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Liz Magor I Have Wasted My Life
Andrew Kreps 22 Cortlandt Alley, Tue–Sat, 10 am–6 pm Tel. (212)741-8849 Gallery New York, NY 10013 andrewkreps.com Fax. (212)741-8163 Liz Magor I Have Wasted My Life May 21 - July 3 Opening Reception: Friday, May 21, 4 - 7 pm Andrew Kreps Gallery is pleased to announce I Have Wasted My Life, an exhibition of new works by Liz Magor at 22 Cortlandt Alley. On the wall, a new sculpture titled Perennial is formed from a duffle coat, which in the 1960s and 1970s had become a de-facto uniform for student protestors, including those part of the nascent environmental movement in Vancouver, where Greenpeace was founded in 1971. A near artifact from this time, the coat carries with it the accumulated wear from these actions. The artist’s own interventions seek to repair the garment, though in lieu of erasure, Magor marks the damage using paint, ink, and sculptural material. Simultaneously, Magor adds vestiges of the coat’s past activity, such as two cookies cast in gypsum placed in its pocket to resuscitate it to its prior use. Magor often positions humble objects at the center of her sculptures, the stuff that plays fleeting roles in our lives as repositories for memories and affection before being replaced. Three found workbenches, positioned throughout the galleries, become stages for these objects, suggesting sites for their rehabilitation. On each, a meticulously molded and cast toy animal rests between an array of accumulated items that range from the deeply personal, such as small collections of rocks, shells, and dried flowers, to those that are ubiquitous, such as Ikea Lack furniture, which is produced in a way that it is no longer contained to one place, or time. -
Old Works / New Works: When Contemporary
OLD WORKS / NEW WORKS: WHEN CONTEMPORARY PHOTOGRAPHIC ARTWORKS HELD BY CANADIAN PUBLIC INSTITUTIONS CHANGE AFTER ACCESSION by Anne Cibola Master of Arts, York University, Toronto ON, 2005 Bachelor of Fine Arts, Concordia University, Montreal QC, 2003 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Film and Photography Preservation and Collections Management Toronto, Ontario, Canada, 2014 © Anne Cibola 2014 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. Anne Cibola I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Anne Cibola I understand that my thesis may be made electronically available to the public. ii Abstract Old Works / New Works: When Contemporary Photographic Artworks held by Canadian Public Institutions Change After Accession Master of Arts, 2014 Anne Cibola Film and Photographic Preservation and Collections Management, Ryerson University This thesis explores what is at stake when changes are made to artworks after Canadian public institutions have accessioned them. It argues that the materiality of an art object matters, and together with the narrative or history of the artwork, contributes to its interpretation. Changes at the object level can have an impact not only on the history of an artwork, but also on an artist’s larger practice and on an institution’s collection. -
Old Works / New Works: When Contemporary
OLD WORKS / NEW WORKS: WHEN CONTEMPORARY PHOTOGRAPHIC ARTWORKS HELD BY CANADIAN PUBLIC INSTITUTIONS CHANGE AFTER ACCESSION by Anne Cibola Master of Arts, York University, Toronto ON, 2005 Bachelor of Fine Arts, Concordia University, Montreal QC, 2003 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Film and Photography Preservation and Collections Management Toronto, Ontario, Canada, 2014 © Anne Cibola 2014 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. Anne Cibola I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Anne Cibola I understand that my thesis may be made electronically available to the public. ii Abstract Old Works / New Works: When Contemporary Photographic Artworks held by Canadian Public Institutions Change After Accession Master of Arts, 2014 Anne Cibola Film and Photographic Preservation and Collections Management, Ryerson University This thesis explores what is at stake when changes are made to artworks after Canadian public institutions have accessioned them. It argues that the materiality of an art object matters, and together with the narrative or history of the artwork, contributes to its interpretation. Changes at the object level can have an impact not only on the history of an artwork, but also on an artist’s larger practice and on an institution’s collection. -
