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Tariku Shiferaw's First International Solo Exhibition at Addis Fine Art London
Tariku Shiferaw’s First International Solo Exhibition at Addis Fine Art London Published by Tadias Magazine August 28th, 2017 in Art and Featured. Closed Tariku Shiferaw. (Photo via Anthony Philip Fine Art) Tadias Magazine By Tadias Staff August 28th, 2017 New York (TADIAS) — Tariku Shiferaw will hold his first international solo exhibition at Addis Fine Art’s London project space from September 14th to October 8th, 2017. The exhibition entitled Erase Me is also the gallery’s inaugural show at their London location. Tariku’s latest body of work “interrogates the concept of mark-making both physically and metaphysically,” states Addis Fine Art’s announcement. “Using titles of songs from Hip-Hop, R&B, Jazz, Blues, and Reggae music, these paintings embody both the experiences and struggles expressed through music by Black artists…In appropriating song titles as painting titles, the work automatically inherits the references, identities, and the history portrayed through the songs. Tadias profiled the Ethiopian-born, LA-raised and New York-based emerging artist last year focusing on his collection of paintings that he described as featuring “contradictions, glitches, interruptions, and disagreements in a system.” In addition, this past Spring Tariku’s work was part of the 2017 Whitney Biennial, an influential annual exhibition held at the Whitney Museum of American Art in New York City that’s considered the leading contemporary art show in the world. Addis Fine Art gallery shares that in Tariku’s upcoming display “every song used to title paintings tells a story that refers to a certain reality. The work becomes a reference of a reference, much like a signifier to another symbol. -
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 -
Summary of the Book That Inspired the Work
Summary of the book that inspired the work WORLD LIGHT – LIFE AND DEATH OF AN ARTIST by Ragnar Kjartansson Book One – The Revelation of the Deity Ólafur’s life is overshadowed by misfortune. Unloved and abandoned by the person who charged him with the burden of living a pitiful Book 4 Book 1 existence, as a young child, he longs for an escape from this painfully ugly isolation, which he endures on a farm in rural Iceland. Suffering from vague maladies, abused by his adoptive family in whose eyes he is nothing but ignorant, lazy and useless, he turns his entire being towards the deity of nature. What is more fulfilling then taking in the blue sky above? More exhilarating then watching the sun go down behind the glacier? Immersed in the greatness of God’s revelations, Book 3 Book 2 Ólafur’s soul enters a safe place, a place of joy that makes him forget the harshness of the world, and eventually himself. Love and reverence, glory and radiance in an intimate understanding of the higher realm spontaneously burst into his tragic World Light, was written in 1937-40 and published in circumstances. In his longing for beauty and four separate tomes at the height of the European salvation, he spends his time reading and writing: tragedy of WWII by the fervent Communist Halldór “Often the boy was overwhelmed by an Laxness. Paradoxically perhaps, it is not as much a uncontrollable yearning to write down in a realist drama championing social and political justice, hundred books everything he saw, despite what as are some of his other books. -
Aftershock: the Ethics of Contemporary Transgressive
HORRORSHOW 5 The Transvaluation of Morality in the Work of Damien Hirst I don’t want to talk about Damien. Tracey Emin1 With these words Tracey Emin deprived the art world of her estimation of her nearest contemporary and perhaps the most notorious artist associated with the young British art phenomenon. Frustrating her interviewer’s attempt to discuss Damien Hirst is of course entirely Emin’s prerogative; why should she be under any obligation to discuss the work of a rival artist in interview? Given the theme of this book, however, no such discursive dispensation can be entertained. Why Damien Hirst? What exactly is problematic about Hirst’s art? It is time to talk about Damien. An early installation When Logics Die (1991) provides a useful starting point for identifying the features of the Hirstean aesthetic. High-definition, post- mortem forensic photographs of a suicide victim, a road accident fatality and a head blown out by a point-blank shotgun discharge are mounted on aluminium above a clinical bench strewn with medical paraphernalia and biohazard material. Speaking to Gordon Burn in 1992, the artist explained that what intrigued him about these images was the incongruity they involve: an obscene content yet amenable to disinterested contemplation in the aesthetic mode as a ‘beautiful’ abstract form. ‘I think that’s what the interest is in. Not in actual corpses. I mean, they’re completely delicious, desirable images of completely undesirable, unacceptable things. They’re like cookery books.’2 Now remember what he’s talking about here. Sustained, speculative and clinically detached, Hirst’s preoccupation with the stigmata of decomposition, disease and mortal suffering may be considered to violate instinctive taboos forbidding pleasurable engagement with the spectacle of death. -
