Guide to Galleries + Museums
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
Maccarone Is Pleased to Announce an Exhibition of New Works by Eli Hansen
Maccarone is pleased to announce an exhibition of new works by Eli Hansen. Displaying a laboratory of hand-blown glass, CFL and LED light bulbs, plastic and chopped wood locally sourced from the artist's surroundings in Upstate New York, Hansen crafts a narrative of regionalism, subterranean laboratories, the idiosyncrasy of hand and the spectral presence of a storyteller. These ethereal components congregate in the dimly lit gallery space, simulating an environment of codependence. In the penumbral light exists the murky sensation that a protagonist has been there, abandoning the audience to contemplate who will stop the chemistry set from bubbling over, or pick up the shards of a shattered beaker. In both wall pieces and freestanding sculpture, irregularities emerge from glass blown so precisely it could be mistaken as mass- produced. Hansen effectively abstracts the ready-made; though functional, it is in the surfaces' subtle warps that the hand of the artist is revealed. The objects' inconsistencies force the viewer to reconsider Hansen's process, submitting to an immersive experience where the irregularities seem as confident and unhinged as a hallucinatory vision. Coupled with rough-hewn objects of refuse, Hansen seeks to complicate the division between the clean and the gritty. From found objects and scrap bits emerges an aesthetic of need. The do-it- yourself ethos underscores the artist's commitment to the handmade and a vernacular of the basement laboratory. Hansen's tables of scavenged wood form a stage upon which interloped glass characters tell us a story. Proof of the human comes into play with the vessels' anthropomorphic forms replete with cinched waits, potbellies and slender necks. -
Telluride N E"Ws Letter
Telluride N e"Ws Letter VoL XIII April, 1927 No.2 STAFF DAN C. LIND SA y ____ ........................................................................ Edz"tor EL.UER M. J OHNSON. __________________ Editor Emeritus and Alumni Editor CARLYLE M. ASHLEY.------------·------·-·---·-·-····------··--··--·--Associate Editor FRANK MoNAGHAN ................................................ Comell Correspondent JOHN B. ABBOTT......................................... JJeep Springs Correspondent CONTENTS EDITORALS: Page No. The Cost of the NEWS LETTER.-................................................... 2 Robert Maynard Hutchins............................................................ 2 A ''Pre-Professional'' School._..................................................... 2 The Louis Lathrop Memorial._............................. ........................ 3 The Woodrow Wilson Prize Essay .................................... .... -.... 3 The L. L. Nunn Biography.......................................................... 4 Clmrles DooliUle WakoU _______ ......................... -............................ 5 COMMUNICATIONS: V. Y. Davouil Dies........................................................................ 6 Dean Kimball Speaks Frankly... _................................................. 6 Oliver Cle-rk.................................................................................... 7 Judge James B. Tucker........................................................ ........ 9 Specifications for a Cltancellor, Tom McFaddm ....................... -
Marian Penner Bancroft Rca Studies 1965
