DOCSLIB.ORG

THE UNIVERSITY of BRITISH COLUMBIA Curriculum Vitae For

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE UNIVERSITY of BRITISH COLUMBIA Curriculum Vitae For Page 1/33 THE UNIVERSITY OF BRITISH COLUMBIA Curriculum Vitae for Faculty Members // Selected Entries for AHVA Website Date: August 30, 2016 Initials: 1. SURNAME: Zeigler FIRST NAME: Barbara MIDDLE NAME(S): Ann 2. DEPARTMENT/SCHOOL: Art History, Visual Art and Theory 3. FACULTY: Arts 4. PRESENT RANK: Associate Professor SINCE: 1986 5. POST-SECONDARY EDUCATION University or Institution Degree Subject Area Dates University of Illinois Urbana-Champaign MFA Printmaking 1975 University of Illinois Urbana-Champaign BFA Painting 1973 Akademie der bildenden Künste (Art Academy of Study Abroad Mixed Media & Theory 1969-70; 1971-72 Munich; Munich, Germany) Universität München (University of Munich; Study Abroad Art History & Language Fall 1972 Munich, Germany) 6. EMPLOYMENT RECORD (a) Prior to coming to U.B.C. University, Company or Organization Rank or Title Dates Department of Art, Queen’s University Assistant Professor (Sabbatical Rep.) 1978-79 Nova Scotia College of Art and Design Instructor, Summer 1978 Department of Art, University of Alberta Assistant Professor, Spring Session 1977 Department of Art, University of Alberta Assistant Professor, Summer Session 1976 Department of Art and Design, University of Alberta Instructor (Full-time Sessional) 1975-78 University of Illinois Urbana-Champaign, Illinois Graduate Teaching Assistant 1974-75 Page 2/33 Rank or Title Dates Associate Professor 1986 Assistant Professor 1979 8. TEACHING (a) Areas of special interest and accomplishments Primary areas of instruction last five years: printmaking (with digital imaging), drawing, open studio. Additional prior areas of instruction: photography, painting, foundation, studio theory, and digital imaging. Traditional and non-traditional contexts and approaches to the producton of art are explored within the undergraduate studio-based classes I teach. Visual explorations and the reading of critical texts are aimed at broadening the scope of the artmaking process to include current social and political realities. Print Media courses introduce students to multidisciplinary contemporary printmaking practice and theoretical discussion. Drawing courses combine the analysis of current drawing texts, with material practice exploring drawing as a process of visual thinking. Since the early 90s, within an increasingly interdisciplinary and collaborative framework, a range of course projects have linked with other UBC departments and community groups outside the university. At the graduate level, I regularly supervise MFA students working in a variety of media within our rigorous two- year MFA in Visual Art Program that fosuses on practice and theory, within the intellectual environment of the university and local and international art communities. (e) Visiting Lecturer (indicate university/organization and dates) * 2014 Visiting Artist Lecture, Metropolitan State University, Denver, Colorado, USA, Feb. 26. 2013 Visiting Artist Lecture, Trinity Western University, Langley, B.C., Jan. 30. * 2010 Visiting Artist Lecture, University of Alberta, Edmonton, Alberta, Feb.25. * 2007 Visiting Artist Lecture, Kyungwon University, Seoul, South Korea, Nov. 27 * 2001 Visiting Artist Lecture, Florida International University, Miami, Florida, Nov. 1. * 2000 Visiting Artist Lecture, Alberta College of Art, Calgary, Alberta, Apr. 4-5. Lecture and student studio critiques. 1996 Visiting Artist Lecture, Emily Carr Institute of Art and Design (now ECUAD), Vancouver, B.C., Apr. 2. * 1995 Visiting Artist Lecture, University of Alberta, Edmonton, Alberta, Jan. 26. 1991 Visiting Artist Lecture, Cariboo College (now Thompson Rivers University), Kamloops, B.C., Feb. 19. 1989 Visiting Artist Lecture, Emily Carr College of Art and Design (now ECUAD), Vancouver, B.C., Feb. 24. * 1986 Visiting Artist Lecture, Dundas Valley School of Art, Dundas, Ontario, Oct. 17. * 1986 Visiting Artist Lecture, McMaster University, Hamilton, Ontario, Oct. 16. * 1986 Visiting Artist Lecture, University of Alberta, Edmonton, Alberta, Feb. 26-28. * 1985 Visiting Artist Lecture, University of Victoria, Victoria, B.C., Mar. 21. Page 3/33 1981 Visiting Artist Lecture, Emily Carr College of Art, Vancouver, B.C., Apr. 24-25. 