DOCSLIB.ORG

Bill VAZAN « Soundings » De La Planète Bleue Soundings from the Water Planet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bill VAZAN « Soundings » De La Planète Bleue Soundings from the Water Planet Bill VAZAN « Soundings » de la planète bleue Soundings from the Water Planet Une exposition itinérante réalisée par le Musée d’art contemporain des Laurentides / A travelling exhibition produced by the Musée d’art contemporain des Laurentides Du 5 mars au 5 avril 2014 / From March 5 to April 5, 2014 Mes compliments et mes remerciements s’adressent à M. Bill Vazan pour la qualité de son travail et pour avoir accepté que l’exposition «Soundings» de la planète bleue / Soundings from the Water Planet soit présentée à la Galerie d’art du Centre culturel de l’Université de Sherbrooke. J’ai la certitude que son art sera apprécié des nombreux visiteurs de la galerie. Du Musée d’art contemporain des Laurentides, mes remer- ciements s’adressent à Mmes Andrée Matte, conservatrice, et Iris Amizlev, commissaire de l’exposition «Soundings» de la planète bleue. De la contribution de l’équipe du Centre culturel, je remercie Bernard Langlois, contremaitre à la direction des opérations, Mario Haché, chef technicien, et son équipe formée d’Emmanuel Foulon, Bruce Giddings, Jean Grondin, Gilles Jean, Marc Longpré et André Morin. À plusieurs reprises, j’ai pu compter sur la collaboration de Cynthia Arsenault, Julie Béchard, Jean-Pierre Couture, Nathalie Cyr, Geneviève Lacombe, Anne-Sophie Laplante, Marie-Josée Malenfant, Sophie Pouliot et Sonya Sheridan. Je les en remercie. L’accueil à la Galerie d’art est de la responsabilité de Joannie Bélanger, Joannie Guimond Villeneuve, Sarah Koenig et Maude Ménard-Labrecque. Je les en remercie ainsi que tout le personnel d’accueil du Centre culturel. J’exprime ma gratitude à M. Mario Trépanier, directeur général du Centre culturel, pour son soutien et son intérêt dans la réalisation des expositions. La Galerie d’art du Centre culturel de l’Université de Sherbrooke ne serait pas exacte- ment celle-là sans son idéal que nous partageons avec lui. Suzanne Pressé Coordonnatrice des expositions et de l’animation En couverture : 3 Bill VAZAN, «Soundings» de la planète bleue / Soundings from the Water Planet (détail), 1964-2014. Techniques multiples. Dimensions variables © Lucien Lisabelle I wish to congratulate and thank Mr. Bill Vazan for the quality of his work and for agreeing to have his exhibition « Soundings » de la planète bleue / Soundings from the Water Planet shown at the Galerie d’art du Centre culturel de l’Université de Sherbrooke. I am convinced his art will be appreciated by the many visitors to the gallery. My thanks also go to Ms Andrée Matte, curator of the Musée d’art contemporain des Laurentides, and Ms Iris Amizlev, curator of the exhibition Soundings from the Water Planet produced by the Museum. I also wish to acknowledge the contribution from the Centre culturel team: Bernard Langlois, foreman in charge of opera- tions, Mario Haché, Head Technician, and his team composed of Emmanuel Foulon, Bruce Giddings, Jean Grondin, Gilles Jean, Marc Longpré, and André Morin. I was often able to rely on the collaboration of Cynthia Arsenault, Julie Béchard, Jean-Pierre Couture, Nathalie Cyr, Geneviève Lacombe, Anne-Sophie Laplante, Marie-Josée Malenfant, Sophie Pouliot, and Sonya Sheridan. My thanks go to them. Visitors at the Galerie d’art are greeted by Joannie Bélanger, Joannie Guimond Villeneuve, Sarah Koenig, and Maude Ménard-Labrecque. I want to thank them as well as the reception staff of the Centre culturel. I wish to express my gratitude to Mr. Mario Trépanier, Director General of the Centre culturel, for his support and his interest in the organization of exhibitions. The Galerie d’art du Centre culturel de l’Université de Sherbrooke would not be exactly as it is without his ideal, which we all share. Suzanne Pressé Exhibition and Animation Coordinator 4 5 Bill VAZAN « Soundings » de la planète bleue « Mes œuvres composées d’éléments