Image Arts 2013-2014
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1 HUGH MARTIN Ryerson University, Toronto BFA (Photography Studies)
HUGH MARTIN Curriculum Vitae EDUCATION 2002 Ryerson University, Toronto B.F.A. (Photography Studies), Honours SELECTED EXHIBITIONS 2002-2018 Toronto International Art Fair. Mira Godard Gallery, Toronto 2017 Hugh Martin: Studio Window. Mira Godard Gallery, Toronto 2016 From the Collection. Curated by Anna Jedrzejowski. Ryerson Image Centre, Toronto 2012 Hugh Martin: Silent Lake. Mira Godard Gallery, Toronto. 2010 Photographs. Mira Godard Gallery, Toronto 2007 Hugh Martin: The Great Forest. Mira Godard Gallery, Toronto 2007 Collected. Ryerson Gallery, Toronto 2007 About the Landscape. Mira Godard Gallery, Toronto 2004 Hugh Martin: New Photographs. Mira Godard Gallery, Toronto 2004 Views of Hamilton. Arts Hamilton Gallery, Hamilton 2004 Hugh Martin: Dutch Landscape. Arts Hamilton Gallery, Hamilton 2002 Summer Landscape. Mira Godard Gallery, Toronto 2000 Hugh Martin: Of the City. Ryerson Image Arts Gallery, Toronto 1999 The Photography Lesson. Harbourfront Centre, Toronto PUBLICATIONS & INTERVIEWS Mira Godard Gallery: Silent Lake. Exhibition Catalogue including essay: "Hugh Martin: Sanctuary" written by John K. Grande, 2012 PREFIX PHOTO #16: Walking & Consciousness, "Walls" Portfolio, Nov. '07, pp.20-27. The Walrus, "Hugh Martin: Young Romantic" Interview/Photos, Dec/Jan 2006, pp.110-11. Hammered Out #8 (Hamilton). Several photographs published in Winter/Spring 2006. Arts Beat (Hamilton), "Dutch Landscape" Artist's statement published, Nov. 2004 issue. Cable 14 (Hamilton). Interviewed for "Drawn & Quartered" exhibition, Sep. 2002. 1 GRANTS -
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 -
A Case Study of Daniel Libeskind's Roloff Beny Gallery
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery Laura E. Hayward Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Hayward, Laura E., "Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery" (2012). Theses and dissertations. Paper 1399. This Thesis is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. PHOTOGRAPHIC EXHIBITION IN THE ANTI-CUBE GALLERY: A CASE STUDY OF DANIEL LIBESKIND’S ROLOFF BENY GALLERY by Laura Elizabeth Hayward Bachelor of Arts, History in Art, Business, University of Victoria, 2010 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2012 © Laura Elizabeth Hayward 2012 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. I further authorize Ryerson University to reproduce this thesis by photocopying means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. -
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. -
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. -
Famcam News Winter 2017
VOL. 2, ISSUE 2 FAMCAM NEWS WINTER 2017 Keeping in touch with The Family Camera Network Winter Update from PI, Thy Phu Happy Holidays! 2017 has been an incredibly productive year for The Family Camera Network. Through collecting activities we have collected over ten-thousand photographs and almost thirty interviews. We curated an original exhibition, presented at the Royal Ontario Museum and the Art Gallery of Mississauga, and we organized a major conference, which sought to reframe family photography. Additionally, through public talks, tours, and panels, we shared our research endeavors and our collection with the public. This newsletter offers a snapshot of a successful and enriching year and it highlights some things to look forward to in the New Year. Thank you everyone for all of your efforts and warm wishes this holiday season. Recent Events & Activities SSHRC Partnership Active Teams & Committees The Family Camera Development Grant Royal Ontario Museum (May 6 – Oct. 29) and Art Gallery of Mississauga (May 4 – Aug. 27) Steering Team Curated by Deepali Dewan (lead), Jennifer Orpana, Thy Phu, Julie Crooks & Sarah Bassnett, Co-Applicants Thy Phu (PI) with Silvia Forni & Sarah Parsons Thy Phu (PI) Sarah Bassnett The Family Camera explored the relationship between photography and the Sarah Bassnett Elspeth Brown Elspeth Brown Deepali Dewan idea of family, and it looked at family photographs as a cultural practice Deepali Dewan Sarah Parsons through the lens of migration. With nearly every photograph featured in this Sarah Parsons exhibition coming from a Canadian home, The Family Camera shed light on Collecting Team Collaborators Deepali Dewan (Lead) how family photos reflect and shape our sense of self, family, community, Nadine Attewell Nadine Attewell and nation. -
Les Numéros En Bleu Renvoient Aux Cartes
210 Index Les numéros en bleu renvoient aux cartes. I13th Street Winery 173 Banques 195 The Upper Deck 64 Tranzac Club 129 37 Metcalfe Street 153 Barbara Barrett Lane 124 Velvet Underground 118 299 Queen Street West 73 Bars et boîtes de nuit Woody’s 78 314 Wellesley Street East 153 beerbistro 85 Bellwoods Brewery 117 Baseball 198 397 Carlton Street 152 Bier Markt Esplanade 99 Basketball 198 398 Wellesley Street East 153 Birreria Volo 122 Bata Shoe Museum 133 Black Bull Tavern 85 Beaches Easter Parade 199 Black Eagle 78 Beaches International Jazz Bovine Sex Club 117 Festival 200 A Boxcar Social 157 Accessoires 146 Beach, The 158, 159 Brassaii 85 Beauté 115 Activités culturelles 206 Cabana Pool Bar 60 Aéroports Canoe 85 Bellevue Square Park 106 A Billy Bishop Toronto City Castro’s Lounge 161 Berczy Park 96 Airport 189 C’est What? 99 Bickford Park 119 Toronto Pearson Clinton’s Tavern 129 Bière 196 International Airport 188 Crews 78 Aga Khan Museum 168 Bijoux 99, 144 Crocodile Rock 86 Billy Bishop Toronto City INDEX Alexandra Gates 133 dBar 146 Airport 189 Algonquin Island 62 Drake Hotel Lounge 117 Bird Kingdom 176 Alimentation 59, 84, 98, 108, El Convento Rico 122 Black Bull Tavern 74 115, 144, 155, 161 Elephant & Castle 86 Allan Gardens Free Times Cafe 122 Black Creek Pioneer Village 169 Conservatory 150 Hemingway’s 146 Alliance française de Lee’s Palace 129 Bloor Street 139, 141 Toronto 204 Library Bar 86 Blue Jays 198 Annesley Hall 136 Madison Avenue Pub 129 Bluffer’s Park 164 Annex, The 123, 125 Melody Bar 117 Brigantine Room 60 Antiquités 84, 98 Mill Street Brew Pub 99 Brock’s Monument 174 N’Awlins Jazz Bar & Grill 86 Architecture 47 Brookfield Place 70 Orbit Room 122 Argent 195 Brunswick House 124 Pauper’s Pub 129 Argus Corp. -
Stan Douglas Born 1960 in Vancouver
This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Stan Douglas Born 1960 in Vancouver. Lives and works in Vancouver. EDUCATION 1982 Emily Carr College of Art, Vancouver SOLO EXHIBITIONS 2020 Stan Douglas: Doppelgänger, David Zwirner, New York, concurrently on view at Victoria Miro, London 2019 Luanda-Kinshasa by Stan Douglas, Plug In Institute of Contemporary Art, Winnipeg, Canada Stan Douglas: Hors-champs, Western Front, Vancouver Stan Douglas: SPLICING BLOCK, Julia Stoschek Collection (JSC), Berlin [collection display] [catalogue] 2018 Stan Douglas: DCTs and Scenes from the Blackout, David Zwirner, New York Stan Douglas: Le Détroit, Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg 2017 Stan Douglas, Victoria Miro, London Stan Douglas: Luanda-Kinshasa, Les Champs Libres, Rennes, France 2016 Stan Douglas: Photographs, David Zwirner, New York Stan Douglas: The Secret Agent, David Zwirner, New York Stan Douglas: The Secret Agent, Salzburger Kunstverein, Salzburg [catalogue] Stan Douglas: Luanda-Kinshasa, Pérez Art Museum Miami (PAMM) Stan Douglas: The Secret Agent, Victoria Miro, London Stan Douglas, Hasselblad Center, Gothenburg, Sweden [organized on occasion of the artist receiving the 2016 Hasselblad Foundation International Award in Photography] [catalogue] 2015 Stan Douglas: Interregnum, Museu Coleção Berardo, Lisbon [catalogue] Stan Douglas: Interregnum, Wiels Centre d’Art Contemporain, Brussels [catalogue] 2014 Stan Douglas: -
Photography: the Black Box of History Symposium, March 16-17, 2018
Photography: The Black Box of History Symposium, March 16-17, 2018 Organized by: Dr. Thierry Gervais, Associate Professor, Ryerson University and Head of Research, Ryerson Image Centre, Toronto Dr. Jason Hill, Assistant Professor, University of Delaware, Newark (DE) DESCRIPTION Developed by cyberneticists, the analytical concept of the black box is deployed “whenever a piece of machinery or a set of commands is too complex” (Ashby, 1956, 86). Photography is the black box par excellence, permitting image-makers and viewers alike to focus on inputs and outputs without regard to the machinery in between. Both the camera and the image, in their apparent simplicity, obscure complex technical and cultural operations. Scholars of society and media as varied as Bruno Latour and Vilém Flusser have observed this condition, the latter describing photography as “a super-black- box made up of black boxes” (Flusser, 1983, 71). This obscurity has made photography a difficult object to place at the centre of historical practice. Historians have tended to ignore the presence of the black box and simply place its inputs and outputs at the centre of their descriptions of the world, an approach that has led – if not compelled – them to undertake “the most magical tricks, [to] build descriptions of the world that, ultimately, are based not in presumed knowledge but in ignorance” (Glanville, 2007, 189). How might historians begin to reckon with photography’s black box? First, we must open these boxes, and call their contents to testify. Opening the black boxes that are photographs makes them testify to the image-making activities that produced them: activities that structure the lives of various countries and communities, in artistic circles and in family settings, in professional and amateur environments. -
Social Enterprise Models in Canada—Ontario
Brouard, McMurtry, & Vieta (2015) Vol. 6, No 1 Spring / Printemps, 2015 pp. 63 – 82 Canadian Journal of Nonprofit and Social Economy Research Revue canadienne de recherche sur les OBSL et l’économie sociale Social Enterprise Models in Canada—Ontario Francois Brouard Carleton University J.J. McMurtry York University Marcelo Vieta University of Toronto ABSTRACT The objective of this article is to examine social enterprises in Ontario, Canada, as part of the “Social Enterprises Models in Canada” research of the International Comparative Social Enterprise Models (ICSEM) Project. The report presents an analysis of the historical, contextual, and conceptual understanding of social enterprises in Ontario. Five cases studies illustrate social enterprise models, and the article then presents the main institutions in Ontario related to social enterprises, describing legal framework, public policies, university institutions, networks, spaces, and funding agencies and programs. RÉSUMÉ Dans le cadre du projet Modèles d’entreprises sociales au Canada de l’International Comparative Social Enterprise Models (ICSEM), l’objectif du présent article est d’examiner les entreprises sociales en Ontario, Canada. Le rapport présente une analyse historique, contextuelle et conceptuelle pour comprendre les entreprises sociales en Ontario. Cinq études de cas illustrent les modèles d’entreprises sociales. Les principales institutions liées aux entreprises sociales en Ontario, tel que le cadre législatif, les politiques publiques, les établissements universitaires, les réseaux, les espaces, les organismes de financement et les programmes, sont décrites. KEYWORDS / MOTS CLÉS : Ontario; Social enterprises; Models / Ontario; Entreprises sociales; Modèles To be notified about new ANSERJ articles, subscribe here / Afin d'être avisé des nouveaux articles 63 dans ANSERJ, s’inscrire ici . -
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. -
Ryerson Image Centre Celebrates Worldpride 2014 with Photography Exhibitions That Address Queer Identity
Ryerson Image Centre celebrates WorldPride 2014 with photography exhibitions that address queer identity What it Means to be Seen: Photography and Queer Visibility Zanele Muholi: Faces and Phases Toronto, January 20, 2014 -- The Ryerson Image Centre (RIC), in celebration of WorldPride 2014 Toronto, explores queer identity this summer with What it Means to be Seen: Photography and Queer Visibility. Generously presented by TD Bank Group, the exhibition addresses the importance of visibility, long tied to the campaign for greater acceptance and understanding of the LGBTQ community. “We are pleased to present this exhibition alongside other cultural affiliates of WorldPride 2014 Toronto,” says Paul Roth, Director of the Ryerson Image Centre. “Photography has played a critical role in representing queer life, both privately and publicly, whether made from within, or by outsiders. The RIC is perfectly situated to host a critical inquiry into the medium and its historic relationship with LGBTQ identity. What it Means To Be Seen represents a rare opportunity for audiences to see photographs that are hidden from view or suppressed, and still little understood.” Guest curated by the Art Gallery of Ontario’s Associate Curator of Photography Sophie Hackett, this exhibition examines public representation of queer people through photography, mass media, and activist publications. Visibility has undeniably increased over the last four decades, as have LGBT rights; and photography has played a key role in this. Drawing from Ryerson University’s Black Star Collection and from prominent institutional holdings worldwide, the exhibition brings focus to the ways in which photographs—press images and snapshots, in particular—have helped to coalesce a sense of common experience and connection within gay communities.