Magazine Photography, Architecture 1999 Alfred Eisenstadt Award for Magazine Photography, Architecture 1998-2006 Staff photographer, New Yorker Magazine 1998 World Press Award for Art Solo Exhibitions: 2019 Robert Polidori: Fra Angelico / Opus Operantis, Flowers Gallery, London, United Kingdom 2018 Robert Polidori: Devotion Abandoned, Studio Trisorio, Naples, Italy Robert Polidori: Fra Angelico / Opus Operantis, Paul Kasmin Gallery, New York, NY 2016 Robert Polidori: Ecophilia / Chronostasis, Paul Kasmin Gallery, New York, NY Robert Polidori: 1986-2016 Remembering Chernobyl, Galerie Karsten Greve, Paris, France 2015 Robert Polidori, Camera Work, Berlin, Germany Robert Polidori, Exteriors and Interiors, Galerie Karsten Greve, Köln, Germany Robert Polidori, Versailles, Edwynn Houk Gallery, Zurich, Germany 2014 Robert Polidori, Spuren der Zeit, Museum Bad Arolsen, Bad Arolsen, Germany Versailles, The Memories of Walls, Fontana Gallery, Amsterdam, The Netherlands Robert Polidori, Selected Works, Erie Art Museum, Erie, Pennsylvania, PA 2013 Robert Polidori, Versailles, Mary Boone Gallery, New York City, NY Rose Paintings, Kunstgarten, Graz Robert Polidori, La Mémoire des Murs, Galerie Karsten Greve, Paris, France Robert Polidori, Selected Works, -
New Feminine Spaces of Representational Inquiry: the Works of Nina Levitt and Angela Grauerholz
NEW FEMININE SPACES OF REPRESENTATIONAL INQUIRY: THE WORKS OF NINA LEVITT AND ANGELA GRAUERHOLZ Andromachi Gagas How do we translate conceptual-language-based art digitally while retaining its original relational function, or how do we situate a public intervention and social redress in virtual space dynamically rather than as inert photographic documentation, are issues we are trying to envision in these digital and virtual forms of exhibitions. I believe that this ambivalence of space is a notion that is a reflection of the postmodernist period in which the artists of the CCCA were producing the artworks displayed on their respective pages. Postmodernism was a questioning of our knowledge system and the “incredulity towards meta-narrative” such as was stated by Jean- Francois Lyotard in the 1979 publication of The Postmodern Condition: A Report on Knowledge.1 The striking down of the master narrative allowed for the petits recits of individual singular experience. And this expansion in the space of experience produced artworks that dwelt in a multi-dimensional space that re-enacted an idea or a memory, or produced artworks that directly disrupted the structures of authority of the totalizing narrative of the order of knowledge. Artists Nina Levitt (b. 1955) and Angela Grauerholz (b. 1952) address these spatial issues of experience and their works intervene and come to create new spaces where the rift in the master narrative can be widened even further. These artists, through their works, create new feminine spaces of representational inquiry. Levitt has created a new feminine space by abducting the white walls of a gallery and rendering them alive and actively engaged in the discourse of female representation. -
The Estate of Ted Russell
“... I think there is merit in just ’being.’ Somehow or other the greatest gift we have is the gift of our own consciousness, and that is worth savouring. Just to be in a place that’s so silent that you can hear the blood going through your arteries and be aware of your own existence, that you are matter that knows it is matter, and that this is the ultimate miracle.” – Christopher Pratt, artist 584 This painting entitled We Filled ‘Em To The Gunnells by Sheila Hollander shows what life possibly may have been like in XXX circa XXX. Fig. 3.4 Artist profiles 585 Artist profile Fig. 1 Angela Andrew Angela Andrew – Tea Doll Designer Innu tea dolls have been created by Nitassinan Innu of Quebec and Labrador for over a hundred years. (The earliest collected examples of tea dolls date back to the 1880s.) But today, Angela Andrew of Sheshatshiu is one of the few craftspeople keeping the tradition alive. She makes as many as 100 tea dolls a year – many of which are sold to art collectors. Angela learned the art of making tea dolls from Maggie Antoine, a woman from her father’s community of Davis Inlet. She learned her sewing skills from her parents, who originally lived a life of hunting and trapping in the bush. Angela played with tea dolls as a child. She explains that when her family travelled across Labrador, following the caribou and other game, everyone in the family helped pack and carry their belongings ‑ even the smallest children. Because of this, older women made dolls for the little girls and stuffed them with as much as a kilogram (two pounds) of loose tea leaves. -
Between Memory and Document: the Archival Turn in Contemporary Art UNTITLED N.º 6
/ Ruth Rosengarten Between Memory and Document: The Archival Turn in Contemporary Art UNTITLED N.º 6 Between Memory and Document: The Archival Turn in Contemporary Art Author Ruth Rosengarten Artistic Director Pedro Lapa Editorial Coordination Clara Távora Vilar Nuno Ferreira de Carvalho Graphic Design R2 All rights reserved. © of the text: Ruth Rosengarten,2012 © of the images: the artists, SPA and Fundação de Arte Moderna e Contemporânea – Colecção Berardo, 2012. Digital book. 1st edition: May, 2012 ISBN 978-989-8239-34-1 Museu Coleção Berardo Praça do Império. 1449-003 Lisboa. Portugal + 351 213 612 878 [email protected] Contents Foreword Prologue The Photograph and the Archive: Theory in Practice The Archive and the Photograph The Archival Turn The Archival Turn: Specimen Cases from the Berardo Collection The Mobile Archive: The Artist as Travelling Salesman The Archive of Anonymous Structures A Metonymic Relic and Objects of Attention Closely Lavished The Archive of Intimate and Historical Knowledge Selected Works from the Berardo Collection Marcel Duchamp Vito Acconci Helena Almeida Bernd e Hilla Becher Christian Boltanski Anselm Kiefer Hiroshi Sugimoto Tracy Moffat Daniel Blaufuks There is a story told about the war criminal Ratko Mladic, who spent months shelling Sarajevo from the surrounding hills. Once he noticed an acquaintance’s house in the next target. The general telephoned his acquaintance and informed him that he was giving him five minutes to collect his ‘albums’, because he had decided to blow the house up. When he said ‘albums’, the murderer meant the albums of family photographs. The general, who had been destroying the city for months, knew precisely how to annihilate memory. -
Angela Grauerholz
Angela Grauerholz BIOGRAPHY Born in Hamburg, Germany, in 1952, Angela Grauerholz has lived and worked in Montreal since 1976. A graduate of the Kunstschule Alsterdamm, Hamburg, in graphic design, she studied literature and linguistics at the University of Hamburg and holds a Master’s degree in Fine Arts (photography) from Concordia University, Montreal. In 1980, she was a co-founder of ARTEXTE, centre d’information en art contemporain, still today an important archive for Canadian art, where she worked until 1986. Simultaneously, until the late 1980s, she was very active as a graphic designer specializing in catalogue and book design. Since 1988, she has been teaching at the École de design, Université du Québec à Montréal, where she was the director of the Centre de Design from 2008 to 2012. Having influenced and taught many generations of graphic designers in Quebec, she has received numerous awards for her design work, such as the Award of Excellence (Best of Best) from the American Federation of Arts, New York, for the book Lisette Model, published by the National Gallery of Canada in 1990, and has worked for many distinguished artists and art institutions across Canada. In 2006, Grauerholz was awarded Quebec’s Prix Paul-Émile-Borduas for her accomplishments in the arts. In 2014 she received the Canada Council’s Governor General Award in Visual and Media Arts, followed by the Scotiabank Photography Award in 2015. Grauerholz’s photographic work has been exhibited and collected nationally and internationally. She has participated in many inter- national events of distinction, including the Biennale of Sydney, Aus- tralia (1990), documenta IX, Kassel, Germany (1992), and the Carnegie International, Pittsburgh, USA (1995).