naturels intègrent non seulement la terre, mais aussi cet élément dominant qu’est l’eau. Tout comme les hommes sont composés principalement d’eau, à l’instar de la surface de la planète, cet agent est utilisé comme générateur d’énergie dans ces œuvres - véritables témoignages - laissant ainsi des traces visibles de sa fluidité naturelle ». William (Bill) VAZAN Né à Toronto (Ontario) en 1933, William (Bill) VAZAN a étudié les beaux-arts à l’Ontario College of Art de Toronto Bill Vazan, Peche Merle, France, Juillet 1988/ Peche Merle, France, July 1988. et à l’École des beaux-arts de Paris. En 1970, il a obtenu Terre / Earth, 91 × 91 cm un baccalauréat en arts de l’Université Sir George Williams © Serge Clément à Montréal (devenue l’Université Concordia). Depuis 1981, l’artiste enseigne à l’École des arts visuels et médiatiques de l’Université du Québec à Montréal où il transmet à la communauté étudiante sa passion pour les arts dans sa relation à l’environnement et aux sciences. Il est membre de l’Académie royale des arts du Canada depuis 2004 et il a reçu le Prix Paul-Émile-Borduas, en 2010. Bill Vazan est un pilier de l’art visuel au Québec. Figure marquante de l’art conceptuel, du Land Art et du montage photographique, son œuvre multiforme procède d’autant de disciplines que la sculpture, le dessin, la peinture, la perfor- mance et la photographie. Dans tous les cas, l’observation du monde environnant, l’inscription des traces laissées par Bill Vazan, Indigo-Ajmer, Rajasthan, Inde, 1998 / Indigo-Ajmer, Rajasthan, Inde, 1998. l’occupation humaine et les possibilités infinies de nos points Poudre d’indigo / Indigo powder, 91 × 91 cm de vue portés sur le monde sont au cœur de la démarche © Serge Clément de l’artiste. Depuis 1964, « Soundings » de la planète bleue est un projet autobiographique de Vazan. Il s’agit d’une série d’œuvres qui présentent un journal visuel du cadre de vie de l’artiste. Depuis ses premiers voyages à l’étranger au milieu des années 1970, Vazan collectionne, en guise de souvenirs, des matériaux, pour la plupart naturels, de lieux qu’il a visités. En mélangeant les substances, comme les coquillages, le sable, la terre et les cail- loux, dans des pots avec de l’eau et un médium acrylique, il obtient une solution qu’il verse sur du papier épais. « Chaque site a son splash — sa « résonance » de mes navigations sur 6 cette planète des océans. » Vazan élargit la définition de 7 « sounding » (sondage) pour inclure, en plus de l’acte qui Bill Vazan, Tiananmen Square, Beijing, 22 mai 2012 / Tiananmen Square, Beijing, May 22, 2012. consiste à déterminer la profondeur de l’eau, la navigation Terre / Earth, 91 × 91 cm sur la surface de celle-ci. © Serge Clément Voir l’ensemble nous offre une trajectoire des voyages de l’artiste en Afrique, en Asie, en Australie, en Europe, au Moyen Orient et en Amérique du Nord et du Sud. Chaque œuvre est identifiée par un texte manuscrit indiquant le lieu de son origine, tandis que la date de collecte des matériaux se trouve sur le dos du cadre. (Actuellement, il y a 240 Soundings, dont 92 sont exposés ici.) Les œuvres de Vazan font partie d’importante collections particulières et publiques dont le Musée des beaux-arts du Canada (Ottawa), l’Art Gallery of Ontario (Toronto), la Vancouver Art Gallery, le Philadelphia Museum of Art, Bill Vazan, Chichen Itza, Yucatan, Mexique, 4 avril 2007 / le Seoul Olympic Museum of Art, le Musée des beaux-arts Chichen Itza, Yucatan, Mexique, April 4, 2007. de Sherbrooke et l’Université de Sherbrooke. Terre / Earth, 91 × 91 cm © Serge Clément Iris Amizlev Commissaire Bill Vazan, Montjuïc, Barcelone, Espagne, 12 avril 2010 / Montjuïc, Barcelona, Spain, April 12, 2010. Terre / Earth, 91 × 91 cm © Serge Clément 8 9 Bill VAZAN Soundings from the Water Planet My works that are created with natural Viewing the ensemble offers us a trajectory of the artist’s elements integrate not only earth, but also journeys in Africa, Asia, Australia, Europe, the Middle East, the dominant element that is water. Just and North and South America; each work is identified with as human beings are mainly made of water, handwritten text designating the location of its origin, while as is the planet’s surface, this agent is used as energy generator in these works — true the date of the matter’s collection is marked on the back of testimonies — leaving thus visible traces of the frame (currently, there are 240 Soundings, 92 of which its natural fluidity. are exhibited here). William (Bill) VAZAN Vazan’s works can be found in major private and public Born in Toronto, Ontario, in 1933, William (Bill) VAZAN collections, including the National Gallery of Canada studied Fine Arts at the Ontario College of Art in Toronto (Ottawa), the Art Gallery of Ontario (Toronto), the and at the École des beaux-arts in Paris. In 1970, he Vancouver Art Gallery, the Philadelphia Museum of Art, graduated with a B.A. from Sir George Williams University the Seoul Olympic Museum of Art, the Musée des beaux- (now Concordia University) in Montreal. Since 1981, the arts de Sherbrooke and the Université de Sherbrooke. artist teaches at the École des arts visuels et médiatiques of the Université du Québec à Montréal, where he passes Iris Amizlev on to his students his passion for the arts in their relation Curator with the environment and science. Member of the Royal Canadian Academy of Arts since 2004, he received the Paul-Émile-Borduas prize in 2010. Bill Vazan is a mainstay of the visual arts in Quebec. Outstanding figure of conceptual art, land art and photo- montage, he produces a protean oeuvre through many disciplines: sculpture, drawing, painting, performance art, and photography. Each and every time, the observation of the world around him, the traces of human settlement and the infinite possi-bilities of our points of view about the world are central to the artist’s approach.
Load more

Recommended publications
  • Suzy Lake Rank: Professor Office: 409 Zavitz Hall E-Mail: [email protected] [email protected] Website: Education: 1980 M.F.A
    SUZY LAKE Name: Suzy Lake Rank: Professor Office: 409 Zavitz Hall E-mail: [email protected] [email protected] Website: www.suzylake.ca Education: 1980 M.F.A. Fine Art Concordia University 1966-68 Fine Art Wayne State University 1965-1966 Fine Art Western Michigan University SOLO EXHIBITIONS 2007 Beauty at the End of the Season, Paul Petro Contemporary Art, Toronto, Ont. 2006 Concealed, Revealed; Hallwalls Gallery; Buffalo New, York On Stage 1972-75, Paul Petro Contemporary Art, Toronto, Ont. 2005 Visages de Suzy Lake, “L’Ete Photographic de Lectoure”, Le Centre de Photographie de Lectoure; Lectoure, France 2004 Whatcha Really Really Want.... (Canadian Idol), Paul Petro Contemporary Art, Toronto, Ont. Chrysalis; A 10 -Year Survey, Hart House, University of Toronto; Toronto, Ontario 2003 Who Pulls the Strings; Paul Petro Contemporary Art, Toronto, Ont. 2002 Attitudes et Comportements, Musee Regionale du Rimouski, Rimouski, Quebec Beauty at a Proper Distance, Gallery 44 (vitrines), Toronto, Ontario Beauty, Paul Petro Contemporary Art, Toronto 2000 Fascia, Galerie Trois Points; Montreal, Quebec 1999 Macdonald Stewart Art Centre; Guelph. Ontario Fascia; Paul Petro Contemporary Art; Toronto 1997 Re-Reading Recovery, (Mois de la Photo), Paul Petro Contemporary Art; Montreal, Quebec Too Many Stones, Mount St. Vincent Univ. Gallery; Halifax, Nova Scotia Chrysalis, (Contact '97) Paul Petro Contemporary Art; Toronto, Ontario 1996 Too Many Stones, Woodstock Regional Art Gallery; Woodstock, Ontario 1995 Authority is an Attribute... part 2, Art Gallery of Peterborough; Peterborough, Ontario 1994 Desire and the Landscape, Emma Ciotti Gallery; Iroquois Falls, Ontario 1993 A Point of Reference (retrospective tour), Canadian Museum of Contemporary Photography; Ottawa, Ontario: Surrey Art Gallery; North Vancouver, British Columbia; Surrey Art Gallery; North Vancouver, British Columbia; Glenbow Art Gallery; Calgary, Alberta; London Regional Art Gallery; London, Ontario 1991 Authority is an Attribute..
    [Show full text]
  • The Notre-Dame Street Overpass Sidewalk: from Bill Vazan's
    Palimpsest III: The Dialectics of Montreal’s Public Spaces Department of Art History, Concordia University The Notre-Dame Street Overpass Sidewalk: From Bill Vazan’s Highway #37 to Today Philippe Guillaume September 2010 Cynthia I. Hammond, and Anja Bock, eds. Palimpsest III: The Dialectics of Montreal’s Public Spaces An already-made geography sets the stage, while the willful making of history dictates the action …1 The sidewalk plays a fundamental role as a place of transit in the modern city, as well as being a space of sensorial experience. A specific walkway can represent aesthetic change across generations while, nonetheless, eliciting sensory experiences where the pedestrian’s feeling of safety is axiomatic. Such a space is seen in a photograph that is part of Montreal artist Bill Vazan’s conceptual project Highway #37, created in 1970. Detail 151 (Fig. 1), a black and white photograph, illustrates an eastward view of Notre-Dame Street taken from the southern sidewalk along the Notre-Dame Street overpass, a viaduct that spans over the old Dalhousie and Viger stations rail-yards. This is a historic locus linked to travel: this epic street exits Old Montreal towards the eastern part of the island. On today’s maps it spans between Berry and St-Christophe streets. When viewed through Vazan’s framing, this cityscape still serves as a striking palimpsest of the city’s modernist past, where, formally, the sidewalk encompasses all the elements associated with a safe space for pedestrian travel. A comparative view of the landscape seen in Vazan’s photograph between the time it was made and the present further enriches the narrative of this place, which nowadays sits on the cusp of the city’s salient tourist space, Old Montreal.
    [Show full text]
  • Full Text (PDF)
    Document generated on 09/24/2021 10:42 p.m. Vie des Arts English reports Volume 45, Number 184, Fall 2001 URI: https://id.erudit.org/iderudit/52969ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this review (2001). Review of [English reports]. Vie des Arts, 45(184), 70–76. Tous droits réservés © La Société La Vie des Arts, 2001 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ un gallery space. One is covered with a 1960s survive only in the form of camouflaged coloured cloth with documents, photographs, books, films \- artificial greenery on it and the other and videos due to their ephemeral O has a blue willow patterned cloth conception, he has also created topped with fragments of willow installations over the decades on the QJ ware pottery. Again there is an inter­ landscapes of world's five conti­ i_ play between two realities that sym­ nents. Early in his career, Bill Vazan bolizes the ongoing struggle between commented on his early use of grids, man and nature. Nature is represent­ scanning and framing techniques in un ed by the artificial greenery and man photography stating: "They are two- by the pottery shards.
    [Show full text]
  • Bill Vazan Exploring the Limits of Sculpture James D
    Document généré le 30 sept. 2021 18:57 Espace Sculpture Bill Vazan Exploring The Limits of Sculpture James D. Campbell Un certain Montréal sculpté (suite et fin) Montreal Sculpture: From a Certain Perspective (continuation and conclusion) Numéro 21, automne 1992 URI : https://id.erudit.org/iderudit/10109ac Aller au sommaire du numéro Éditeur(s) Le Centre de diffusion 3D ISSN 0821-9222 (imprimé) 1923-2551 (numérique) Découvrir la revue Citer cet article Campbell, J. D. (1992). Bill Vazan: Exploring The Limits of Sculpture. Espace Sculpture, (21), 42–47. Tous droits réservés © Le Centre de diffusion 3D, 1992 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ ^f- 'JMStO/J Exploring the Limits of Sculpture James D. Campbell ver the course of more than thirty years, oriented artist now working in Canada, his oeuvre has always revealed a highly sophisticated social Bill Vazan, Observed, 1990-1992. (Detail). OMontreal-based artist Bill Vazan has estab­ 15 engraved granites. 1,5 x 6 x 4,8 m. lished himself as an important practitioner of con­ and environmental conscience and has demon­ Installation in Agnes Etherington Gallery, ceptual, photographic and land-oriented art.
    [Show full text]
  • Tangible and Intangible Lines Henry Lehmann
    Document généré le 25 sept. 2021 20:44 Ciel variable Art, photo, médias, culture Tangible and Intangible Lines Henry Lehmann Cartographie Résumé de l'article Mapping Henry Lehmann aborde la production conceptuelle de Bill Vazan en Numéro 76, juin 2007 considérant Worldline comme une oeuvre incontournable. Évoquant les pierres taillées de l’artiste, l’auteur définit la ligne comme étant un élément URI : https://id.erudit.org/iderudit/20724ac central de son travail. Tracée, brûlée ou sculptée, la ligne parcourt et unit tant les oeuvres conceptuelles de Vazan que les objets d’art qu’il construit. Aller au sommaire du numéro Lehmann y voit des références à l’information, à une ligne de pensée, à un geste artistique, au temps, à une forme de décoration, à un outil scientifique, à une tradition artisanale et même à un symbole platonique. Éditeur(s) Les Productions Ciel variable ISSN 1711-7682 (imprimé) 1923-8932 (numérique) Découvrir la revue Citer cet article Lehmann, H. (2007). Tangible and Intangible Lines. Ciel variable, (76), 20–23. Tous droits réservés © Les Productions Ciel variable, 2007 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche.
    [Show full text]
  • PA HALL Prayer Is the Study of Art
    W HIPPIN THE T PA HALL Prayer is the study of art. Praise is the practice of art. - William Blake, The Laocoon Callanish Stones - Main Circle I was stone, mysterious stone; my breach was a violent one, my birth like a wounding estrangement, but now I should like to return to that certainty, to the peace of the center, the matrix of mothering. stone. - Pablo Neruda, SkystonesXX/II cover: The Wounded Cross MEMORIALUNIVERSITY ART GALLERY ST. JOHN'S NEWFOUNDLAND1987 INTRODUCTION Pam Hall's intention, in her Worshipping the Stone series, is to make monuments - in a time and society in which we seem to believe we need none . In making these works she draws not only on her own skills and imagination but on a personal enduring response to the earliest monuments we know. the great prehistoric stone sites such as Comae in Brittany, Avebury, Dartmoor, and , in particu lar Callanish in Scotland . Hall shares with many artists this reference to prehistory, this working from forms of the past to g ive meaning to the present. American art historian Lucy Lippard has described anc ient sites, symbols and artifacts as a major source of Ideas for American artists of the past two decades . She sees this in part as breaking away from a reductive art focused on purely formal elements and. in larger part , as an effort to restore to art a function beyond decoration, to give it an integral role in daily life as a link between humans and their environment, a concrete expression of some general human experience .1 Such contemporary art is extremely diverse, ranging from ritualistic performance pieces and body works such as those of Ana Mendieta , through sculpture, to giant-scale earthworks by artists like Dennis Oppenheim and Robert Smithson.
    [Show full text]
  • Concordia University Magazine Spring 2016 | 3 the TD Insurance Meloche Monnex Program, in 2014-15, Concordia Raised More Than $14.5 Million Advancing Digital Reality
    SPRING 2016 SYNTHETIC SOLUTIONS FOR REAL-LIFE MYSTERIES Research at Concordia’s Centre for Applied Synthetic Biology explores ways to artificially create environmentally friendly biofuels, disease-fighting drugs and more UNIVERSITY MAGAZINE REASONS TO GIVE > SEEING DOUBLE > DIGITAL U T16-31456-ConMag Spring 2016-FINAL.indd 1 2016-04-21 5:06 PM ChartChart the the best best course course for for your your life life in thein the years years ahead. ahead. StartStart with with preferred preferred insurance insurance rates rates. SupportingSupporting you... you... TakeTake advantage advantage of of andand Concordia Concordia University. University. youryour group group privileges: privileges: Your needsYour needs will change will change as your as lifeyour and life and careercareer evolve. evolve. As a ConcordiaAs a Concordia University University * * YouYou could could save save $415 $415 graduategraduate or student, or student, you have you accesshave access to to or moreor more when when you you the TDthe Insurance TD Insurance Meloche Meloche Monnex Monnex program, program, combinecombine your your home home and and whichwhich offers offers preferred preferred insurance insurance rates, rates, autoauto insurance insurance with with us. us. other otherdiscounts discounts and great and greatprotection, protection, that isthat easily is easilyadapted adapted to your to changingyour changing needs. needs. Plus, everyPlus, everyyear ouryear program our program contributes contributes to to supportingsupporting your alumniyour alumni association, association, so it’s so a greatit’s a great way toway save to andsave show and showyou care you atcare the at same the sametime. time. Get aGet quote a quote today! today! HomeHome and auto and insurance auto insurance program program recommended recommended by by Our extendedOur extended business business hours hours make make it easy.
    [Show full text]
  • Handling Conceptual Art
    Concordia University Centre for Sensory Studies Occasional Papers Handling Conceptual Art Charles Gagnon Concordia University In 2006 I visited an exhibition titled Art Metropole: The Top 100, at the National Gallery in Ottawa. It consisted of objects collected by General Idea, a Canadian art collective that lived and produced art together between 1969 and 1994. Art Metropole is a Toronto gallery and distribution center for artists’ work, initially established by General Idea in 1974. The exhibition consisted of books, postcards, vinyl records, videos, magazines, posters and small art objects, which have come to be known as multiples, as they are made in small editions. This collection, upon viewing, looked a lot like the stuff I collected; to someone who would not recognize the names of the artists, it might look like the stuff that simply just accumulates in one’s home or office. Here were some items that are now considered part of art history; things that we read about, or have seen reproduced in publications. These artifacts, now archived as part of the Art Metropole Collection at the National Gallery, had once been the private collection of Felix Partz, Jorge Zontal and AA Bronson, the three individuals who made up General Idea. For the collectors, these objects were more than just examples of Conceptual art; they were full of memories. In the exhibition catalogue, each item on display is accompanied by a small descriptive text, written by the curators and librarian of the Gallery, and by AA Bronson, the last living member of General Idea. Bronson offers a series of small texts about a few selected items, recounting how specific items came to be part of the collection or how such and such artist became friend with General Idea.
    [Show full text]
  • Decolonizing the Story of Art in Canada: a Storied Approach to Art for an Intercultural, More-Than-Human World
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2014-08-15 Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World Patenaude, Troy Robert Charles Patenaude, T. R. (2014). Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/25532 http://hdl.handle.net/11023/1684 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World by Troy Patenaude A THESIS SUBMITTED TO THE FACULTY OF ARTS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF COMMUNICATION AND CULTURE CALGARY, ALBERTA AUGUST, 2014 © Troy Patenaude 2014 ii Abstract The master narrative dominating the field of Canadian art history has continually privileged Eurocentric, colonialist ways of knowing. Many art historians and critics have called for a new story, but nothing to date has been proposed. This dissertation marks the first attempt at re-envisioning the story of art in Canada.
    [Show full text]
  • Bill Vazan. Xxth Century
    EXHIBITION BILL VAZAN XXth CENTURY 7 NOVEMBER 2013 TO 4 MAY 2014 Québec City, Wednesday 6 November 2013 ¤ To mark the acquisition in the fall of 2012 of the work XXth Century by Bill Vazan and on the occasion of the exhibition Unfaithful Mornings: The Art of Protocols, the Musée national des beaux-arts du Québec is proud to present this magisterial work, made up of ten large-format paintings and never shown in public in its entirety since it was created in 1975. Visitors have until 4 May 2014, in gallery 1 of the Gérard Morisset pavilion, to soak up at their leisure this remarkable work by Vazan, a true pillar of Canadian contemporary art, and perhaps to reflect on the notion of time. Behind XXth Century An adept of practices involving systematic and recurrent methods, especially as a way of echoing the principles of conceptual art, Vazan inscribed on the canvas every date in the twentieth century using an ink stamp. Patiently and systematically, for two years, he orchestrated an impressive temporal contraction, along with an awareness of the surface captured on the canvases by transposing the century in this manner. This imposing work thus gives a new measure of time, at once rigorous and spectacular. We see file past thousands of days on the same surface. Through changes of colour, Vazan gives the century a rhythm and provides our eye with an adventure. Vazan’s attempt to circumscribe this hundred-year period, having meaning only if carried out to its conclusion, contributes to the encounter of two temporalities: the long time of the century and the shortened time of the two years it took to create the work.
    [Show full text]
  • Download CV Here (Pdf
    Ottawa, ON Canada ANDREW WRIGHT www.andrewwright.ca [email protected] SOLO EXHIBITIONS (selected) 2020 Filmtrack 4 A Sound: Suite Kurelek de Fiala | Karsh-Masson Gallery, Ottawa, Canada 2020 APEX: Interloper | Corridor 45 | 74, Rideau LRT, Ottawa, Canada 2016 Data Trespass | London Gallery West, London, UK, Curated by Michael Maziere. 2015 Pretty Lofty & Heavy All At Once | OAG, Cat. Andrew Wright, Carol Payne and Randy Innes Andrew Wright: VIZ. | Patrick Mikhail Gallery, Montréal. Andrew Wright: Untitled Photographic Pictures | Patrick Mikhail Gallery, Montréal. 2014 Andrew Wright: Selected Diptychs & Multiples | Thames Art Gallery, Canada 2013 Andrew Wright: Penumbra | Art Museum at the University of Toronto (CONTACT Primary Exhibition). Text by Mark A. Cheetham. Andrew Wright: Cloud Images | Winchester Galleries, Victoria B.C., Canada 2011 Coronae | Patrick Mikhail Gallery, Ottawa Coronae | Peak Gallery, Toronto (CONTACT feature exhibition. Winner Gattuso Prize) 2009 Still Water | Peak Gallery, Toronto (CONTACT feature exhibition) 2008 Survey | Prefix Institute for Contemporary Art. Curated and essay by Chantal Rousseau. 2007 Falling Water | Prefix Photo 16 (Commissioned series for Prefix Photo Magazine) Water’s Edge | Peak Gallery, Toronto (CONTACT feature exhibition) Passages | Cambridge Galleries, Andrew Wright & Lisa Klapstock, Curated by Ivan Jurakic. Blind Man's Bluff | Robert McLaughlin Gallery, Oshawa, Canada 2005 Photographs | Peak Gallery, Toronto 2004 Blind Man's Bluff | Art Gallery of Calgary, Canada University of California, Berkeley | Worth Ryder Gallery, San Francisco, CA Skies | Polygon Gallery, Vancouver, Canada. Curated by Helga Pakesaar. Blind Man's Bluff | Art Gallery of Southwestern Manitoba, Canada Branching Out: Sylvia Safdie and Andrew Wright (two person show) | Roam Contemporary, New York Blind Man's Bluff | Circulated by KW|AG.
    [Show full text]
  • Description & Finding Aid: Suzy Lake Fonds CA
    E.P. Taylor Research Library & Archives Description & Finding Aid: Suzy Lake Fonds CA OTAG SC122 Prepared by Amy Marshall Furness, 2011 317 Dundas Street West, Toronto, Ontario, Canada M5T 1G4 Reference Desk: 416-979-6642 www.ago.net/research-library-archives Suzy Lake fonds Suzy Lake fonds Dates of creation: 1972-2010 Extent: 1938 photographs 183 cm of textual records 1 photograph album 1 sketchbook Biographical sketch: Suzy Lake (born Detroit, Michigan, 1947) is a visual artist and educator whose work uses photo- conceptual, performance and video strategies to examine and critique ideals of the body, gender and identity. She immigrated to Montreal in 1968, following the 1967 Detroit riots, and became a founding member of the artist-run centre Véhicule. Lake’s career has been based in Toronto since the late 1970s. She has taught at the University of Guelph since 1988. Her work is in numerous major public collections including those of the National Gallery of Canada, Art Gallery of Ontario, Winnipeg Art Gallery and Montreal Museum of Fine Art. Scope and content: Fonds consists of Suzy Lake’s documentation of her artistic projects and exhibitions, records of her teaching activity at the University of Guelph, trial proofs used in the production of photo murals, and an example of early experimental work by the artist. Fonds also includes Lake’s grandfather’s sketchbook from his studies at the Detroit Institute of Arts. Contains series: 1. Project and exhibition records 2. Teaching records 3. Trial proofs 4. Experimental work 5. Arthur George Marx sketchbook Custodial history: The materials now constituting the Suzy Lake fonds were transferred directly to the Art Gallery of Ontario in 2009 and 2011.
    [Show full text]