Koichi Matsufuji
KOICHI MATSUFUJI Solo Exhibitions 2019 COCONO Art Place Gallery, Fukui, Japan. 2019 Gallery O2, Kanazawa, Japan. 2018 DiEGO, Tokyo, Japan. 2017 Shizuoka Convention & Arts Center, Sizuoka, Japan. 2013 Gallery Cellar, Tokyo, Japan. 2010 Gallery Cellar, Tokyo, Japan. 2009 Gallery Cellar, Tokyo, Japan. 2008 Aichi Prefectural Museum of Art, Space 6, Nagoya, Japan. 2006 Gallery Plannet, Nagoya, Japan. 2004 Gallery Q, Tokyo, Japan. 2002 Gallery Ten, Kanazawa, Japan. 2001 Gallery Q, Tokyo, Japan. Selected Group Exhibitions 2019 “ Panoramic ” Daiichi Museum, Nagoya, Japan. 2019 “ 2019 KOGEI World Competition in Kanazawa ” People’s Gallery at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. 2019 “ BIENNALE TOYAMA ” Toyama Prefectural Museum of Art and Design, TAD gallery, Toyama, Japan. 2019 “ The Spirit of Toyama Glass ” Japan Creative Centre, Embassy of JAPAN, Singapore. 2018 “ LYRICAL TRANSFORMATIONS ” LEVANT ART, Shanghai, China. 2017 “ Spatial Arts 2017 in Art House Oyabe ” Art House Oyabe, Toyama, Japan. 2017 “ Aspects of Glass in Izu Highlands Art Festival ” Izu Kogen Hotel Five Stars, Sizuoka, Japan. 2017 “ Contemporary Art Competition in Art House Oyabe ” Art House Oyabe, Toyama, Japan. 2017 “ 2017 KOGEI World Competition in Kanazawa ” People’s Gallery at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. 2016 “ TOYAMA GLASS -No limit No border- ” Toyama Glass Art Museum, Toyama, Japan. 2016 “ Kohei Kishimoto and Koichi Matsufuji Exhibition ” Seto Ceramics and Glass Art Center, Aichi, Japan. 2013 “ Aichi Triennale 2013 ” Curatorial Competition in Choja-machi District, Nagoya, Japan. 2007 “ Young Glass 2007 ” Glasmuseet Ebeltoft, Denmark. 2007 “ The Fires Burn On ” American Glass Museum, NJ, United States. 2006 “ For Rent! For Talent! 2 ” Mitsubishijisho Artium, Fukuoka, Japan. -
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. -
The Interpretive Act Between Text and Reader
IJAPS, Vol. 6, No. 1 (January 2010) INTERPRETATION: THE INFINITE CONTROVERSY * Sabbar S. Sultan Al Isra, University, Amman, Jordan e-mail: [email protected] ABSTRACT The following is an attempt to view and perceive the problematic act of interpretation, including its nature, its endless controversies, its horizons and its limitations. The paper is comprised of two sections. The first is an introduction covering the various aspects of the interpretive act. It also deals with the vast potentialities opened up by interpretation. The second section shows some of the limitations of interpretation, as seen in the different interpretations of Conrad's Heart of Darkness and Shakespeare's Hamlet. The approach used throughout is ambivalent in that it stresses the merits and drawbacks of interpretation in reading and understanding texts. Keywords: controversy, right interpretation, perspective INTRODUCTION One of the salient topics much discussed in contemporary literary theory is the concept of 'interpretation'. At first glance, this may seem peculiar if we recall that the critical processes comprising the analysis, appreciation, and study of literature are more or less 'interpretive' acts, essentially concerned with the problem of perceiving latent meanings or dissecting textual strategies in pursuit of what is not stated. However, as the following pages will show, this axiomatic activity has been recently problematised in such a way that that there is a dire need to sort things out and judge for ourselves * Sabbar S. Sultan is associate professor of modern English literature at Al Isra University, Amman, Jordan. His latest publications include "The Critical vs. the Industrial in David Lodge's Nice Work", International Journal of Arabic and English Studies, Lebanon, (Oct., 2009) (forthcoming); "The Artist- Community Relationship in Hawthorne's Story 'The Artist of the Beautiful'," Journal of the Society of Faculties of Arts in the Arab World, University of Yarmouk, Irbid, Jordan (Feb. -
The Explosion of Modernism Transcript
