Ron Shuebrook
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Sara Macculloch Catalogue
SARA MacCULLOCH Paintings 1 SARA MacCULLOCH Paintings Above: Watercolour sketch from the studio of Sara MacCulloch Cover: Gray Sky and Waves, oil on canvas, 20"x 20" Published on the occasion of the exhibition: All rights reserved. No part of this publication may be used SARA MacCULLOCH Paintings or reproduced in any manner whatsoever without written October 11 to November 6, 2013 permission from the copyright holders. Studio 21 Fine Art Design by Laura Graham Design 1273 Hollis Street Photos by Laura Graham Design Halifax, Nova Scotia Digital scans of paintings by Image House Digital B3J 1T7 Canada Printed by Halcraft Print, Halifax, Nova Scotia www.studio21.ca 902.420.1852 © Studio 21 Fine Art and Sara MacCulloch All images of artwork © Sara MacCulloch Essay © Ron Shuebrook EVOKING THE INDESCRIBABLE The New Landscape Paintings of Sara MacCulloch By RON SHUEBROOK, Blandford, Nova Scotia, August 15, 2013 Where to Begin? “There is something indescribable about a place that makes me want to paint it.” 1 Sara MacCulloch “Where to begin ? — That was the question. At what point to make the first mark? One line placed on the canvas committed her to innumerable risks, to frequent and irrevocable decisions. All that... in idea seemed simple became in practice immediately complex...still the risk must be run, the mark made... ”2 Virginia Wool f In the provocative passage above, from Virginia Woolf’s poignant novel To the Lighthouse , we are reminded of the considerable differences between “thinking” (or theorizing, however rigourous) about art, and the essential and complex challenges of actually “making” art. -
John Kissick
JOHN KISSICK EDUCATION: Master of Fine Arts, College of Architecture, Art and Planning, Cornell University, Ithaca, NY, 1987 Bachelor of Fine Arts, Faculty of Arts and Science, Queen’s University at Kingston, 1985 PROFESSSIONAL DEVELOPMENT: Management Development Program, Harvard Graduate School of Education, Institutes for Higher Education, 2003 ACADEMIC APPOINTMENTS: Professor of Art, School of Fine Art and Music, University of Guelph (2003-present) Director, School of Fine Art and Music, University of Guelph (2003- 2014) Dean, Faculty of Art, Ontario College of Art & Design, Toronto (2000-2003) Professor of Art, Area Head Critical Studies (1998-2000) School of Visual Arts, Penn State University, University Park, PA (June 1999); Associate Professor of Art (1993-1999); Assistant Professor of Art (1987-1993, hired September 1987) Visiting Exchange Tutor: University of Ulster at Belfast, Northern Ireland: (Winter 1993, 1994, 1996, 1997, 1998) Visiting Lecturer: University of California – Berkeley, Extension (Spring 1993) Celia Rabinovitch, Director SELECTED SOLO EXHIBITIONS: John Kissick: Too Near the Bone (2020) June Gallery House, Toronto John Kissick: The Burning of the Houses of Cool Man Yeah (2016) November Katzman Contemporary Gallery, Toronto John Kissick: The Boom Bits (2015-2018) Thames Art Gallery, July 2015; Arts and Heritage Centre, November 2016; Moose Jaw Museum and Art Gallery, February 2017; Art Gallery of Guelph, January 2019; Judith and Norman Alix Art Gallery, August 2018. Carl Lavoy, Curator. (catalogue) John Kissick: Sugar and Splice (2015) January, Katzman Contemporary, Toronto John Kissick: Sugar Won’t Work (2014) September, Katzman Contemporary, Toronto John Kissick: Dirty Little Mind (2012) November, Michael Gibson Gallery, London ON (catalogue) John Kissick: Dissonant Groove (2012) June. -
Department of Film and Video Archive
Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers. -
Une Bibliographie Commentée En Temps Réel : L'art De La Performance
Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4. -
2018-2019 School of Fine Art & Music
MFA HANDBOOK 2018-2019 School of Fine Art & Music TABLE OF CONTENTS The Master of Fine Arts Program .............................................................................. 1 MFA Faculty Listing.................................................................................................. 2 - 3 Regular Graduate Faculty Descriptions ..................................................................... 4 - 7 The Graduate Calendar .............................................................................................. 8 Suggested Program of Full-Time Study .................................................................... 9 Course Descriptions ...................................................................................................10 - 12 Open Learning & Educational Support ..........................................................12 Summer Semester/ Registration Information .............................................................13 Advisory Committees ................................................................................................14 - 15 End of Semester Critiques .........................................................................................16 - 18 MFA Thesis Examination ..........................................................................................19 - 25 Thesis Support paper specifications ...............................................................23 Graduation/ Studio clean up ...........................................................................26 MFA Studios -
David Askevold
Pop culture BOOK RELEASE ISBN 13: 978‐0‐86492‐659‐3 hc $50 / 144 pp / 8.5 x 10.5 David Askevold Pub Date: September 2011 (Canada & U.S.) Goose Lane Editions and Art Gallery of Nova Scotia Once Upon a Time in the East Edited by David Diviney David Askevold broke into the art scene when his work was included in the seminal exhibition Information at New York’s MOMA 1970, helping cement Conceptualism as a genre. He later became recognized as one of the most important contributors to the development and pedagogy of conceptual art; his work has been included in many of the genre’s formative texts and exhibitions. David Askevold: Once Upon a Time in the East takes readers on an eclectic journey through the various strains of Askevold’s pioneering practice — sculpture and installation, film and video, photography and photo‐text works, and digital imagery. David Askevold moved from Kansas City to Halifax in 1968 to lecture at the Nova Scotia College of Art and Design. During the early 1970s, his famous Projects Class brought such artists as Sol Lewitt, Vito Acconci, John Baldessari, Dan Graham, and Lawrence Weiner to work with his students, focusing critical attention on his adopted city and on his own unorthodox approach to making art. He quickly became one of the most important conceptual artists practicing in Canada, and throughout his career, he remained at the vanguard of contemporary practice. David Askevold: Once Upon a Time in the East features essays by celebrated writer‐curators Ray Cronin, Peggy Gale, Richard Hertz (author of The Beat and the Buzz), and Irene Tsatsos, as well Askevold’s contemporaries including Aaron Brewer, Tony Oursler, and Mario Garcia Torres. -
Periods of Poetic Silence in Modern Canadian Creative Careers
“A Strange Gestation”: Periods of Poetic Silence in Modern Canadian Creative Careers Laura Cameron Department of English McGill University, Montreal July 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Laura Cameron 2015 “The sun climbs to the middle of the sky and stops. It’s noon. It’s the first bell of noon ringing loud from the cathedral tower. … Great shovelfuls of sound dumped in the grave of our activity. The sound fills up every space and every thought. … The future is blocked. The past is plugged up. Layer after layer of the present seizes us, buries us in one vast amber paperweight. Sealed under twelve skyfuls of the only moment.” — Leonard Cohen, Death of a Lady’s Man (1978) “Sit in a chair and keep still. Let the dancer’s shoulders emerge from your shoulders, the dancer’s chest from your chest, the dancer’s loins from your loins, the dancer’s hips and thighs from yours; and from your silence the throat that makes a sound, and from your bafflement a clear song to which the dancer moves, and let him serve God in beauty. When he fails, send him again from your chair.” — Leonard Cohen, Book of Mercy (1984) Table of Contents Abstract ii Résumé iv Acknowledgements vi Abbreviations viii Introduction 1 PART I: Conceptions of Silence Chapter One: “From the Performance Point of View”: Critical Conceptions of Creative Silence 30 Chapter Two: “Why did you stop writing?”: Poets Accounting for Poetic Silence 76 PART II: The Experience of Silence Chapter Three: “The Whole Breathless Predicament”: The Experience of Creative Crisis 121 Chapter Four: “Then let us start again”: Writing Out of Silence 189 Conclusion 288 Works Cited 301 Cameron ii Abstract This dissertation unites a diverse group of Canadian poets who all fell silent for a prolonged period in the middle of otherwise productive and successful poetic careers: P.K. -
Curriculum Vitae Table of Contents
CURRICULUM VITAE Revised February 2015 ADRIAN MARGARET SMITH PIPER Born 20 September 1948, New York City TABLE OF CONTENTS 1. Educational Record ..................................................................................................................................... 2 2. Languages...................................................................................................................................................... 2 3. Philosophy Dissertation Topic.................................................................................................................. 2 4. Areas of Special Competence in Philosophy ......................................................................................... 2 5. Other Areas of Research Interest in Philosophy ................................................................................... 2 6. Teaching Experience.................................................................................................................................... 2 7. Fellowships and Awards in Philosophy ................................................................................................. 4 8. Professional Philosophical Associations................................................................................................. 4 9. Service to the Profession of Philosophy .................................................................................................. 5 10. Invited Papers and Conferences in Philosophy ................................................................................. -
Video Circuits
"Written on top of ments at VIDEO CIRCUITS DECEMBER 4 - JANUARY 2, 1974 McLAUGHLIN LIBRARY UNIVERSITY OF GUELPH Preface and Acknowledgements This exhibition grew out of a mutual interest in video tape as an art form shared by Eric Cameron, Professor of Fine Art, Ian Easterbrook and Noel Harding of the Television Unit, Audio Visual Services at the University of Guelph . In the past we have explored the photographic image as an art form in an exhibition on the history of the still photograph from 1845 to 1970 . But this is our first exhibition of a sampling of video tape used as an expressive medium by artists . The selection of tapes was governed by our intention of presenting a show typifying what is happening in video art today . For this reason we have included tapes by established artists, faculty and students . At the University of Guelph courses in video art have been taught by Allyn Lite, Eric Cameron and Noel Harding and have been offered to students in the Department of Fine Art about once a year for the past three years . Arising out of the teaching of video tape an exchange program has been organized with the Nova Scotia College of Art and Design and another planned with the California College of Arts and Crafts . Examples of tapes by students from these two schools and from this university are included in the exhibition . We are grateful to Ian Easterbrook for co-ordinating the administrative and technical requirements of this exhibition, also to Noel Harding for contacting artists and to Eric Cameron for writing the introduction to the exhibition . -
SKETCH SKETCH President and Vice-Chancellor Dr
The magazine of OCAD University Volume 24, Issue 1 Summer 2012 SKETCH SKETCH President and Vice-Chancellor Dr. Sara Diamond Chancellor Catherine (Kiki) Delaney Chair, Board of Governors Ian C. Tudhope Vice-President, Academic Dr. Sarah McKinnon Vice President, Finance & Administration Matt Milovick Vice-President, Development & Alumni Relations and President, OCAD University Foundation Jill Birch Associate Vice-President, Research, and Dean, Graduate Studies Dr. Helmut Reichenbächer Associate Vice-President, University Relations Carole Beaulieu Associate Vice-President, Students Deanne Fisher Dean, Faculty of Art Dr. Vladimir Spicanovic Dean, Faculty of Design Dr. Gayle Nicoll Dean, Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies Dr. Kathryn Shailer Chair, OCAD U Foundation Richard Kostoff President, Alumni Association Maggie Broda Produced by OCAD U Marketing & Communications Editor Larissa Kostoff Design Hambly & Woolley Inc. Contributors: Suzanne Alyssa Andrew, Steve Billinger, Sky Goodden, Mireille Osbourne, Charlene K. Lau Special thanks to: Lynn Austen, Shannon Gerard, Stacy Kelly, Keith Rushton, Kelley Teahen, Cheryl Wang Charitable Registration #10779-7250 RR0001 Canada Post Publications Agreement #40019392 Printed on recycled paper. Return undeliverable copies to: OCAD University 100 McCaul Street, Toronto, Ontario Canada M5T 1W1 Telephone 416.977.6000 Facsimile 416.977.6006 ocadu.ca Note: The views and opinions expressed in this publication are those of its contributors and do not necessarily reflect -
SENATE Tuesday, SEPTEMBER 9, 1997 18:30 Room 113, Macnaughton Building
SENATE Tuesday, SEPTEMBER 9, 1997 18:30 Room 113, MacNaughton Building AGENDA APPROVAL OF AGENDA REMARKS FROM THE CHAIR READING AND DISPOSING OF MINUTES OF THE SENATE MEETING OF Tuesday, June 10, 1997. BUSINESS ARISING FROM THE MINUTES a) Creation of a SCUP Sub-committee on Student Accessibility (term attached) READING OF ENQUIRIES AND COMMUNICATIONS a) Two letters of thanks: W. Pritchard: D.Sc.; D. Prescott: John Bell Award Winner (available in the Senate Office) VI QUESTION PERIOD VII UNFINISHED BUSINESS VIII CAUCUS REPORT IX ATTACHED FOR INFORMATION a) Committee membership changes b) Library hours: Fall 1997 REPORTS OF STANDING BOARDS AND COMMITTEES BYLAWS AND MEMBERSHIP page 15 a) Membership of the Selection Committee: Associate Dean of Graduate Studies (for approval) b) Changes to Senate Bylaws: letters to Senate and the membership of the President's ReviewlSelection Committee (for approval) - 3. BOARD OF UNDERGRADUATE STUDIES page 23 a) Proposed revisions to the Academic Misconduct Policy at the Undergraduate and Graduate level (for approval) b) B.A. Articulation Agreement (for approval) 4. BOARD OF GRADUATE STUDIES page 35 a) Changes to the Graduate Calendar (for information) b) Name Change (for information) c) Additions to Graduate and Associated Graduate Faculty (for information) d) Results of Appraisals 1996197 (for information) 7. STUDENT PETITIONS page 45 a) Report on the Disposition of Student Petitions (for information) 9. COMMITTEE ON UNIVERSITY PLANNING page 47 a) Proposal for a School of Languages and Literatures (for -
DIANA NEMIROFF SYMPOSIUM Saturday, October 20 Carleton University Minto Case Building, Room 5050
DIANA NEMIROFF SYMPOSIUM Saturday, October 20 Carleton University Minto Case Building, Room 5050 9:00-9:30 COFFEE AND SNACKS 9:30-9:45 INTRODUCTORY REMARKS 9:45-11:00 SESSION I: CURATING CONTEMPORARY ART Speakers 9:45-10:00 Heather Anderson (Curator, Carleton University Art Gallery) 10:00-10:15 Matthew Teitelbaum (Michael and Sonja Koerner Director, and CEO, Art Gallery of Ontario) 10:15-10:30 Dot Tuer (Professor, Ontario College of Art and Design) Respondent 10:30-10:45 Jan Allen (Chief Curator, Agnes Etherington Art Centre, Queen’s University) Discussion 10:45-11:00 11:00-11:30 COFFEE BREAK 11:30-12:45 SESSION II: CURATING FIRST NATIONS ART Introduction: Jolene Rickard (Associate Professor, Cornell University) Moderator: Sandra Dyck (Director, Carleton University Art Gallery) Panelists: Greg Hill (Curator of Indigenous Art, National Gallery of Canada) Candice Hopkins (Elizabeth Simonfay Curatorial Resident, Indigenous Art, National Gallery of Canada) Jolene Rickard (Associate Professor, Cornell University) 12:45-2:00: LUNCH 2:00-3:15 SESSION III: ARTISTS IN/AND MUSEUMS Introduction: Reesa Greenberg (Independent Critic and Writer; Adjunct Professor, Carleton University and York University) Moderator: Jonathan Shaughnessy (Curator, Contemporary Art, National Gallery of Canada) Panelists: Carol Wainio (Artist and Adjunct Professor, University of Ottawa) Leslie Reid (Artist and Professor Emeritus, University of Ottawa) Francois Morelli (Artist and Professor, Concordia University) 3:15-3:45 COFFEEE BREAK 3:45-5:00 SESSION IV: BIENNIALS Speakers: 3:45-4:00 Kitty Scott (Curator, Modern and Contemporary Art, Art Gallery of Ontario) 4:00-4:15 Josee Drouin-Brisebois (Curator, Contemporary Art, National Gallery of Canada)) 4:15-4:30 Barbara Fischer (Executive Director/Chief Curator, Justina M.