1980 Visiting Artist Lecture, Emily Carr College of Art, Vancouver, B.C., Apr. 16. (f) Other (visiting lectureships/residencies) * 2010 Artist in Residence, University of Alberta, Edmonton, Alberta, Feb. 17-28. ** 1992 Visiting Professor, Intersession, University of Alberta, Edmonton, Alberta, May 4 - June 12, I conducted a special studio course in printmaking with beginner through advanced-level students in which, in conjunction with studio practice, we reviewed texts focused on the relationship between concepts of nature and culture. I also curated an exhibition of prints and print installations produced in this course titled Repatterning/Replenishing at the University of Alberta Fine Arts Gallery in June 1992. 9. SCHOLARLY AND PROFESSIONAL ACTIVITIES (a) Areas of special interest and accomplishments My most significant research contributions are my artwork and more recently my writing, through which I have endeavored to (1) expand the boundaries of print practice and critical discourse, my main area of specialization, (2) further the understanding of the ever-shifting relations between ecosystems and human cultural structures, and (3) incorporate community-based and collaborative outreach. Since the 70s, I have been very actively contributing in the following ways on local, national, and international levels to research in the theory and practice of multi-disciplinary printmaking: producing and exhibiting artwork; writing texts that have appeared in the major international conference proceedings in the field of printmaking; contributing to international invitational portfolio projects; holding membership on advisory boards of organizations with a printmaking mandate; and through my teaching. (b) Research, teaching, and learning or equivalent grants (indicate under COMP whether grants were obtained competitively (C) or non-competitively (NC). Granting Subject COMP $ Total Year Principal Co- Agency Investigator Investigator UBC Salary Time and Transformation C $8,000 2016-17 X Research Grant and The Salmon Project (non-study leave) ARTS International IMPACT 9, China C $2,000 2015-16 X Travel Grant Academy of Art in Hangzhou UBC Salary Ritual and Change and C $10,000 2015-16 X Research Grant Perception and (non-study leave) Deception: The Salmon Project UBC Study Leave Re/Presenting C $10,000 2014 X Research Grant Salmon and Mindless Rituals Page 4/33 Granting Subject COMP $ Total Year Principal Co- Agency Investigator Investigator AURA (Arts Ritual and Change C $3,000 2014 X Undergraduate Research Award) ARTS / SSHRC Support to revise 4A C $2,000 2013 X Reapplication Research Insight Grant Award ARTS Workshop & Printmaking: Paradigm C $1,000 2013 X Visiting Speaker Shifts in Contemporary Grant Print Praxis (lecture, seminar and performance work) ARTS International IMPACT 7, Monash C $1,500 2011 X Travel Grant Univ., Australia ARTS International IMPACT 6, Univ. of the C $1,500 2009 X Travel Grant West of England ARTS / SSHRC Past Desire Catches the C $7,000 2009-11 X Research Grant Cloaked Present UBC Humanities Hidden Sites C $6,000 2005-07 X and Social Sciences Research Large Grant UBC Study Leave (in conjuntion with C $8,000 2005 X Research Grant Habitat in Crisis, and other research) ARTS International IMPACT 4 Conference, C $1,781 2005 X Travel Grant Berlin, Germany and Poznan, Poland Dean of Arts Print equipment (digital C $19,700 2004-05 X Academic upgrading) Equipment Fund UBC Humanities Habitat in Crisis C $6,800 2004-05 X and Social Sciences Research Large Grant Page 5/33 Granting Subject COMP $ Total Year Principal Co- Agency Investigator Investigator ARTS / SSHRC Support to revise 4A C $4,000 2004 X Reapplication Research/Creation Grant Award UBC TLEF Grant Integration of Digital into C $5,000 2003-04 X Print Media: Student Assistants Dean of Arts Print Equipment and C $42,000 2002-03 X Academic Facility Upgrade Equipment Fund ARTS International UAAC Conference C $663 2002 X Travel Grant Calgary UBC Humanities Ruptures at Water's C $7,000 2002-03 & X and Social Edge 2003-04 Sciences Research Large Grant UBC Teaching and Integration of Digital Into C $36,140 2002-03 X Learning Print Media: Resolving Enhancement Output Initiating Web Fund Grant Link IT Fund Integration of Computer C $3,290 2000-01 X Technology into Printmaking Practice UBC Study Leave Millennium Mural C $2,600 2000 X Research Grant FWI-4 Computer equipment C $1,000 2000 X UBC Humanities Fragile Ecologies: C $4,931 1999-01 X and Social Vancouver Body Sciences Research Project Grant City of Richmond Millennium Mural C $4,600. 