MANGAARD C.V 2019 (6Pg)
ANNETTE MANGAARD Film/Video/Installation/Photography Born: Lille Værløse, Denmark. Canadian Citizen Education: MFA, Gold Medal Award, OCAD University 2017 BIO Annette Mangaard is a Danish born Canadian media artist and filmmaker who has recently completed her Masters in Interdisciplinary Art, Media and Design. Her installation work has been shown around the world including: the Armoury Gallery, Olympic Site in Sydney Australia; Pearson International Airport, Toronto; South-on Sea, Liverpool and Manchester, UK; Universidad Nacional de Río Negro, Patagonia, Argentina; and Whitefish Lake, First Nations, Ontario. Mangaard has completed more then 16 films in more than a decade as an independent filmmaker. Her feature length experimental documentary on photographer Suzy Lake and the history of feminism screened as part of the INTRODUCING SUZY LAKE exhibition October 2014 through March 2015 at the Art Gallery of Ontario. Mangaard was nominated for a Gemini for Best Director of a Documentary for her one hour documentary, GENERAL IDEA: ART, AIDS, AND THE FIN DE SIECLE about the celebrated Canadian artists collective which premiered at Hot Doc’s in Toronto then went on to garner accolades around the world. Mangaard’s one hour documentary KINNGAIT: RIDING LIGHT INTO THE WORLD, about the changing face of the Inuit artists of Cape Dorset premiered at the Art Gallery of Ontario and was invited to Australia for a special screening celebrating Canada Day with the Canadian High Commission. Mangaard’s body of work was presented as a retrospective at the Palais de Glace, Buenos Aires, Argentina in 2009 and at the PAFID, Patagonia, Argentina in 2013. In 1990 Mangaard was invited to present solo screenings of her films at the Pacific Cinematheque in Vancouver, Canada and in 1991 at the Kino Arsenal Cinematheque in Berlin, West Germany. -
The Phsc E-Mail 1 Vol
THIS NEWSLETTER CONTAINS 10 pages - SCROLL DOWN FOR MORE The PHSC Volume 12-13, Supplement E-MAIL to Photographic Canadiana, April 2013 The Photographic Historical Society of Canada NOT A MEMBER OF THE PHSC? THEN Wednesday, April 17, 2013, 8:00 PM JOIN CANADA’S BEST PHOTO HISTORY SOCIETY. A GREAT ANNUAL GENERAL MEETING BARGAIN FOR MEETINGS, AUCTIONS, FAIRS, AND PUBLICATIONS – ONLY Also, our spring series of presentations continues on Wednesday, April $35.00. 17, 2013 with a mystery program. Presentations will continue throughout the spring, fall and winter on a monthly basis. We will be happy to see you so why not drop in and enjoy a program. PHSC Monthly Meetings are held on the third Wednesday from September to June in the Gold Room, of Memorial Hall in the basement of the North York Central Library, 5120 Yonge St., North York, Ontario. Coming Up This Month! The meeting officially begins at 8:00 p.m. but is preceded by a Buy & Sell and social gathering from 7:00 p.m. “THE IMAGE SHOW” onwards. For information contact the PHSC at [email protected] APRIL 28, 2013 Programming Schedule: Additional Feature: April 17, 2013 TWO EXCELLENT SPEAKERS! -Another exciting program..check PHSC.ca for details NOTE LOCATION: ROYAL CANADIAN LEGION #101 - 3850 LAKESHORE BLVD. WEST, TORONTO May 15, 2013 Opens 10:00 AM to 3:00 PM – PUBLIC WELCOME – ADMISSION $7.00 -Chris Kennedy will speak about analogue cine group LIFT, (Liaison DAGS to AMBROS, CDVs to POSTCARDS, BOOKS to ALBUMS, STEREO CARDS of Independent Filmmakers) Offer your suggestions and fresh ideas for programs at [email protected]. -
View the Gallery Branch Art Collection
THE COLLECTION AT CIBC WOOD GUNDY GALLERY BRANCH CIBC World Markets Inc. 200 King Street West, Suite 1807 Toronto ON M5H 3T4 PHOTOGRAPHY: Robert Burley ARCHITECT: Kuwabara Payne McKenna Blumberg MAIN RECEPTION WORKS BY JOHN MASSEY JOHN MASSEY LOCATION — Reception The Jack Photographs #35 – 40 1992-95 6 silver gelatin prints edition 2/5 24 x 23 inches each shown: photos 38, 39 PHOTOS Courtesy of the Artist The inevitability of technology to maim the senses and privilege vision as the dominant sense preceptor at the expense of all others is here poignantly expressed. For Massey, the computer is also the puppet. It is not just the mannequin but the computer as well that represents an agent external to the self that may enact our wishes. Massey’s interrelated images of flesh and wood, sensory organs and mechanical joints in The Jack Photographs suggest to the viewer that the body is the site of perception and memory,not just the mind alone. For Massey, the notion of watching or looking at something is also an exercise in self-perception and forms another meaningful ellipsis to The Jack Photographs.The question of self-perception, how the tools of observation intercede, and how the mind works its anxious response, its motivations, and its insights are each puzzling experiences and difficult to explain but perhaps, in electronic art, possible.The visual codes Massey embeds in this artwork are an encryption that underscores the effects of working with photography in combination with other media. Jack is the foil through which the artist engages perception as subject, identity or self-awareness as object, and the structure of vision as content. -
FOR IMMEDIATE RELEASE Thursday February 28, 2019 from Holocaust
FOR IMMEDIATE RELEASE Thursday February 28, 2019 From Holocaust survivor to one of Canada’s most acclaimed painters and cultural philanthropists: Gershon Iskowitz: Life & Work chronicles one man’s remarkable trajectory from Auschwitz to famed Canadian artist TORONTO, ON — A few days after teenaged Gershon Iskowitz (1920 or 1921–1988) was accepted into the Academy of Fine Arts in Warsaw, the Nazis invaded Poland. As a Jew, Iskowitz was sent to Auschwitz and Buchenwald concentration camps, where he drew as a means of resilience. Surviving the war, he immigrated to Canada in 1948 where he quickly became one of its most important painters. Today the Art Canada Institute releases its online art book Gershon Iskowitz: Life & Work, by Ihor Holubizky which—for the first time ever—makes the story of this Canadian hero available to audiences, free of cost, in both English and French. “The book is of critical importance,” says Sara Angel, Founder and Executive Director of the Art Canada Institute, “because Iskowitz not only created some of the most important artistic documents of the Holocaust, he became an internationally renowned abstract painter and founded the Gershon Iskowitz Prize which became the country’s most important visual arts award of its kind.” The book also tells of Iskowitz’s 1967 transformative artistic experience when a Canada Council grant enabled him to take a trip to Churchill, Manitoba, where an aerial view of scattered clouds and vibrant colours inspired a new artistic direction. Over his mature career, Iskowitz produced a unique, coherent, and compelling body of abstract works. “For him the sky was a universal view, one we can all experience regardless of where we live,” says Ihor Holubizky, author of Gershon Iskowitz: Life & Work. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) How to do things with pictures in the museum Photography, montage and political space Rombout, M.K. Publication date 2020 Document Version Other version License Other Link to publication Citation for published version (APA): Rombout, M. K. (2020). How to do things with pictures in the museum: Photography, montage and political space. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:09 Oct 2021 Hans Haacke, Voici Alcan, 1983 Chapter 3 The Contemplative 136 CHAPTER THREE The Contemplative: Framing and Being Framed in Haacke’s Voici Alcan The discussion so far has considered how specific twentieth-century montage images could be considered as performative when working from Austin’s concept of the speech act, and in conjunction with more recent writing around the “politicity of art”.1 I have proposed the combative in relation to Heartfield’s photomontage practice, and the integrative to describe the performative strategies of Hannah Höch and Martha Rosler. -
Public Art Talk on Painter Gershon Iskowitz Who Survived Auschwitz and Became One of Canada’S Most Acclaimed Artists and Cultural Philanthropists
