UAAC Conference.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

UAAC Conference.Pdf Friday Session 1 : Room uaac-aauc1 : KC 103 2017 Conference of the Universities Art Association of Canada Congrès 2017 de l’Association d’art des universités du Canada October 12–15 octobre, 2017 Banff Centre for Arts and Creativity uaac-aauc.com UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 1 Welcome to the conference The experience of conference-going is one of being in the moment: for a few days, we forget the quotidian pressures that crowd our lives, giving ourselves over to the thrill of being with people who share our passions and vocations. And having Banff as the setting just heightens the delight: in the most astonishingly picturesque way possible, it makes the separation from everyday life both figurative and literal. Incredibly, the members of the Universities Art Association of Canada have been getting together like this for five decades—2017 is the fifteenth anniversary of the first UAAC conference, held at Queen’s University and organized around the theme of “The Arts and the University.” So it’s fitting that we should reflect on what’s happened in that time: to the arts, to universities, to our geographical, political and cultural contexts. Certainly David Garneau’s keynote presentation, “Indian Agents: Indigenous Artists as Non-State Actors,” will provide a crucial opportunity for that, but there will be other occasions as well and I hope you will find the experience productive and invigorating. I want to thank the organizers for their hard work in bringing this conference together. Thanks also to the programming committee for their great work with the difficult task of reviewing session proposals. And, as always, I am pleased to thank Fran Pauzé, UAAC’s administrator, without whom nothing would get done. Finally, I can’t conclude without mentioning that it’s been gratifying over the last few years to see UAAC’s constituency broadening: full and part-time faculty, students, independent scholars, curators, designers, artists. However, the fraught state of many institutions these days means students and precariously-employed faculty find it increasingly difficult to participate in our conference. For that reason, we have a fund to support participation and, if you are a full-time faculty who has not donated to the fund this year, I’d like to remind you that it’s never too late and invite you to join me in doing so. Thanks to you all for your participation, and enjoy the conference. Charles Reeve, President L’Association d’art des Universités du Canada/Universities Art Association of Canada UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 2 Bienvenu au congrès Faire l’expérience d’un congrès, c’est vivre pour le moment : pendant quelques jours, on oublie les pressions quotidiennes qui surchargent nos vies et on cède au bonheur d’être entouré de gens qui partagent nos passions et notre vocation. Le décor de Banff accentue ce plaisir : grâce à ses paysages absolument pittoresques, cette séparation du quotidien existe au sens propre comme au sens figuré. Aussi incroyable que cela puisse paraître, les membres de l’Association d’art des universités du Canada se réunissent ainsi depuis cinq décennies — on souligne en 2017 le cinquantième anniversaire du premier congrès de l’UAAC-AAUC, qui s’est tenu à l’Université Queen’s autour du thème « Les arts et l’université ». Il est donc tout indiqué de réfléchir à ce qui s’est passé au cours de cette période : ce qu’il est advenu des arts, des universités, de nos contextes géographiques, politiques et culturels. Assurément, la conférence d’honneur de David Garneau, « Les agents indiens : les artistes autochtones en tant qu’acteurs non étatiques », sera une occasion importante de le faire, mais d’autres moments y seront aussi propices et j’espère que vous trouverez cette expérience à la fois productive et stimulante. Je remercie les organisateurs qui ont travaillé fort pour préparer ce congrès. Merci aussi au comité de programmation qui a fait un excellent travail relativement à la difficile tâche d’évaluer les propositions de séances. Et comme toujours, je tiens à remercier Fran Pauzé, l’administratrice de l’UAAC-AAUC, sans qui rien ne serait accompli. Enfin, je ne peux conclure sans mentionner qu’il est gratifiant d’avoir vu croître le nombre des membres de l’UAAC-AAUC au cours des dernières années : des professeurs à temps plein et à temps partiel, des étudiants, des chercheurs indépendants, des conservateurs, des concepteurs et des artistes. Toutefois, les problèmes que connaissent aujourd’hui plusieurs établissements font en sorte que les étudiants et les universitaires au statut précaire trouvent de plus en plus difficile de participer à notre congrès. Pour cette raison, nous avons mis