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The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos. -
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. -
John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism
John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism by Matthew Purvis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2020, Matthew Purvis i Abstract This dissertation concerns the relation between eroticism and nationalism in the work of a set of English Canadian artists in the mid-1960s-70s, namely John Boyle, Greg Curnoe, and Joyce Wieland. It contends that within their bodies of work there are ways of imagining nationalism and eroticism that are often formally or conceptually interrelated, either by strategy or figuration, and at times indistinguishable. This was evident in the content of their work, in the models that they established for interpreting it and present in more and less overt forms in some of the ways of imagining an English Canadian nationalism that surrounded them. The dissertation contextualizes the three artists in the terms of erotic art prevalent in the twentieth century and makes a case for them as part of a uniquely Canadian mode of decadence. Constructing my case largely from the published and unpublished writing of the three subjects and how these played against their reception, I have attempted to elaborate their artistic models and processes, as well as their understandings of eroticism and nationalism, situating them within the discourses on English Canadian nationalism and its potentially morbid prospects. Rather than treating this as a primarily cultural or socio-political issue, it is treated as both an epistemic and formal one. -
WRITING ABOUT HEARING VIDEO: an Experiment in Archival Research, Exhibiting Video Art, and Curatorial Writing by Lewis Kaye
Prologue WRITING ABOUT HEARING VIDEO: An experiment in archival research, exhibiting video art, and curatorial writing By Lewis Kaye Hearing Video is an experiment in archival with comments by Lisa Steele research, exhibiting video art (the sign for and responses by Lewis Kaye the exhibition component appears above), and February, 2019 curatorial writing. What you’re reading is the original draft: December 12, 2018 last of those three experiments. But as with any process-oriented work, that doesn’t necessarily mean it’s the final phase of the project. Should there be more to come in the future, and hopefully there will be, no doubt this essay will be adjusted to reflect that. Until then, I hope you enjoy it as it is. Introduction: On the Idea of Writing as While writing might be thought of as a form of Conversing About Hearing as Seeing asynchronous conversation, I much prefer the active, synchronous, face to face, sonorous kind… having Writing can sometimes be a challenge. It can people in a room together, each enjoying the other’s feel very solitary, sort of like talking at company, and speaking with each other from a place of someone who might not really be there. This isn’t mutual interest and respect. The energy and positivity to deny its importance, as I certainly enjoy of such encounters is physically audible to us: reading and therefore have no choice but to emotion and feeling can actually be heard. It is this respect such textual assembly as a vital means love of CONVERSATION – its respectful and engaged of communicating and sharing ideas. -
Collected Writings
THE DOCUMENTS O F TWENTIETH CENTURY ART General Editor, Jack Flam Founding Editor, Robert Motherwell Other titl es in the series available from University of California Press: Flight Out of Tillie: A Dada Diary by Hugo Ball John Elderfield Art as Art: The Selected Writings of Ad Reinhardt Barbara Rose Memo irs of a Dada Dnnnmer by Richard Huelsenbeck Hans J. Kl ein sc hmidt German Expressionism: Dowments jro111 the End of th e Wilhelmine Empire to th e Rise of National Socialis111 Rose-Carol Washton Long Matisse on Art, Revised Edition Jack Flam Pop Art: A Critical History Steven Henry Madoff Co llected Writings of Robert Mothen/le/1 Stephanie Terenzio Conversations with Cezanne Michael Doran ROBERT SMITHSON: THE COLLECTED WRITINGS EDITED BY JACK FLAM UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles Londo n University of Cali fornia Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1996 by the Estate of Robert Smithson Introduction © 1996 by Jack Flam Library of Congress Cataloging-in-Publication Data Smithson, Robert. Robert Smithson, the collected writings I edited, with an Introduction by Jack Flam. p. em.- (The documents of twentieth century art) Originally published: The writings of Robert Smithson. New York: New York University Press, 1979. Includes bibliographical references and index. ISBN 0-520-20385-2 (pbk.: alk. paper) r. Art. I. Title. II. Series. N7445.2.S62A3 5 1996 700-dc20 95-34773 C IP Printed in the United States of Am erica o8 07 o6 9 8 7 6 T he paper used in this publication meets the minimum requirements of ANSII NISO Z39·48-1992 (R 1997) (Per111anmce of Paper) . -
Homage in Blue: General Idea's 'Shut the Fuck Up' Julia G
Western University Scholarship@Western Modern Languages and Literatures Annual Good Laugh Bad Laugh Ugly Laugh My Laugh Graduate Conference (March 1-3, 2013) Mar 2nd, 9:00 AM - 9:20 AM Homage in Blue: General Idea's 'Shut the Fuck Up' Julia G. Polyck-O'Neill Ms Brock University, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/mllgradconference Polyck-O'Neill, Julia G. Ms, "Homage in Blue: General Idea's 'Shut the Fuck Up'" (2013). Modern Languages and Literatures Annual Graduate Conference. 9. https://ir.lib.uwo.ca/mllgradconference/2013Conference/MLL2013/9 This Event is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Modern Languages and Literatures Annual Graduate Conference by an authorized administrator of Scholarship@Western. For more information, please contact [email protected], [email protected]. Polyck-O’Neill 1 Homage in Blue: General Idea’s Shut the Fuck Up In art of the postmodern era, it can be difficult to discern ironic from sincere intention underlying the use of appropriation, as the viewer has come to expect ironized reiteration in the age of parody and satire. General Idea’s renowned work of video art, Shut the Fuck Up (1985), can seem beguiling to the uninitiated; those who are unfamiliar with the discourse of their continuous dialogic engagement with the art canon and its inherent politics could easily perceive comedy where tragedy prevails, or fail to penetrate the cheerful surface of the group’s carnivalesque and near-schizophrenic multifarious art practice. Hinting at General Idea’s artifice in his essay, “Bound To Please: The Archives from the 1984 Miss General Idea Pavillion [sic]”, AA Bronson analyzes the works comprising Art Metropole, including FILE , the magazine published by the art collective, of which he is the sole surviving member. -
A USER's GUIDE to GENERAL IDEA by PHILIP Monk
GLAMOUR IS THEFT A USER’S GUIDE TO GENERAL IDEA BY PHILIP MONk Portrait of Granada Gazelle, Miss General Idea 1969, from The 1971 Miss General Idea Pageant documentation, 1971 1 Granada Gazelle, Miss General Idea 1969, displays The 1971 Miss General Idea Pageant Entry Kit The 1971 Miss General Idea Pageant poster, 1971 4 The 1971 Miss General Idea Pageant (Artscanada), 1971 5 6 7 Artist’s Conception: Miss General Idea 1971, 1971 8 GLAMOUR IS THEFT A USER’S GUIDE TO GENERAL IDEA: 1969-1978 PHILIP MONk The Art Gallery of York University “Top Ten,” FILE 1:2&3 (May/June 1972), 21 10 TABLE OF CONTENTS 15 PreFace PART I. DESCRIPTIVE PART II. ANALYTIC PART III. SYNTHETIC 21 threshold 121 reWrIte 157 soMethInG By Mouth 25 announceMent 131 Ideolect 29 Myth 135 enuncIatIon 37 edItorIal 141 systeM 41 story 147 vIce versa 45 PaGeant 49 sIMulatIon 53 vIrus 57 Future 61 PavIllIon 67 nostalGIa 75 BorderlIne 81 PuBlIcIty 87 GlaMour 93 PlaGIarIsM 103 role 111 crIsIs APPENDICES 209 Marshall Mcluhan, General Idea, and Me! 221 PerIodIzInG General Idea EXHIBITIONS 233 GoInG thru the notIons (1975) 241 reconstructInG Futures (1977) 245 the 1984 MIss General Idea PavIllIon (2009) 254 lIst oF WorKs 255 acKnoWledGeMents 11 Portrait of General Idea, 1974 (photograph by Rodney Werden) The study of myths raises a methodological problem, in that it cannot be carried out according to the Cartesian principle of breaking down the difficulty into as many parts as may be necessary for finding the solution. There is no real end to mythological analysis, no hidden unity to be grasped once the breaking-down process has been completed. -