MARIAN PENNER BANCROFT RCA STUDIES 1965-67 UNIVERSITY OF BRITISH COLUMBIA, Arts & Science 1967-69 THE VANCOUVER SCHOOL OF ART (Emily Carr University of Art + Design) 1970-71 RYERSON POLYTECHNICAL UNIVERSITY, Toronto, Advanced Graduate Diploma 1989 SIMON FRASER UNIVERSITY, Visual Arts Summer Intensive with Mary Kelly 1990 VANCOUVER ART GALLERY, short course with Griselda Pollock SOLO EXHIBITIONS 2019 REPUBLIC GALLERY, Vancouver, upcoming in May 2019 WINDWEAVEWAVE, Burnaby, BC, video installation, upcoming in May 2018 HIGASHIKAWA INTERNATIONAL PHOTOGRAPHY FESTIVAL GALLERY, Higashikawa, Hokkaido, Japan, Overseas Photography Award exhibition, Aki Kusumoto, curator 2017 REPUBLIC GALLERY, Vancouver, RADIAL SYSTEMS photos, text and video installation 2014 THE REACH GALLERY & MUSEUM, Abbotsford, BC, By Land & Sea (prospect & refuge) 2013 REPUBLIC GALLERY, Vancouver, HYDROLOGIC: drawing up the clouds, photos, video and soundtape installation 2012 VANCOUVER ART GALLERY, SPIRITLANDS t/Here, Grant Arnold, curator 2009 REPUBLIC GALLERY, Vancouver, CHORUS, photos, video, text, sound 2008 REPUBLIC GALLERY, Vancouver, HUMAN NATURE: Alberta, Friesland, Suffolk, photos, text installation 2001 CATRIONA JEFFRIES GALLERY, Vancouver THE MENDEL GALLERY, Saskatoon SOUTHERN ALBERTA ART GALLERY, Lethbridge, Alberta, By Land and Sea (prospect and refuge) 2000 GALERIE DE L'UQAM, Montreal, By Land and Sea (prospect and refuge) CATRIONA JEFFRIES GALLERY, Vancouver, VISIT 1999 PRESENTATION HOUSE GALLERY, North Vancouver, By Land and Sea (prospect and refuge) UNIVERSITY -
Current Pueblo Women's Ceramics From
YA L E UNIVERSITY A R T PRESS GALLERY RELEASE ADVANCE SCHEDULE OF EXHIBITIONS AND INSTALLATIONS SUMMER 2019–SUMMER 2020 Media Contact Janet Sullivan, Communications Coordinator, 203.436.4666, [email protected] or [email protected] Current Pueblo Women’s Ceramics from the Patti Skigen Collection Summer 2019–Spring 2020 This focused, yearlong installation highlights 18 works by Indigenous women artists from the recent gift of Patti Skigen, ll.b. 1968. It consists predominantly of contemporary south- western ceramics and complements the student-curated exhibi- tion Place, Nations, Generations, Beings: 200 Years of Indigenous North American Art, drawn from Yale collections and on view at the Yale University Art Gallery from fall 2019 through spring 2020. Do Ho Suh: Boiler Room, London Studio August 16–December 8, 2019 This installation presents a large-scale work, Boiler Room, London Studio, by South Korean artist Do Ho Suh (b. 1962, m.f.a. 1997). In translucent fabric works such as this one—a full-scale re-creation of the boiler room of the artist’s London studio—Suh connects past and present, time and memory, combining traditional Korean sewing techniques with three-dimensional modeling technologies. Ceremonial Dress from Southwest China: The Ann B. Goodman Collection September 6, 2019–January 5, 2020 Drawn from a recent gift to the Yale University Art Gallery, this exhibition showcases the visual imagination, artistic skill, and technical knowledge on display in the ceremonial clothing of com- munities living in Guizhou, Sichuan, Hunan, Yunnan, and other provinces of southwestern China. While the Han people make up more than 90 percent of the inhabitants of China, the individuals who created the textiles on display identify as some of the 55 other groups, which are distinguished by lifestyle and language. -
ELIAS HANSEN Born 1979. Lives and Works in Upstate New York
ELIAS HANSEN Born 1979. Lives and works in Upstate New York. EDUCATION 2001 New Orleans School of Glass and Print, New Orleans, LA Larson Red Angus Ranch, Big Timber, MT 1997 Whitman College, Walla Walla, WA – Printmaking and book arts SELECTED SOLO EXHIBITIONS 2014 Oh brother (with Oscar Tuazon), Maccarone, New York, NY You can cry all you want, but you ain’t changing shit, Jonathan Viner, London, UK. I'm a long way from home and I don't really know these roads, Anat Ebgi, Los Angeles, CA 2013 Solo presentation LISTE 18, Basel, CH 2012 We're just in it for the money (with Oscar Tuazon), Balice Hertling, Paris, FR We Barely made it (with the Reader), The Company, Los Angeles 2011 Certainly couldn’t have learned it on my own, Frieze Frame, Jonathan Viner It wasn’t until I found it later, The Fireplace Projects, Hamptons, NY You know we’re nowhere near there, right?, Jonathan Viner, London, UK Next time, they’ll know it’s us, The Company, Los Angeles, CA 2010 This is the Last Place I Could Hide, Maccarone, New York, NY We Used To Get So High, Lawrimore Project, Seattle, WA It Was One of My Best Comes (with Oscar Tuazon), Parc Saint Leger, Pougues Les Eaux, FR Predicting the Present, The Company, Los Angeles, CA 2009 Truths We Forgot to Lie About (with Joey Piecuch), The Helm Gallery, Tacoma, WA 2008 Kodiak, Seattle Art Museum (with Oscar Tuazon), Seattle, WA This world’s just not real to me, Howard House Contemporary Art (with Oscar Tuazon), Seattle, WA 2007 Voluntary Non vulnerable, Bodgers and Kludgers Cooperative Art Parlour (with Oscar -