1999-00 X Public Art Grant FWI-3 Computer equipment C $500 1999 X Page 6/33 Granting Subject COMP $ Total Year Principal Co- Agency Investigator Investigator ARTS Special Integration of Computer C $27,000 1999 X Fund Equipment Technology into Grant Printmaking Practice ARTS Special Integration of Computer C $27,000 1999 X Fund Equipment Technology into Grant Printmaking Practice UBC Salary In conjunction with C $5,200 1996-97 X Research Grant Earthmakers Part III (non-study leave) Faculty Work- Computer equipment C $1,500 1996 X station Initiative #1 UBC Humanities Earthmakers Part III: C $4964 1995-96 and Social Printworks Sciences Research Grant UBC Humanities Earthmakers Part II: A C $4,674 1993-94 X and Social Visual Exploration Sciences Research Grant UBC Study Leave In conjunction
Load more

Recommended publications
  • Abbas Akhavan B. 1977, Tehran, Iran Lives and Works in Montreal, Canada
    Abbas Akhavan b. 1977, Tehran, Iran Lives and works in Montreal, Canada Education 2006 Master of Fine Arts, University of British Columbia, Vancouver, Canada 2004 Bachelor of Fine Arts, Concordia University, Montreal, Canada Selected Solo Exhibitions 2021 Chisenhale Gallery, London, UK Mount Stuart House, Isle of Bute, Scotland 2019 They asked the fox, “Who is your witness?” He said, “My tail.”, Catriona Jeffries, Vancouver script for an island, Fogo Island Gallery, Fogo Island, Canada cast for a folly, CCA Wattis Institute for Contemporary Arts, San Francisco, USA 2018 Folly, Vie d’ange, Montreal, Canada Variations on a Landscape, The Power Plant Contemporary Art Gallery, Toronto, Canada recently, The Third Line, Dubai, UAE 2017 Museum Villa Stuck, Munich, Germany variations on a garden, Douglas Hyde Gallery, Dublin, Ireland They hit a tree with an axe, SALT Galata, Istanbul, Turkey variations on a garden, DRAF Studio, David Roberts Art Foundation, London, UK 2016 Neighbours, with Marina Roy, Dunlop Art Gallery, Regina, Canada Singing Softly When No One’s Around, Art Gallery of Ontario, Toronto, Canada KIDS CATS AND 1 DOG, FLORA ars+natura, Bogotá, Colombia 2015 variations on a garden, Mercer Union, Toronto, Canada Study for a Curtain, The Third Line, Dubai, United Arab Emirates Artspeak, Vancouver, Canada 2013 Study for a Glasshouse, Peel Art Gallery, Brampton, Canada Galeri Manâ, Istanbul, Turkey green house, Western Front, Vancouver, Canada 2012 Study for a Garden, Delfina Foundation, London, UK Fire/Fire, with Marina Roy, Centre A
    [Show full text]
  • Uaac-Aauc Conference 2014
    UAAC-AAUC CONFERENCE 2014 October 23 to October 26 OCAD University www.uaac-aauc.com Toronto, Canada 1 Bienvenue au congrès! Au nom du conseil d’administration de l’Association d’art des universités du Canada, je souhaite la bienvenue à tous les participants au congrès 2014 de Toronto. C’est toujours un plaisir pour l’Association de venir à Toronto, mais cette année, nous sommes particulièrement heureux d’être accueillis par l’Université OCAD, un établissement jouissant d’une longue et brillante feuille de route en ce qui a trait à la production de certains des plus importants artistes du Canada. J’aimerais remercier l’Université OCAD et sa présidente, Sara Diamond, pour le parrainage de cette conférence. Des remerciements particuliers vont aux coprésidents du comité d’organisation sur place, Charles Reeve et Caroline Langill, ainsi qu’aux membres de leur équipe, Claudette Lauzon, Keith Bresnahan, Anda Kubis, Adam Tindale, Audrey Hudson, Jessica Wyman, Laragh Halldorson et Sarah McLean Knapp. Le programme du congrès de cette année s’annonce très excitant—et rempli! Nous essayons une nouveauté cette année, une journée supplémentaire dédiée au perfectionnement professionnel et à des séances pédagogiques. En tant qu’Association d’art des universités du Canada, nous avons une responsabilité particulière à l’égard du perfectionnement professionnel de nos étudiants aux cycles supérieurs. Comme les emplois traditionnels en enseignement et dans les musées se raréfient, il nous faut aider nos étudiants à trouver des carrières intéressantes, tant au sein des universités qu’à l’extérieur de celles-ci. Je vous encourage à venir écouter notre conférencière Jennifer Polk, du site From PhD to Life, parler de ces possibilités dimanche matin à 9 h 30, et à participer aux tables rondes sur le perfectionnement professionnel et pédagogique qui suivront.
    [Show full text]
  • Winter 2016 — Kyoto Edition
    WINTER 2016 — KYOTO EDITION featured artist: yuri shashiki society of northern alberta print-artists 10123–121 Street, Edmonton, Alberta, Canada, t5n 3w9 780.423.1492 | [email protected] | snapartists.com 2016 BOARD OF DIRECTORS message from the [email protected] executive director president Brenda Malkinson Welcome to the winter edition of SNAPline, a new look, a new format so many thanks are owed to Sergio Serrano vice president (shared) Megan Bertagnolli and the entire SNAPline committee for their vision and work toward this beautiful publication. In October myself vice president (shared) and 18 other Canadian artists met in Kyoto and celebrat- Mark Dutton ed the opening of an international exhibition of prints at treasurer the Kyoto Municipal Museum and participated in a 2 day Elliot Kerr symposium along with many artists from the Kyoto region. secretary Liz Ingram and I have been working on the coordination of Marian Switzer this exhibition, driven my Akira Kurosaki, chairman of the directors Kyoto Print Exhibition Executive Committee, for close to 3 Andrew Benson years now. In the following pages our contributors hope to James Boychuk-Hunter capture and decipher the experience of travelling to Kyoto Emilienne Gervais for this sort of cultural exchange. In the spirit of cultural Ashna Jacob Ferdinand Langit exchange we also wanted to bring a small part of Kyoto Alex Linfield print culture home to our readers and SNAP Sponsor Mem- Laura Ritchie bers, and with the invaluable help of Atsuhiko Musashi, Matt Whitson we were able to commission a limited edition of prints by publications committee artist Yuri Shashiki & we couldn’t be Stephanie Bailey more delighted with the results of Megan Bertagnolli this collaboration.
    [Show full text]
  • Interwoven (HEADBONES)
    INTERwoven (HEADBONES) April 26 - June 9, 2018 Mark Bovey Guy Langevin Tracy Templeton Sean Caulfield Karen Dugas Walter Jule Liz Ingram + Bernd Hildebrandt Alexandra Haeseker Derek Besant Julie Oakes Davida Kidd Exhibition Catalogue: INTERwoven (Headbones) Copyright © 2018, Headbones Gallery This catalog was created for the exhibition INTERwoven (Headbones) at Headbones Gallery, Vernon, British Columbia, Canada from April 26 - June 9, 2018. Commentary Copyright © 2018 Julie Oakes and Derek Besant Artworks Copyright ©2016-2018 Mark Bovey Guy Langevin Tracy Templeton Sean Caulfield Karen Dugas Walter Jule Liz Ingram + Bernd Hildebrandt Alexandra Haeseker Derek Besant Julie Oakes Davida Kidd Rich Fog Micro Publishing, printed in Vernon, BC, 2016 Photography provided by the artists and Headbones Gallery Printed on the Ricoh SP C830DN All rights reserved. The content of this catalogue is protected by the copyrights of Headbones Gallery. No part of any of the content of this catalogue may be reproduced, distributed, modified, framed, adapted or made available in any form by any photographic, electronic, digital, mechanical, photostat, microfilm, xerography or other means, or incorporated into or used in any information storage and retrieval system, electronic or mechanical, without the prior written permission of the artists and Headbones Gallery. www.headbonesgallery.com ISBN: 978-1-988707-13-6 RICH FOG Micro Publishing INTERwoven (HEADBONES) April 26 - June 9, 2018 Commentary by Julie Oakes & Derek Besant (italics) INTERwoven (Headbones) It is fitting that the exhibition INTERwoven New Canadian Perspectives in Textile and Printmaking - Mark Bovey, Guy Langevin, Tracy Templeton, Sean Caulfield, Karen Dugas, Walter Jule, Liz Ingram + Bernd Hildebrandt, Alexandra Haeseker, Derek Besant, Julie Oakes and Davida Kidd opens with the trees in leafy bloom broadcasting seeds throughout the Okanagan, for art too is cyclical, rejuvenating and refreshing.