FOR IMMEDIATE RELEASE March 1, 2019 Public art talk on painter Gershon Iskowitz who survived Auschwitz and became one of Canada’s most acclaimed artists and cultural philanthropists. On April 1, 2019, four leading art historians discuss the life and legacy of this extraordinary Canadian. TORONTO, ON — A few days after teenaged Gershon Iskowitz (1920 or 1921–1988) was accepted into the Academy of Fine Arts in Warsaw, the Nazis invaded Poland. As a Jew, Iskowitz was imprisoned at Auschwitz and then Buchenwald concentration camps, where he drew as a means of resilience. Following the war, he immigrated Toronto where a new chapter of his life as one of the city’s most influential artists was to begin. On April 1, 2019, to mark the release of the newly published online art book Gershon Iskowitz: Life & Work four art historians—Sara Angel, Ihor Holubizky, David Moos, and Georgiana Uhlyarik—pay tribute to the man, his art, and his legacy. “The talk will reveal not only how Iskowitz created some of the most important artistic documents of the Holocaust, but also how he became a renowned abstract painter, and founded the Gershon Iskowitz Prize, which is now the country’s most important visual arts award of its kind,” says Sara Angel, Founder and Executive Director of the Art Canada Institute. David Moos, art advisor, author, and curator, knew Iskowitz personally. He is the son of Walter Moos— owner of the legendary Moos Gallery in Toronto that represented Iskowitz alongside Canadian, American, and European artists, including Pablo Picasso and Marc Chagall. Ihor Holubizky, author of the newly released Gershon Iskowitz: Life & Work, will speak to Iskowitz’s artistic renown, and his status as one of the most distinctive painters in Canadian art. -
Shary Boyl CV Jun 11 2020
SHARY BOYLE SOLO EXHIBITIONS & COLLABORATIONS 2012 Outside the Palace of Me, Gardiner Museum, Toronto, ON, Canada 2020 White Elephant, CAFKA, Kitchener-Waterloo, ON, Canada 2019 Face of the Deep, with Shuvinai Ashoona and Rajni Perera, PATEL Gallery, Toronto, ON, Canada 2018 Kabuki-za, The Gardiner Museum, Toronto, ON, Canada 2018 The Illuminations Project, with Emily Vey Duke. Art Gallery of Nova Scotia, Halifax, NS, Canada 2017 Slipper, with Ambera Wellman. Suzanne Biederberg Gallery, Amsterdam, the Netherlands 2017 The Smile at the Bottom of the Ladder, Galerie 3, Quebec City, PQ, Canada 2017 Scarecrow, MacKenzie Art Gallery, Regina, SK, Canada 2015 Universal Cobra, with Shuvinai Ashoona. PFOAC, Montreal, PQ, Canada 2014 Illuminations Project, with Emily Vey Duke. Oakville Galleries, Oakville, ON, CA 2013 Music for Silence, Canada Pavilion, 55th Venice Biennale, ITA 2012 Buttermint Equilux, Louis Vuitton Maison, Toronto, ON, CA 2012 Stranger, Jessica Bradley Gallery, Toronto, ON, CA 2012 Canadian Artist, BMO Project Room, Toronto, ON, CA 2012 The Illuminations Project, Institute of Contemporary Art, Philadelphia, US 2010 Shary Boyle: Flesh and Blood, Art Gallery of Ontario, Toronto; Galerie de l’UQAM. Montreal, PQ (2011); Contemporary Art Gallery, Vancouver, BC (2011) 2009 Moon Hunter, Fumetto Festival, Lucerne, CHE 2009 The Cave, Jessica Bradley Art + Projects, Toronto, ON, CA 2008 The History of Light, Southern Alberta Art Gallery, Lethbridge, AB, CA 2007 The Clearances, Space Gallery, London, UK 2007 Wonderlust, Jessica Bradley Art -
Canadian Art As Historical Act
Galerie de l’UQAM unveils its new virtual exhibition, 150 Years | 150 Works: Canadian Art as Historical Act Direction: Louise Déry Curation and coordination: Josée Desforges Online starting May 2, 2018 Launch reception: May 2, 2018, 5 p.m., Galerie de l’UQAM 150ans150oeuvres.uqam.ca Montréal, April 16, 2018 – On May 2, Galerie de l’UQAM will launcH its brand new virtual exHibition. 3 years in the making, 150 Years | 150 Works: Canadian Art as Historical Act brings together the work of more tHan 150 artists and will be online for the next five years. The unveiling will be highlighted during a festive reception at Galerie de l’UQAM on May 2, starting at 5 p.m. The exhibition is produced by Galerie de l’UQAM witH tHe support of tHe Virtual ExHibits Investment Program, Virtual Museum of Canada. It joins The Painting Project: A Snapshot of Painting in Canada, another virtual exHibition launcHed by Galerie de l’UQAM in 2013, online until November 2018. The exhibition The virtual exHibition 150 Years | 150 Works: Canadian Art as Historical Act presents art as an integral part of Canada’s social and political History. It looks at Canada tHrougH works tHat Have in some way shaped or changed tHe country’s History over tHe past century and a Half. Most but not all of tHe works in tHis panorama are presented according to tHeir year of production: here and there, diverging from chronological order serves to recast historical relationships and challenge traditional perceptions. Drawn from tHe collections of major museums, university galleries and private collections, the exhibited works include both well-known icons and little-known surprises.