Who Am We? Do-Ho Suh's Transformative Architecture
Who am We? Do-Ho Suh’s Transformative Architecture Do-Ho Suh, Serpentine Gallery, London, April 2002. Today I am going to place Do-Ho Suh’s work in a number of contexts - art criticism, architecture, cultural theory, Korean culture, personal travelogues. I have just come back from a trip to Korea where I encountered an amazing generosity of time and dialogue from all the artists and architects I met. Much of what I am going to say is in response to that journey. My writing is concerned with architectural qualities, with spaces, with solids, with edges, with views, with permeability, with detail, with the ways in which we construct relationships with others and the places we make through what we say. There are some very close correspondences between a number of texts I have already written on travel, home and identity, one originally for David Blamey for his beautiful book Here, There, Elsewhere: Dialogues on Location and Mobility. who am we I’d like you to first to experiment with the wall piece ‘Who am We?’ and establish if there is a viewing distance that you favour. How does the work position you? From far away we see a washed out colour, a little closer and it appears to be an even but dappled pattern, then closer in again we see many faces, but they all look very similar. And then as we draw back it seems impossible that we were ever able to not see faces all over the wall. Do-Ho Suh was born and educated in Korea and then the US. -
OSCAR TUAZON 1975 Born in Seattle, DC Lives and Works in Paris, F and Tacoma, DC
OSCAR TUAZON 1975 Born in Seattle, DC Lives and works in Paris, F and Tacoma, DC Education 1995 Cooper Union for the Advancement of Science and Art, New York, NY 2001 Whitney Museum of American Art Independent Study Program, Studio Program, New York, NY 2002 Program/Cooper Union School of Architecture, Architecture/Urban Studies Program, New York, NY Solo Exhibitions 2012 Shaman/Showman, Karl Holmqvist – Oscar Tuazon, Galerie Chantal Crousel, Paris, F Scott Burton, by Oscar Tuazon, Fondazione Giuliani, Rome, I Manual Labor, Galerie Eva Presenhuber, Zurich, CH Action, Jonathan Viner, London, UK We're just in it for Money(with Elias Hansen), Balice Hertling, Paris, F Oscar Tuazon, Centre d'édition contemporaine, Geneva, CH 2011 Die, The Power Station (Aldon Pinnell), Dallas, TX STEEL, PRESSURE-TREATED WOOD, OAK POST, OFFICE CHAIR, INDUCTION STOVETOP, ALUMINUM, Standard (Oslo), Oslo, N America is my Woman, Maccarone, New York, NY 2010 Sex Booze Weed Speed, (with Garder Eide Einarsson), Rat Hole Gallery, Tokyo, J Sex, Jonathan Viner, London, UK My Mistake, ICA – Institute of Contemporary Art, London, UK Oscar Tuazon, Kunsthalle Bern, Bern, CH My Flesh to Your Bare Bones (with Vito Acconci), Maccarone, New York, NY One of My Best Comes, Parc St Leger - Centre d'Art Contemporaine, Pougues-les-Eaux, F 2009 Bend It Till It Breaks, Centre internationale d’art et du paysage Ile de la Vassivière, F Against Nature, Künstlerhaus, Stuttgart, D F.T.W., Dépendance, Brussels, B That’s Not Made For That, David Roberts Foundation, London, UK Ass To Mouth, -
The Los Angeles County Museum of Art (LACMA) Presents Do Ho Suh: 348 West 22Nd Street Showcasing a Recent Gift to the Museum