    [Show full text]
  • 2015 Accountability Report
    2015 Accountability Report Table of Contents Opening Message 1 Awareness 25 About Calgary Arts Development 2 Governance 26 Community Investment 3 People 29 Engagement 12 Committees, Assessors and Volunteers 31 Spaces 20 2015 Program Partners IBC Sylvie Moquin, Valentia Dimitriou, Caitlin Unrau, Natalka Lewis, Jessalyn Britton and Laura Barcelo perform in Corps Bara Dance Guild’s Cleansing . Photo: Char G Photography, courtesy of Corps Bara Dance Guild The world is changing—our diverse population and the use of digital technologies are bringing new opportunities for cultural expression and creative practices, both as hobbies and as careers. Opening Message We are seeing signs that the arts are becoming more central The arts are becoming more central to the identity of our city to the story Calgary is telling and more central to people’s lives. and to the way we host guests, such as Animate the Avenue, which was a signature Calgary experience provided at the Proof of this can be found in the boom of new cultural Community Foundations of Canada conference hosted by the facilities that opened in 2015, or were close to completion, Calgary Foundation. The Calgary Foundation has identified including the Evergreen Community Space, the Bella Concert the platform of Living a Creative Life as a vital priority in their Hall, the DJD Dance Centre, the Calgary Film Centre, recently renewed focusing document. And Calgary Economic cSPACE King Edward, and the National Music Centre. Proof Development tells us that attracting a creative workforce is can also be found in the multiplicity of ways people are of primary importance to Calgary businesses.
    [Show full text]
  • Undergraduate Awards
    508 Awards and AwardsFinancial and Assistance Financial Assistance 508 UNDERGRADUATE AWARDS UNDERGRADUATE AWARDS General Information and Policies Application forms for Competitive Undergraduate Awards (bursaries and scholarships) are available from the Student Awards and Financial Aid office website by April each year: www.ucalgary.ca/awards/ By completing one Undergraduate Awards application, students will be considered for all awards listed in this section with the exception of those stating “No application required.” Where no application is required, the award is made automatically without need for application. Unless otherwise stated, completed applications for Undergraduate Awards must be submitted to the Student Awards and Financial Aid office on or before the deadline date of June 15. Unless otherwise stated, the following policies are in effect with regard to University administered awards: In order to qualify: • Students must have completed their most recent consecutive Fall and Winter Sessions at the University of Calgary. An exception is made for students enrolled in Co-operative Education/Internship programs or Exchange programs involving only one semester of study. To qualify, courses in an exchange program must be eligible for transfer credit to be considered. • Students entering or continuing in the Bachelor of Education (Master of Teaching Program) are eligible to apply for Undergraduate Awards. • Students entering 5th year of a joint degree program are eligible to apply for Undergraduate Awards and will be considered for awards indicating students entering “Any” year or year 2, 3, or 4 • Students continuing in the Bachelor of Health Sciences program in the Faculty of Medicine are eligible to apply for Undergraduate Awards.
    [Show full text]
  • The Department of Art History, Visual Art & Theory
    Page 1/46 THE UNIVERSITY OF BRITISH COLUMBIA Curriculum Vitae for Faculty Members Date: April 11, 2019 Initials: 1. SURNAME: Zeigler FIRST NAME: Barbara MIDDLE NAME(S): Ann 2. DEPARTMENT/SCHOOL: Art History, Visual Art and Theory 3. FACULTY: Arts 4. PRESENT RANK: Associate Professor SINCE: 1986 5. POST-SECONDARY EDUCATION University or Institution Degree Subject Area Dates University of Illinois Urbana-Champaign MFA Printmaking 1975 University of Illinois Urbana-Champaign BFA Painting 1973 Akademie der bildenden Künste (Art Academy of Study Abroad Mixed Media & Theory 1969-70; 1971-72 Munich; Munich, Germany) Universität München (University of Munich; Study Abroad Art History & Language Fall 1972 Munich, Germany) 6. EMPLOYMENT RECORD (a) Prior to coming to U.B.C. University, Company or Organization Rank or Title Dates Department of Art, Queen’s University Assistant Professor (Sabbatical Rep.) 1978-79 Nova Scotia College of Art and Design Instructor, Summer 1978 Department of Art, University of Alberta Assistant Professor, Spring Session 1977 Department of Art, University of Alberta Assistant Professor, Summer Session 1976 Department of Art and Design, University of Alberta Instructor (Full-time Sessional) 1975-78 University of Illinois Urbana-Champaign, Illinois Graduate Teaching Assistant 1974-75 Page 2/46 (b) At UBC Rank or Title Dates Professor 2018 Associate Professor 1986 Assistant Professor 1979 (c) Date of granting of tenure at U.B.C.: July 1, 1984 7. LEAVES OF ABSENCE University, Company or Organization at which Type of Leave Dates Leave was taken University of British Columbia Study leave July 1 - Dec. 31, 2018 University of British Columbia Study Leave Jan.
    [Show full text]
  • The Skullcracker Suite
    DR JOHN CUSSANS DEPARTMENT: FINE ART REF OUTPUT 2 2014 - 2020 THE SKULLCRACKER SUITE A LONG- TERM INTER- DISCIPLINARY ARTISTIC RESEARCH PROJECT INVESTIGATING PROCESSES OF CULTURAL DECOLONIZATION IN BRITISH COLUMBIA. RESEARCH STATEMENT The Skullcracker Suite is long-term inter-disciplinary artistic research project investigating processes of cultural decolonization in British Columbia. The name is inspired by Hox’hok, the giant cannibal crane of Canadian First Nation legend who cracks the skulls of humans to eat their brains. The project was conceived in the Summer of 2015 during a meeting with Steve Calvert, a Canadian artist who, between 2012 and 2014, had documented the potlatch ceremonies and copper-breaking protests of the Kwakwaka’wakw artist and chief Beau Dick. Inspired by the idea of combining aspects of the winter ceremonial and potlatch traditions of the Kwakwaka’wakw peoples with decolonial, ecological and science fictional currents within contemporary art and critical theory, The Skullcracker Suite was imagined as a dramatic theatrical allegory for the ‘permanent decolonization of thought’ proposed by the Brazilian anthropologist Eduardo Viveiros de Castro. In June 2016 I was awarded a Leverhulme Research Fellowship to begin the first phase of research. This culminated in BC Time-Slip (The Empire Never Ended), a multi-component portfolio of works investigating the science fiction writer Philip K. Dick’s fateful visit to Vancouver in 1972. BC TIME-SLIP (THE EMPIRE NEVER ENDED) The project takes its name from Philip K. Dick’s 1964 Mars colonization novel Martian Time-Slip and a mystical vision he had in March 1974 that the Roman Empire had never ended and that North Americans were still unwittingly living in its Black Iron Prison.
    [Show full text]
  • Matthew Schreiber a Solid Laser Illusion
    Matthew Schreiber A Solid Laser Illusion By Catarina Marques April 12, 2018 At seven years old, Matthew Schreiber was already trying to build his first laser. At fifteen, he made his first laser installation. Since then, inspired by art history, pop culture, and sci-fi movies, the Brooklyn-based creative has been mastering the art of light while exploring how can it amplify a volume of space. At first, his work may feel intangible as it assembles a sci-fi movie or a computer simulation, but it isn’t. It isn’t an illu- sion, it’s very solid and real. Ready to get in? Who are you and where do you come from? I’m Matthew Schreiber and I grew up in Cleveland (Ohio), but I currently live and have a studio in Brooklyn (New York). How did your interest in art start? When I was five years old, my parents gave me a book where you learn to draw along with a television show. That is when it all began. And what about your interest in light, lasers, holograms and such ‘special effects’? How did those practices develop till today? When I was seven years old, I tried to build a laser. When I was fifteen – in high school –, in my physics class I made my first laser installation. In undergraduate school I earned a Fine Arts Degree in Painting, but I continued my study in lasers, more specifically holography. Johannes Vogt Gallery 958 Madison Ave New York, NY 10021 How was it to work with James Turrell for so many years? What were the biggest lessons you learnt from it? Working for James was amazing and perfect for what I have been interested in (light and space).
    [Show full text]
  • 1975-76-Annual-Report.Pdf
    19th Annual Report The Canada Council 1975-1976 Honorable Hugh Faulkner Secretary of State of Canada Ottawa, Canada Sir, I have the honor to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth 11, 1957, Chap. 3) for the fiscal year ending March 31, 1976. I am, Sir, Yours very truly, Gertrude M. Laing, O.C ., Chairman June 1,1976 The Canada Council is a corporation created by an Act of This report is produced and distributed by Parliament in 1957 "to foster and promote the study and Information Services, enjoyment of, and the production of works in, the arts, The Canada Council, humanities and the social sciences." It offers a broad 151 Sparks Street, range of grants and provides certain services to individuals Ottawa, Ontario and organizations in these and related fields. It is also re- sponsible for maintaining the Canadian Commission for Postal address: Unesco. Box 1047, Ottawa, Ontario K1 P 5V8 The Council sets its own policies and makes its own deci- Telephone: sions within the terms of the Canada Council Act. It re- (613) 237-3400 ports to Parliament through the Secretary of State and appears before the Standing Committee on Broadcasting, Films and Assistance to the Arts. The Canada Council itself consists of a Chairman, a Vice- Chairman, and 19 other members, all of whom are ap- pointed by the Government of Canada. They meet four or five times a year, usually in Ottawa where the Council of- fices are located.
    [Show full text]
  • Club Hosts Audi Art Installation May 17,2016
    NYC’s CORE: Club Hosts Audi Art Installation May 17,2016 NYC’s CORE: Club Hosts Audi Art Installation By The Daily Front Row | May 17, 2016 1 Last week, New York’s uber-exclusive CORE: Club hosted an exhibit that celebrates Audi’s newest model, the Q7, as part of its Bold Notion Series. Matthew Schreiber, known for his light-centric, eye-catching, mind-bending installations, used 400 LED lights throughout the club, a nod to Audi’s early innovations in LED technology. We chatted with Schreiber to shed some light (pun intended) on the partnership. Tell us about the exhibit! Well, this is my first lobby art, so that was very difficult. I had to figure out how to deal with the space, and all these weird shapes. So I tried to figure out how to erase the space. And one way to do that is to turn all the lights out, so that’s why it’s so dark. For the entrance, I was thinking about the movies where you see people come in through security systems and they’re being scanned, so it’s sort of an abstraction of that, or an overblown version of a laser-scanning entrance, along with some other stuff I think about with physics. And then you move into the next piece, which is a standard of mine—it’s these circles, which happen to work pretty well with the Audi stuff. I made it red to be the Audi color. But I tried to look back to the ’60s pop art movement, so it has this pattern that I’ve never done before.
    [Show full text]
  • Vancouver Art & Economies
    Vancouver Art & Economies Edited by Melanie O’Brian Arsenal Pulp Press | Artspeak table of contents 5 Notes on a Cover Image Geoffrey Farmer 7 Preface 11 Introduction: Specious Speculation Melanie O’Brian 29 Late Empire Clint Burnham 47 Cinematic Pictures: The Legacy of the Vancouver Counter-Tradition Sharla Sava 69 Adventures in Reading Landscape Marina Roy 97 Specific Objects and Social Subjects: Industrial Facture and the Production of Polemics in Vancouver Tim Lee 127 In Another Orbit Altogether: Jeff Wall in 1996 and 1997 Shepherd Steiner 145 Vancouver Singular Plural: Art in an Age of Post-Medium Practice Randy Lee Cutler 165 Dealing (with) Cultural Diversity: Vancouver Art, Race, and Economies Sadira Rodrigues 187 Do Artists Need Artist-Run Centres? Reid Shier 203 Whose Business Is It? Vancouver’s Commercial Galleries and the Production of Art Appendix: Vancouver Commercial Gallery Chronology Michael Turner 228 Contributors 230 Index Preface Since the mid-1980s, the once marginal city of Vancouver has developed within a globalized economy and become an internationally recognized centre for contemporary visual art. Vancouver’s status is due not only to a thriving worldwide cultural community that has turned to examine the so-called periphery, but to the city’s growth, its artists, expanding institu- tions, and a strong history of introspection and critical assessment. As a result, Vancouver art is visible and often understood as distinct and definable. This anthology, Vancouver Art & Economies, intends to compli- cate the notion of definability. It offers essays on diverse topics to address the organized systems that have affected contemporary art in Vancouver over the last two decades.
    [Show full text]