The Explosion of Modernism Transcript Date: Wednesday, 19 October 2011 - 1:00PM Location: Museum of London 19 October 2011 Christian Faith and Modern Art The Explosion of Modernism The Rt Revd Lord Harries Prologue Christian art once provided a shared “symbolic order” (Peter Fuller). Shared narratives and recognised images through which the deeper meaning of life could be explored. This has gone. “The disassociation between art and faith is not written in stone but is not easy to overcome”. Formidable obstacles: of style-how to avoid pastiche, images that have gone stale-overwhelming plurality of styles, so artist has to choose-forced to choose a private language, and so lose some of the audience. [1] David Jones, particularly aware of this. Human beings are essentially sign makers. Most obviously we give someone a bunch of flowers or a kiss as a sign. So what are works of art a sign of? Here we come across the great crisis with which Jones wrestled both in his writing and his art. For he believed, and he said this view was shared by his contemporaries in the 1930’s, that the 19th century experienced what he called “The Break”.[2] By this he meant two things. First, the dominant cultural and religious ideology that had unified Europe for more than a 1000 years no longer existed. All that was left were fragmentary individual visions. Secondly, the world is now dominated by technology, so that the arts seem to be marginalised. They are no use in such a society, and their previous role as signs no longer has any widespread public resonance. -
Artistic Integrity, Public Policy and Copyright: Colorization Reduced To
Artistic Integrity, Public Policy and Copyright: Colorization Reduced to Black and White [A]rt is a human activity having for its purpose the transmission to others of the highest and best feelings to which men have risen.' I. INTRODucTION Art reflects society. Each person in modern society-a society that prides itself on freedom of expression-interprets differently the beauty in art. Thus, when a musician composes a popular tune, a poet drafts a new verse, or a painter touches her 2 brush to canvas, their creations are subject to criticism, debate, and often ridicule. Some artists choose faster tempos, shorter sentences, brighter pastels; others choose 3 melodic tunes, complex clauses, or no color at all. These are all artistic choices. They characterize both the work and the artist himself.4 Despite opposing viewpoints, the art world respects the artistic intent of the work, condemning any modification 5 based upon society's standards or an individual's preference. Quite often technology discovers ways we can "improve" 6 the products of art. Synthesizers electronically alter instrumental sounds, springfloors lift the dancer higher and farther, and word processors cut an editor's work in half. These advances facilitate the artist's ability to create or perform; 7 they aid the artist. However, with the recent evolution of colorization, 8 technology has infringed upon the artist's creative intent and control.9 Now, computers can paint color into black and white motion pictures. This advance differs significantly from the former examples. Where these other advances may bolster or facilitate an artist's intent, the colorization process alters black and white films that were intended to remain colorless. -
CN D CARAVANE MIDWEST Chicago & Milwaukee 24 > 30 Oct.19
CN D CARAVANE MIDWEST Chicago & Milwaukee 24 > 30 Oct.19 Performances Screenings Master classes Conversations Caravane, a mobile CN D Caravane, a collaborative project, was created by the Centre national de la danse team. Caravane is a mobile CN D that works with lo- cal organisations and audiences in France and abroad. Caravane enables the CN D to travel to the French regions and abroad, enabling it to make its various resources – patrimonial, pedagogical, artistic and professional – avai- lable to local audiences and organisations. After Porto, Guanajuato, Mexico, Le Moule (Guadeloupe), Aurillac, Pau, Madrid, Taipei, Caravane will tour in the US. Conceived with the cultural services of the ge- neral French consulate in Chicago, it will invest several cultural sites in the city. This Caravane is part of a special European moment, Between Gestures, in collaboration with the Goethe Institute, PACT Zollverein in Essen, to offer a broad programme of shows, performances, workshops, encounters and projections, aimed at students, young artists, professionals in the Midwest and the general public. The Caravane will start in Chicago and then will continue in Milwaukee with Noé Soulier, Trajal Harrell, Pol Pi, Ola Maciejewska, Elisabeth Lebovici. CN D Centre National de la Danse Created in 1998 at the instigation of the French Ministère de la Culture, it is a unique place that brings together all of the resources connected with dance. The CN D is unique and original in that it brings together in one establishment a broad range of activities for professionals, from dance training to artistic support and career advice and assistance, while also appealing to the general public. -
Samantha Burton Department of Art History and Communication Studies
RE-MAPPING MODERNITY: THE SITES AND SIGHTS OF HELEN McNICOLL (1879-1915) Samantha Burton Department of Art History and Communication Studies McGill University, Montreal, Quebec June 2005 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts Copyright © Samantha Burton, 2005 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-22588-2 Our file Notre référence ISBN: 978-0-494-22588-2 NOTICE: AVIS: The author has granted a non L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation.