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Home , Goodridge Roberts, Jacques de Tonnancour, Janet Cardiff, Joe Fafard, John Goodwin Lyman, Paterson Ewen

Module: Art Theory and History for Senior Students Course Code: AVI 4M

JANET CARDIFF AND

Installation art describes works that are de- signed to transform a specific space. It can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as mu- THE PARADISE INSTITUTE | 2001, Cardiff & Miller, Materials: Mixed Media Duration: 13 min. Dimensions: 5.1m x seums and galleries, as well as public and private 11m x 3m highmin. of music and 3 min. of intermission spaces. A broad range of everyday materials as well as new media such as video, sound, performance, With the improvements in technology artists immersive virtual reality and the internet can be are able to explore beyond the boundaries explored used. Many installations are site-specific - designed by artists in the past. The media used are more ex- to exist only in the space for which they were cre- perimental and may involve sensors, which read the ated. reaction of the audiences’ movement. Interactive installation frequently involves the At the turn of the new century, there is a trend audience acting or interacting with the work of art. of interactive installations using digital, video, film, There are several kinds of interactive installations sound and sculpture together. that artists produce including web-based installa- tions, gallery-based installations, digital and elec- *main source for biographies and art movements is tronic based installations and mobile-based. http://en.wikipedia.org/

JANET CARDIFF (1957 - ) Janet Cardiff is a Canadian installation artist. Born in Brussels, and a graduate of F E Madill, Cardiff studied at Queen's University (BFA) and at the (MVA). She works in col- laboration with her partner George Bures Miller. Cardiff and Miller currently live and work in . Janet Cardiff first gained international notoriety for her audio walks in 1995. Cardiff's installations and walking pieces are often audio-based. The project "The Missing Voice (Case Study B)" was commissioned in 1999 and continues to run. It is an audio tour that leaves from the Whitechapel Library, next to the Whitechapel tube stop and snakes its way through London's East End, weaving fictional narrative with descriptions about the actual landscape.Cardiff represented at the São Paulo Art Biennial in 1998, and at the 6th Istanbul Biennial in 1999 with her partner George Bures Miller. In her Forty Part Motet she placed 40 speakers in 8 groups, each speaker playing a recording of one voice singing ' , enabling the audience to walk through the space and "sample" individual voices of the polyphonic vocal music. This work is now part of the permanent collection of the National Gallery of Canada in , Ontario, Canada.

Chapter 6: Contemporary 81 Module: Art Theory and History for Senior Students Course Code: AVI 4M

THE FORTY PART MOTET | 2001, Janet Cardiff Materials: 40 loud speakers mounted on stands, placed in an oval, amplifiers, playback computer Duration: 14 min. loop with 11 min. of music and 3 min. of intermission A recent mid-career retrospective, Janet Cardiff: A Survey of Works opened at P.S. 1 Contemporary Art Center, Long Island City, Queens, in 2001 and has travelled to Montréal, Oslo, and Turin. In 2005, the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution commissioned and exhibited Cardiff's work "Words Drawn in Water". Cardiff and Bures Miller represented Canada at the 49th Venice Biennale with Paradise Institute (2001), a 16-seat movie theatre where viewers watched a film, becoming entangled as witnesses to a pos- sible crime played out in the real world audience and on the screen. The artists won La Biennale di Venezia Special Award at Venice, presented to Canadian artists for the first time and the Benesse Prize. Cardiff and Bures Miller have recently exhibited at the Art Gallery of Alberta , Fruitmarket Gallery, Edinburgh, Scot- land, the Miami Art Museum, Vancouver Art Gallery, Luhring Augustine, New York, Contemporary Arts Center, Cincinnati, , National Gallery of Canada and Oakville Galleries, Oakville, Ontario. JANET CARDIFF'S MATURE STYLE |

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82 Chapter 6: Contemporary Canadian Art Module: Art Theory and History for Senior Students Course Code: AVI 4M DAVID BLACKWOOD David Lloyd Blackwood, (born November 7, 1941) is a Canadian artist known chiefly for his inta- glio prints, often depicting dramatic historical scenes of Newfoundland outport life and industry, such as shipwrecks, seal hunting, iceberg encounters, and resettlement. He considers himself a "visual story- teller," and also produces paintings, drawings and woodcuts. Born in Wesleyville, Newfoundland, David Blackwood opened his first art studio in 1956, and in 1959 was awarded a scholarship to study at the Ontario College of Art. After graduating in 1963 he remained in Ontario, where he became Art Master at Trinity College School in Port Hope. Blackwood was involved in establishing an art gallery at Erindale College (a campus of the University of ), now called The Blackwood Gallery. In 1976, the National Film Board of Canada produced a documentary film about the artist, Blackwood, which was nominated for an Academy Award for Documentary Short Subject. He was made a member of the Order of Canada in 1993, and of the Order of Ontario in 2002. In 2003, he became the first practising artist to be named Honorary Chairman of the Art Gallery of On- tario, which maintains a Blackwood Research Cen- tre and a major collection of his work. Blackwood currently resides in Port Hope, Ontario and keeps a Fire Down on the Labrador | 1980, David Blackwood, Etching studio in Wesleyville, Newfoundland and Labrador. and aquatint on wave paper DAVID BLACKWOOD'S MATURE STYLE |

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Chapter 6: Contemporary Canadian Art 83 Module: Art Theory and History for Senior Students Course Code: AVI 4M

"Full Circle Flag Effect". 1974, Patterson Ewen acrylic on plywood. PATTERSON EWEN (1925–2002), was an influential Canadian painter. His later works are large-scale wall pieces distinguished by the use of both traditional and unconventional materials. He attended McGill University from 1946-47 where he studied geology, and fine arts with . From 1948- 50 he took classes at the School of Art and Design at the Museum of Fine Arts, studying under , Arthur Lismer, William Armstrong, and . The influence of Goodridge Roberts can be seen in Ewen's works completed in the late 1940s.These early and often figurative works were followed by an exploration of abstraction which lasted through to the late sixites. In 1968, Ewen moved to London, Ontario where he taught first at a local secondary school, then at the Visual Arts Department of the University of Western Ontario where he spent 14 years. In 1971 Ewen's working method and imagery changed dramatically. He started working on plywood instead of canvas. The pieces were on several standard 4' x 8' sheets of plywood side by side. Ewen used a router to gouge out the surface, and attached objects to the surface with hardware. In the shallow three-dimensional surface he had created, Ewen then painted powerful images that grew out of his boyhood interests in geology and space. PATTERSON EWEN'S MATURE STYLE |

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84 Chapter 6: Contemporary Canadian Art Module: Art Theory and History for Senior Students Course Code: AVI 4M

Patsy 7/9 . Joe Fafard. Bronze (9x15.5x6 in) 2004

JOE FAFARD Joseph Fafard, (born September 2, 1942) is a Canadian sculptor born in Sainte-Marthe, to Leopold Fafard and Julienne Cantin whose families both date back centuries in Canada. He received a B.S.A from the in 1966 and a M.F.A. from Pennsylvania State University in 1968. From 1968 to 1974, he taught sculpture at the University of Saskatchewan, Regina Campus (now the ). He was a visiting lecturer at the University of California, Davis in 1980-1981. Recognized for his outstanding contribution to the arts in Canada, he was named an Officer of the Order of Canada in 1981; awarded the Architectural Institute of Canada Allied Arts Award in 1987; and received an Honorary Degree from the University of Regina in 1989. Fafard sculpted in plaster and ceramics in the early part of his career, but switched to bronze as his primary medium in the 1980s. In 1985 he opened the Julienne Atelier foundry in Pense, Saskatchewan. His art is heavily influenced by his Saskatchewan surroundings, and includes life-size bronzes of cows, horses and pigs. Fafard's works were featured on a series of postage stamps issued by Canada Post in 2012. The National Gallery of Canada in Ottawa installed his colourful Running Horses (2007) in 2011 adjacent to the Sussex Drive entrance. JOE FAFARD'S MATURE STYLE |

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Chapter 6: Contemporary Canadian Art 85