Current Market Prices ~ Prints, Sculpture, Originals
Issue TITLE Price, Low SIZE Retail, ISSUE LO High HI TITLE Retail (December SIZE ISSUE LO2014) HI TITLE SIZE ISSUE LO HI CURRENT MARKET PRICES ~ PRINTS, SCULPTURE, ORIGINALS Prints, Graphics, & Giclées Prices do not reflect shifts below a print's original issue price TITLE SIZE ISSUE LO HI TITLE SIZE ISSUE LO HI TITLE SIZE ISSUE LO HI ABBETT, ROBERT AMIDON, SUSAN ATKINSON, MICHAEL BIG GUY SETTER & GROUS 125 553 671 CATHEDRAL ST PAUL CE 125 409 497 GRANNYS LOVING HAND AP 420 510 BOBWHITES & POINTER 50 152 190 COMO PARK CONSERVAT AP 21X29 158 198 GRANNYS LOVING HANDS 385 467 CODY BLACK LAB 95 152 190 COMO PARK CONSERVATORY 21X29 125 125 125 ICE BLUE DIPTYCH 125 262 315 CROSSING SPLIT ROCK 125 125 150 COMO PARK GOLF SKI 21X15 100 100 120 INSPIRATION ARCHES 185 185 185 ABBOTT, LEN COMO PARK PAVILLION 125 698 848 INSPIRATION ARCHES AP 152 190 CHORUS 292 351 GOVERNORS MANSION 99 124 LETTERS FROM GRANDMA 65 152 190 ACHEFF, WILLIAM GOVERNORS MANSION AP 136 170 LONG WAY HOME 148 185 ACOMA 23X18 200 200 200 LAKE HARRIET 24X18 125 125 125 MARIAS HANDS SR 24X18 861 1060 STILL LIFE 64 80 LITTLE FRENCH CHURC AP 21X15 110 138 MONUMENT CANYON SR 33X45 490 595 ADAMS, GAIL LITTLE FRENCH CHURCH 21X15 100 100 100 MOONLIT CANYON 165 165 165 DOUBLE SOLITUDE AP 275 275 315 LORING PARK HARMON AP 29X21 158 198 MOUNTAIN LAKE 18X24 175 258 310 SLEEPIN BEAUTY 225 225 225 MINN STATE CAPITOL 21X16 187 225 ON WALDEN 150 150 150 ADAMS, HERMON MT OLIVET CHURCH 158 198 ON WALDEN AP 94 118 ARIZONA RANGER 120 1072 1320 NICOLLET AVE AP 20X25 78 98 OSTUNI 29X22 150 150 183 -
A Cultural Trade? Canadian Magazine Illustrators at Home And
A Cultural Trade? Canadian Magazine Illustrators at Home and in the United States, 1880-1960 A Dissertation Presented by Shannon Jaleen Grove to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor oF Philosophy in Art History and Criticism Stony Brook University May 2014 Copyright by Shannon Jaleen Grove 2014 Stony Brook University The Graduate School Shannon Jaleen Grove We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Michele H. Bogart – Dissertation Advisor Professor, Department of Art Barbara E. Frank - Chairperson of Defense Associate Professor, Department of Art Raiford Guins - Reader Associate Professor, Department of Cultural Analysis and Theory Brian Rusted - Reader Associate Professor, Department of Art / Department of Communication and Culture University of Calgary This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation A Cultural Trade? Canadian Magazine Illustrators at Home and in the United States, 1880-1960 by Shannon Jaleen Grove Doctor of Philosophy in Art History and Criticism Stony Brook University 2014 This dissertation analyzes nationalisms in the work of Canadian magazine illustrators in Toronto and New York, 1880 to 1960. Using a continentalist approach—rather than the nationalist lens often employed by historians of Canadian art—I show the existence of an integrated, joint North American visual culture. Drawing from primary sources and biography, I document the social, political, corporate, and communication networks that illustrators traded in. I focus on two common visual tropes of the day—that of the pretty girl and that of wilderness imagery. -
Conference Program Conference 18 – February 15 February 15 New York Citynew York // 2017 College Artcollege Association the Annual Conference the Annual
CONFERENCE PROGRAM CAA 2017 ANNUAL CONFERENCE NEW YORK, NY YORK, CONFERENCE NEW CONFERENCE PROGRAM CAA 2017 ANNUAL college art association the annual conference new york city // 2017 february 15 – 18 conference program Contents 5 Welcome CAA Board, Staff, and Committees 7 BOARD OF DIRECTORS 7 STAFF 8 COMMITTEE MEMBERS 2016–17 General Information 11 MEMBERSHIP 11 RegistratioN AND CHECk-In 13 INformatioN FOR SPEAKERS 14 MUSEUM LISTINGS 15 CONFERENCE SERVICES 16 New YORK HiltoN MidtowN MAPS Sessions 21 New SESSION TYPES 21 Program SCHEDULE 36, 48 Poster Sessions 66 SEPC Lounge 68 ARTspace 70 Media Lounge 73 Participant Index Meetings 81 Affiliated Society BUSINESS MeetiNGS 82 CAA ElectioNS, CONVocatioN, AND ANNUAL BUSINESS MeetiNG 82 CAA Committee, TASK Force, AND JUry MeetiNGS Events 84 SPECIAL EVENts 89 REUNIONS AND RECEPTIONS 91 NOON FORUMS Careers 92 ProfessioNAL DEVeloPMENT WORKSHOPS 95 CAREER SERVICES 96 MENtoriNG APPOINtmeNts Book and Trade Fair 96 FAIR INformatioN 97 EXHibitor SESSIONS 98 EXHibitor INDEX 100 BOOK AND Trade FAIR MAPS 103 CAA Past Presidents 104 myNYC: CAA Staff’s Favorite Places 106 Advertiser Index 107 ADVERTISEMENts Save the date! 106th Annual Conference // Los Angeles, CA // February 21–24, 2018 A SPECIAL THANKS TO OUR CONFERENCE SPONSORS: The Conference Program is published in conjunction with the 105th Annual Conference of the College Art Association. The Program is produced on a very abbreviated schedule in October, and session information is subject to change before the conference. For more information and the most up-to-date chronological schedule of sessions, meetings, and events, see the conference website (conference. collegeart.org) or the CAA 2017 app. -
Tom Thomson's Paintings Are Frequently Reproduced As Icons of Canadian Nationalism
'OURIDEAL OF AN ARTIST': TOMTHOMSON, THE IDEAL OF MANHOODAND THE CREATIONOF A NATIONALICON (1 9 17-1 947) by Ross DOUGLASCAMERON A thesis submitted to the Department of History in conformity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario, Canada September, 1 998 Copyright 6 Ross Douglas Carneron, 1998 National Library Bibliothèque nationale I*B of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Wwa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial'extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Tom Thomson's paintings are frequently reproduced as icons of Canadian nationalism. His best known works, such as "A Northern River," "The Jack Pine," and "The West Wind," have been reproduced in such various forms as postage starnps, coins, coasters and posters. -
General Idea, Andy Fabo, Tim Jocelyn, Chromazone Collective
The Aesthetics of Collective Identity and Activism in Toronto’s Queer and HIV/AIDS Community By Peter M. Flannery A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in Art History and Visual Culture Guelph, Ontario, Canada © Peter M. Flannery, April, 2019 ABSTRACT THE AESTHETICS OF COLLECTIVE IDENTITY AND ACTIVISM IN TORONTO’S QUEER AND HIV/AIDS COMMUNITY Peter M. Flannery Advisor: University of Guelph, 2019 Prof. A. Boetzkes This thesis investigates the social and political impacts of art and visual culture produced in Toronto from the 1970s to the present day through changing dynamics of gay liberation, raids of gay bathhouses by the Metropolitan Toronto Police Force during “Operation Soap,” and the continuing HIV/AIDS crisis. Throughout these historic moments, visual culture was an incubator by which artists formulated the values, performative identities, and political actions that defined their activism. Beginning with a brief history of LGBTQ2S+ issues in Toronto, this thesis analyzes selected works by General Idea, Andy Fabo, Tim Jocelyn, ChromaZone Collective, Will Munro, and Kent Monkman. By performing their identities within the public sphere, these artists developed communities of support and, through intensely affective and political acts, catalyzed social change to advocate for equal rights as well as funding, medical care, and reduced stigma in the fight against HIV/AIDS. DEDICATION To the artists, activists, and community builders whose fierce and devoted work catalyzed social change and acceptance. They have led the way in the continued advocacy for LGBTQ2S+ issues and the fight against the HIV/AIDS crisis.