sur pied un fonds visant à soutenir leur participation. Si vous êtes un professeur à temps plein et que vous n’avez pas encore contribué au fonds cette année, j’aimerais vous rappeler qu’il n’est jamais trop tard et vous inviter à le faire avec moi. Merci à tous de votre participation. Je vous souhaite un excellent congrès. Charles Reeve, président L’Association d’art des Universités du Canada/Universities Art Association of Canada UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 3 Acknowledgements It gives me great pleasure to welcome the UAAC/AUCC’s 2017 conference back to the Banff Centre for the second time in four years. When we first held the conference at Banff in 2013, many members commented on how much they enjoyed the event, not only because of the unique environment of Banff and the Rockies, but also for the way in which the Centre really brought everyone together in a space that encouraged social and intellectual interaction. The attractions of the location are perhaps reflected in the fact that more than two- hundred and fifty members have registered for the conference. While the scenery is an enticement, the real attraction is, of course, the opportunity to meet and share the diverse and important work being done by UAAC’s members. As was the case the last time the conference was held at Banff, several Alberta institutions have helped provide support to make the event possible. I would like to thank the Alberta College of Art and Design, the University of Alberta, Augustana Faculty at the University of Alberta, the University of Lethbridge and the University of Calgary for their financial contributions to the conference. There are a number of individuals I would especially like to thank: the members of the panel adjudication committee, Lawrence Kan of the Banff Centre for his help as on-site coordinator; Tom Willock and Susan Sax-Willock for their hospitality in hosting our closing reception at their gallery; and, especially, UAAC’s chief administrator, Fran Pauzé, for her unstinting and invaluable work in helping to organize this event. Finally, the viability of UAAC’s annual conference is always primarily dependent upon the participation of its members, and so I would like to thank you all for making the journey whether you have come from far away or nearby to Banff. Benedict Fullalove, UAAC Vice President and 2017 Conference Organizer UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 4 Reconnaissance Pour la deuxième fois en quatre ans, je suis très heureux de souhaiter la bienvenue aux participants au congrès 2017 de l’UAAC-AAUC au Banff Centre. En 2013, la première fois que nous avons tenu le congrès à Banff, plusieurs membres ont mentionné à quel point ils avaient apprécié l’événement, non seulement en raison de l’environnement unique qu’offrent Banff et les Rocheuses, mais aussi pour la manière dont le Centre a véritablement réuni tout le monde dans un espace encourageant les interactions tant sociales qu’intellectuelles. Les atouts de l’endroit expliquent peut-être que plus de deux cent cinquante membres se sont inscrits au congrès. Bien que les paysages soient un incitatif certain, son principal attrait est bien sûr la possibilité de découvrir et de partager la diversité des travaux importants réalisés par les membres de l’UAAC-AAUC. Comme c’était aussi le cas la dernière fois que le congrès s’est tenu à Banff, plusieurs établissements albertains ont contribué à rendre l’événement possible. Je remercie l’Alberta College of Art and Design, l’Université de l’Alberta, Augustana University College, l’Université de Lethbridge et l’Université de Calgary de leur contribution financière au congrès. Je remercie particulièrement plusieurs personnes : les membres du comité d’évaluation des panels, Lawrence Kan du Banff Centre pour son aide à titre de coordonnateur du site; Tom Willock et Susan Sax- Willock pour l’hospitalité qu’ils ont démontrée en accueillant notre réception de clôture dans leur galerie; et surtout l’administratrice en chef de l’UAAC-AAUC, Fran Pauzé, qui a travaillé sans relâche à organiser cet événement. Enfin, la pérennité du congrès annuel de l’UAAC-AAUC dépend toujours principalement de la participation de ses membres. Merci à tous de vous être déplacés, quelle que soit la distance que vous avez parcourue. Benedict Fullalove, vice-président de l’UAAC-AAUC et organisateur du congrès 2017 UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 5 Keynote : David Garneau Keynote : David Garneau KC 101-103 : Friday : 5:30-7:30 pm “Indian Agents: Indigenous Artists as Non-State Actors.” Indigenous contemporary artists are complex agents. They exist in spaces between and among the dominant art world and their home communities. They are expected to be both individual creative agents and members of a community.
Recommended publications
  • Chart Symbols 2 2 the Fix 3 the Course Line 12 Dead
    CHART SYMBOLS 2 exercises 2 THE FIX 3 Labelling Positions 3 Line of Position 4 Landmarks 4 Taking a Fix 5 Three Bearing Fix 5 Two Angle Fix 7 Running Fix 8 Distance Off 9 Transits 9 exercises 10 solutions to Chart Symbols and The Fix 11 THE COURSE LINE 12 Labelling 12 60D=ST 14 exercises 15 solutions 16 DEAD RECKONING 17 exercises & solutions 19 CURRENTS & LEEWAY 20 exercises & solutions 24 DEVIATION TABLE 25 You Should have from us: • Unit 2 text. • Sample deviation card. • Training chart 2235, Cape Hurd to Lonely Island. • Chart 1. • Parallel rulers. • Dividers. Other tools you'll need: Pencil, eraser, and calculator. How to use this Navpak: • Read carefully if you come across anything you do not understand make sure to figure it out either through your own research or by asking either of the Captains. • Follow along any examples given, do each step and make sure you understand it. • Do the exercises and then correct them. Redo any questions you got wrong and try and figure out what went wrong. • Make sure to bring the Navpak with you for training days. 1 CHART SYMBOLS It is important to be able to understand what is on the chart. This is where Chart 1 comes in. It shows you all the symbols used on charts. Before you continue with this NavPack I would like you to pull out the copy of Chart 1 you have and read the introduction and look at explanation of the layout, they are both at the front of the book.
    [Show full text]
  • Sara Angelucci | Aboretum (Willow Tree with Marsh Wren) | Inkjet Print | 27 X 35.5 Inches | 2015
    SARA ANGELUCCI | ABORETUM (WILLOW TREE WITH MARSH WREN) | INKJET PRINT | 27 X 35.5 INCHES | 2015 SARA ANGELUCCI P A T R I C K M I K H A I L M O N T R É A L 4815 BOULEVARD SAINT-LAURENT MONTRÉAL CANADA H2T 1R6 T. 514.439.2790 SARA ANGELUCCI EDUCATION 1997 Master of Fine Arts, Nova Scotia College of Art and Design 1993 Bachelor of Fine Arts, University of Guelph 1987 Bachelor of Arts (Honours), Art History, University of Guelph SELECTED SOLO EXHIBITIONS 2017 Lianzhou Photography Festival, (Arboretum), Lianzhou, China, curated by Yan Zhou 2017 Piece Work (part of Piece by Piece), Canadian Cultural Centre, Paris 2017 Arboretum, Patrick Mikhail Gallery, Montreal, PQ 2017 Piece Work, Art Gallery of Hamilton, ON 2016 Arboretum, Stephen Bulger Gallery, Toronto, Ontario 2016 Aviary, Halsey Institute of Contemporary Art, South Carolina, USA 2015 TAKING FLIGHT, September 18, Patrick Mikhail Gallery, Montreal, Quebec 2014 Performance of A Mourning Chorus, - September 26, Royal Ontario Museum, Toronto, Ontario 2014 Public performance of A Mourning Chorus – February 5, Walker Court, AGO, part of Artist-in-Residence, Art Gallery of Ontario, Toronto, Ontario 2013 Provenance Unknown, curator Emelie Chhangur, Art Gallery of York University, Toronto, Ontario 2010 Lacrimosa, Wynick/Tuck Gallery, Toronto, Ontario 2010 Regular 8, Occurrence, Montreal, Quebec 2009 Somewhere in Between, St. Mary’s University Art Gallery, Halifax, Nova Scotia 2009 Regular 8, Wynick/Tuck Gallery, Toronto, Ontario 2008 Room To Remember, Trinity Square Video, Toronto, Ontario 2008
    [Show full text]
  • Thearena INDUSTRY NEWS MARKET NEWS REGULATORY NEWS
    theArena INDUSTRY NEWS MARKET NEWS REGULATORY NEWS Patience, but Potential, believing a top-of-the-ticket loss by the Like the presidential race, the in Cuba Market AFFORDABLE CARE ACT > SCOTT SINDER GOP to be inevitable either way, feel impact of a Republican victory on it’s more important to retain the soul the future of Obamacare is more While progress may be slow, there is of the party, even if it means Trump than a little unsettled. Trump movement in normalizing and developing U.S.- The Fix and his acolytes run a third-party has decreed the law a failure and Cuba relations, and companies with future business interest in the country would do Whoever our next president is, campaign. Some pollsters are starting promised to repeal it, but he’s well to engage now and be part of developing the ACA will be up for reform. to project a Trump ticket would cost offered no hint of what would strategic relationships in Havana. The Council What do we want? Here’s my Republicans the Senate and jeopardize replace it, other than the assurance the House majority. If those projections that it will be “great.” itself has joined Engage Cuba, a nonprofit wish list. dedicated to ending the travel and trade become more widespread, I think the Other Republican victors likely embargo on Cuba and facilitating relationships movement to oust Trump will begin to would pick up the House’s “repeal- between U.S. businesses and Cuba. We are at an interesting moment in echo more loudly. and-replace” mantra (I have lost P-C specialists take note: hurricanes, the presidential campaign cycle.
    [Show full text]
  • Winter 2011 – 12 December 2011 – March 2012 OVERVIEW Winter at the Power Plant
    exhibitions / programs / events Winter 2011 – 12 December 2011 – March 2012 OVERVIEW Winter at The Power Plant Our Winter season presents two major The evening before the opening of the Winter exhi- exhibitions that delve into a wellspring bitions, Stan Douglas will speak in our International Lecture Series (8 December), while the influential of cultural history and the archive of artist Martha Rosler will give an ILS presentation a the social. week later, on 15 December. In the new year, in addition to a lecture by participating artist Stan Douglas: Entertainment features selections Christian Holstad, Coming After extends into a from the Vancouver artist’s outstanding new series of live events and film programs co-present- photographic project Midcentury Studio, in which ed with the Feminist Art Gallery and the Art Gallery Douglas assumes the lens of a postwar photogra- of York University, in tandem with their retrospec- pher as he takes on various jobs from photojour- tive of the late Toronto artist Will Munro. nalism to advertising. The exhibition includes In addition, we are pleased to collaborate with images of novelties and divertissements, as well as World Stage, Harbourfront Centre’s international his Malabar People suite of portraits of the performing arts series for the theatrical run of denizens of a fictional nightclub. The bars, clubs Everything Under the Moon by Toronto artist Shary and bathhouses that appear in the work in the Boyle (who had a solo exhibition at The Power Plant group exhibition Coming After, however, are in 2006) and Winnipeg musician Christine Fellows, absent of revelers — as if the party is over.
    [Show full text]
  • THB-Publication.Pdf
    Jane ADENEY Sara ANGELUCCI Tom BENDTSEN Suzanne CARTE-BLANCHENOT Lesley Loksi CHAN Susan DETWILER Simon FRANK Insoon HA Dave HIND The HUNTERS Ivan JURAKIC Fiona KINSELLA Gareth LICHTY Tor LUKASIK-FOSS Steve MAZZA Aaron MURPHY Liss PLATT Gayle YOUNG and Reinhard REITZENSTEIN C. WELLS These are a few of the colourful local nicknames for the TH&B markers that can still be found hidden in plain sight on the side of rail bridges and train stations around Hamilton. TH&B was the common name of the former Toronto, Hamilton & Buffalo railway that operated out of Hamilton, crisscrossing the Niagara Peninsula from Lake Erie to Lake Ontario, from 1895-1987. The rail line was a vital link that like so many things in the city TO HELL & BACK, was folded into a larger corporation – in this case CN Rail – and forgotten. TITS, HOOTERS & BOOBS, Resuscitating the moniker of this defunct IRED, ungry ROKE, railway, TH&B is the creative partnership T H & B of Simon Frank, Dave Hind, Ivan Jurakic, and Tor Lukasik-Foss; a group of visual TRAMPS, HOBOS & BUMS... artists operating out of the Hamilton area. The group collaborates on projects that respond to site, context and history, and sets out to examine the often unexpected intersections between culture, industry and the natural environment. TH&B encapsulates an alliance between artists with ties to the region. As such, the team envisioned developing a large invitational warehouse exhibition that would focus on sculpture, installation and performance. To this end, we pursued a partnership with 270 Sherman, to secure a large venue in the industrial heart of Hamilton – the old sewing floor of the on Saturday, May 3, and attended by over Imperial Cotton Centre, 30,000 square feet 300 people.
    [Show full text]
  • 26727 Consignor Auction Catalogue Template
    Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation.
    [Show full text]
  • 2018 Conference of the Universities Art Association of Canada Congrès 2018 De L’Association D’Art Des Universités Du Canada
    Session 1 | Séance 1 : Theuaac-aauc Artery 2018 Conference of the Universities Art Association of Canada Congrès 2018 de l’Association d’art des universités du Canada October 25–28 octobre, 2018 University of Waterloo uaac-aauc.com Congrès UAAC-AAUC Conference October 25-28 octobre 2018 University of Waterloo 1 Welcome As someone who started attending UAAC conferences three decades ago, I can say that no two are alike: continuities exist, but there’s always something new. This year, for example, along with the customary launch of the Fall RACAR–a “Critical Curating” special issue edited by Marie Fraser and Alice Ming Wai Jim–and the perennial opportunity to renew old relationships and start fresh ones, we’ll kick off UAAC’s new website. Also, rather than a keynote lecture, we’ll have keynote performances by Louise Liliefeldt and Lori Blondeau, an exciting outgrowth of performance’s rising importance as a mode of presentation at our conference. Thanks to the conference organizers, Joan Coutu and Bojana Videkanic, for their insight in suggesting this shift, and for the rest of their hard work on this conference. The programming committee– Joan Coutu, Bojana Videkanic and Annie Gérin– also must be recognized for its great work reviewing session proposals. And, as always, huge applause for Fran Pauzé, UAAC’s administrator, who has kept us on track day in and day out for years now. As you know, our conference’s dynamism flows from the continued broadening and revitalization of UAAC’s constituency. However, the difficult state of culture and education today makes participation by students and precariously-employed faculty harder and harder.
    [Show full text]
  • CV 6084 Rue Waverly, Montréal, QC H2T2Y3 Canada Tel: 438-884 5387 [email protected]
    Adam Basanta - CV 6084 rue Waverly, Montréal, QC H2T2Y3 Canada Tel: 438-884 5387 [email protected] www.adambasanta.com Selected Solo Exhibitions 2018 • ***Upcoming*** Title TBA. Klangraum Krems, Krems, Austria. • ***Upcoming*** All we’d ever need is one another. Ellephant Gallery, Montreal QC, Canada. • Variations on a Theme. Galerie Bon Accueil, Rennes, France. 2017 • Variations on a Theme. FOFA Gallery. Montreal, QC Canada. • Five Lines, Crossing. Galerija SC. Zagreb, Croatia. 2016 • A Room Listening to Itself. Gallery 1C03, Winnipeg MB Canada. • Inversion as literary device. Galeria Skolska28. Prague, CZ. • Systems of Listening, Systems for Listening. Nutting Gallery. West Liberty University, WV. • Principle of Distance. Museum of Transitory Art. Ljubliana, Slovenia. • Louder than a beating heart. Galeria Swinton and Grant. Madrid, Spain. 2015 • A Room Listening to Itself. Open Space Gallery. Victoria BC. • The sound of empty space. Carroll/Fletcher Gallery. London UK. • Louder than a beating heart. Titanik Galerie. Turku Finland. • A room listening to itself. Centre for Contemporary Arts - Santa Fe. NM, USA. • The sound of empty space. Galerie B-312, Montreal QC. 2012 • Room Dynamics. Artscape Wychwood Barns, Toronto, ON, Canada. October 26-Dec 15, 2012. • Room Dynamics. The Bridge Gallery, Charlotsville, VA, USA. September 21-30 2012. Selected Group Exhibitions 2018 • ***Upcoming*** Robot Love. Van Abbemuseum, Eindhoven, • ***Upcoming*** Exposition rétrospective 10 ans. Eastern Bloc, Montreal QC Canada. • ***Upcoming*** Data Dating. Galerie Charlotte, • ***Upcoming*** … move or be moved by something rather than oneself. Critical Distance, Toronto ON Canada. • ***Upcoming*** Festival Interstice. Caen, France. • Sonic Arts Series. HAVN. Hamilton, ON, Canada. • 36ème Rendez-vous Québec Cinéma. Cinematheque Quebecois, Montreal QC Canada.
    [Show full text]
  • Myth–Making and Identities Studies in the Long Nineteenth Century, Vol 2
    The Idea of North Myth–Making and Identities Studies in the Long Nineteenth Century, vol 2. Publisher: The Birch and the Star – Finnish Perspectives on the Long 19th Century ©The Birch and the Star and the authors. All rights reserved. Editors: Frances Fowle and Marja Lahelma Designer: Vilja Achté Cover illustration: Vilja Achté Helsinki 2019 ISBN: 978-952-94-1658-5 www.birchandstar.org Contents Preface Frances Fowle and Marja Lahelma 4 Introduction: Conceptualising the North at the Fin de Siècle Frances Fowle and Marja Lahelma 5 Sámi, Indigeneity, and the Boundaries of Nordic National Romanticism Bart Pushaw 21 Photojournalism and the Canadian North: Rosemary Gilliat Eaton’s 1960 Photographs of the Eastern Canadian Arctic Danielle Siemens 34 Quaint Highlanders and the Mythic North: The Representation of Scotland in Nineteenth Century Painting John Morrison 48 The North, National Romanticism, and the Gothic Charlotte Ashby 58 Feminine Androgyny and Diagrammatic Abstraction: Science, Myth and Gender in Hilma af Klint’s Paintings Jadranka Ryle 70 Contributors 88 3 This publication has its origins in a conference session and assimilations of the North, taking into consideration Preface convened by Frances Fowle and Marja Lahelma at the issues such as mythical origins, spiritual agendas, and Association for Art History’s Annual Conference, which notions of race and nationalism, tackling also those aspects took place at the University of Edinburgh, 7–9 April 2016. of northernness that attach themselves to politically sensitive Frances Fowle and The vibrant exchange of ideas and fascinating discussions issues. We wish to extend our warmest thanks to the authors during and after the conference gave us the impetus to for their thought-provoking contributions, and to the Birch continue the project in the form of a publication.
    [Show full text]
  • Sinbad in the Rented World
    Sinbad in the Rented World Sinbad in the Rented World JOEL GIBB ANDREW HARWOOD JEREMY LAING AND WILL MUNRO IAN PHILLIPS THE ENSEMBLE OF TOPS ‘N’ BOTTOMS SCOTT TRELEAVEN Ian Phillips Untitled Found Object, 2003 [detail] Sinbad in the Rented World WITH AN ESSAY BY R.M. VAUGHAN AND A STORY BY DEREK MCCORMACK ART GALLERY OF YORK UNIVERSITY TORONTO Jeremy Laing and Will Munro Pavilion of Virginia Puff-Paint, 2004 [detail] ON THE OTHER HAND Sinbad in the Rented World With the title, Sinbad in the Rented World, I pay homage to the legacy of the legendary underground filmmaker and performer Jack Smith, referring to one of his unfinished film projects. Not that I suspect Smith’s legacy to be fulfilled by the artists in the exhibition—or even his amazing achievements in film, experimental theatre, and installation necessarily to be known. What I want to explore is a queer aesthetic in Toronto art but as applied to social function. Is this a new phenomenon? Perhaps, if we are willing to stretch our understanding of the parameters of visual culture—or queer art. One might not think that glamour or the superficial excess of glitter could have a social function, but Smith adamantly believed so saying: “Could art ever be useful? Ever since the desert glitter drifted over the burnt-out ruins of Plaster Lagoon thousands of artists have pondered and dreamed of such a thing, yet, art must not be used anymore as another elaborate means of fleeing from thinking because of the multiplying amount of information each person needs to process in order to come to any kind of decision about what kind of planet one wants to live on before business, religion, and government succeed in blowing it out of the solar system.”* The environmental costuming of the gallery (to extend a phrase of Charles Ludlam’s) that takes place here can be considered co-extensive with social practices in the world, even if the works herein contained seem too playful.
    [Show full text]
  • Patrick L. Mahon
    CURRICULUM VITAE Patrick L. Mahon EXHIBITIONS Recent Collaborative or Group Exhibition Projects: 2019-20 Speculative Energy Future: Prototypes for Possible Worlds – Beer, Baier, Caulfield, Esfahani, Fisher, Igharas, Makokis, Moore, Simpson, etc. Co-curated by Natalie Loveless & Sheena Wilson, FAB Gallery, U of AB, Department of Art & Design, (Brochure) 2019 C3+ Engineering Building/Wind Tunnel Sculpture – Kelly Jazvac, Patrick Mahon, Tegan Moore. Permanent Outdoor Installation 2018 The Living River Project: Art, Water and Possible Worlds – Mahon + Bou, Miner, Garoo, Rodney, Smallboy,Ouellette, Bariteau, Esfahani, Chitty, Willet, Coates, Gardiner. Co-Curated with Stuart Reid, Art Gallery of Windsor (Online Catalogue forthcoming) 2017-20 <Immune Nations> – Curated by Natalie Loveless (Caulfied, Fischer, Humphrey, Viader-Knowles with Hoffman, Hou et al) – Galerie KiT, Trondheim Academy of Fine Arts, Trondheim, Norway; UNAIDS Headquarters, Geneva, Switzerland; McMaster Museum of Art (Sept. 2020) (catalogue + journal) International 2016 Mountains and Rivers Without End - Gautam Garoo, Patrick Mahon, Gu Xiong, Esteban Ayala (Hidalgo), Jenny Jaramillo, Ulises Unda – Municipal Museum Modern Art, Cuenca, Equador; CAC, Quito, Ecuador; ArtLab Gallery, Western University, London, ON – Organized with Ulises Unda with Patrick Mahon (catalogue) International 2015 A Gust of Wind: Caulfield, Fuglem, Linge, Mahon, Merritt, Savard, Moore, with Artifacts from the Boundary Layer Wind Tunnel, Organized/Curated by P. Mahon - DNA Artspace, London ON, (brochure)
    [Show full text]
  • Reading the Intersection of Racial and Sexual Marginalization in Rex Vs Singh and Seeking Single White Male
    Journal of Ethnic and Cultural Studies Copyright 2019 2019, Vol. 6, No. 1, 1-14 ISSN: 2149-1291 Confronting Ambiguity: Reading the Intersection of Racial and Sexual Marginalization in Rex vs Singh and Seeking Single White Male Yilong Liu1, Soyang Park2 OCAD University, Toronto, Canada This qualitative study of two Canadian films examines how filmmakers and artists explore racial and sexual marginalization and repression in Canada through an in-depth analysis of the films’ visual, textual, and sonic elements. Rex vs Singh (Greyson et al., 2008) and Seeking Single White Male (Shraya, 2010), using diverse cinematic devices and self-enacting performances, address different intersecting modes of racial and sexual marginalization against South Asian immigrants in historical and contemporary Canada. Using Louis Althusser’s concepts of Repressive State Apparatuses (RSAs) and Ideological State Apparatuses (ISAs) as a key framework, we identify “ambiguity” as a critical space to explore and examine the operation of the state policy (RSAs) in the early 20th century, and workings of the invisible ideology (white normativity) through enlisting their subjects to internalize the norm (ISAs) at present. This discussion is followed by an evaluation of how filmmakers and artists mobilize their “differential consciousness” (Chela Sandoval) to confront these ambiguities as mobile tactics that complement the ongoing race and gender liberation movements. Rather than providing definitive results or solutions, this research aids understanding of the continuing struggles of racialized sexual minorities in Canada—a country that has constitutionalized multiculturalism in 1971—in light of Canada’s 150th celebration (2017). Keywords: queer, gender and sexuality, film, ethnic studies, ambiguity.
    [Show full text]