Image caption on page 3 The Los Angeles County Museum of Art (LACMA) presents Do Ho Suh: 348 West 22nd Street showcasing a recent gift to the museum. 348 West 22nd Street, Apartment A, Unit-2, Staircase (2011–15) replicates the artist’s ground-floor residence from a New York City building. Created in luminous swaths of translucent polyester, the rooms and hallways are supported by stainless-steel. In this immersive passageway of conjoined rooms, visitors pass through an ephemeral representation of the artist’s personal history. The corridor, stairs, apartment, and studio are each rendered in a single block of color, with fixtures and appliances replicated in exacting detail. Fusing traditional Korean sewing techniques with digital modeling tools, the maze-like installation of 348 West 22nd Street balances intricate construction with delicate monumentality. The installation is curated by Meghan Doherty, Curatorial Assistant, Contemporary Art at LACMA. Inspired by his own history of migration, Suh’s ethereal, malleable architecture presents an intimate world both deeply familiar and profoundly estranged. The artist’s works elicit a physical manifestation of memory, exploring ideas of personal history, cultural tradition, and belief systems in the contemporary world. Best known for his full-size fabric reconstructions of places he has lived including former residences in Seoul, Providence, New York, Berlin, and London, Suh’s creations of physicalized memory address issues of home, displacement, individuality, and collectivity, articulated through the architecture of domestic space. 348 West 22nd Street, Apartment A, Unit-2, Staircase is the second work by Do Ho Suh to enter LACMA’s collection, following the artist’s Gate (2005) which was acquired by the museum in 2006. -
Preview Magazine
www.preview-art.com ALBERTA I BRITISH COLUMBIA I OREGON I WASHINGTON GUIDE TO GALLERIES + MUSEUMS June/July/August 2012 www. preview-art.com LESLIE POOLE HARLEQUIN, acrylic/canvas, 60 x 40 inches 40 x 60 acrylic/canvas, HARLEQUIN, REPRESENTATIVE FOR LESLIE POOLE: GARY MAIER 604-525-4025 Also represented by: CALGARY: Virginia Christopher Fine Art EDMONTON: Scott Gallery VICTORIA: Winchester Galleries Serving the visual arts community since 1986 Celebrating 25 years www.preview-art.com 6 PREVIEW I JUNE/JULY/AUGUST 2012 June/July/ August 2012 Vol. 26 No.3 previews ALBERTA 12 The Automatiste Revolution 10 Banff, Black Diamond, Calgary 18 Edmonton Art Gallery of Alberta 19 Lethbridge 18 Mario Trejo: Catharsism 20 Medicine Hat, Red Deer Herringer Kiss Gallery BRITISH COLUMBIA 21 20 Abbotsford 22 Milutin Gubash: Remote Viewing 22 Bowen Island, Britannia Beach, Southern Alberta Art Gallery Burnaby 25 Campbell River, Castlegar, 26 Guy Laramée: Mountains Chilliwack Foster/White Gallery 26 Coquitlam, Courtenay 27 Fort Langley, Grand Forks, 71 30 Peter Krausz: Landscapes Kamloops, Kaslo, Kelowna Gallery Jones 29 Maple Ridge, Nanaimo, Nelson 38 Matthew Monahan 30 New Westminster, North Vancouver Contemporary Art Gallery 33 Osoyoos, Penticton 35 Port Moody, Prince George 74 40 Ellsworth Kelly: Selected Prints 38 Prince Rupert, Qualicum Beach, Portland Art Museum Richmond Elizabeth Leach Gallery 39 Rock Creek, Salmon Arm, Salt Spring Island 42 Jon Langford: Old Devils 40 Sidney, Silver Star Mountain, The New Gallery Sooke, Squamish 41 Sunshine Coast -
Lotus Trace III: Hybrid Cultural Identity ~ a Place to Call Home Ruth
Lotus Trace III: Hybrid Cultural Identity ~ A Place to Call Home Ruth (Ru-Hwa) Liou BFA (Hons) Exegesis submitted as partial requirement for Doctor of Philosophy (Fine Art) University of Newcastle July 2014 Attestation of Authorship I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the qualification of any other degree or diploma of a university or other institution of higher learning, except where due acknowledgement is made. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. Ruth (Ru-Hwa) Liou Table of Contents P a g e Note on Transliteration of Chinese Characters ii Acknowledgement iii Preface iv Abstract v List of Illustrations vi Chapter 1 Introduction 1 Chapter 2 Contextual Review 8 Chapter 3 The Ambivalent and Indecisive Identity 21 Contemporary Artists Analysis ~ The Visual Voice 35 Preamble 36 The Search for Oneself Chapter 4 Hossein Valamanesh ~ Search of the Present Self 39 Chapter 5 Greg Leong ~ A Call to Remember 47 Chapter 6 Lin Hwai-Min ~ Dance into the Liminal 54 The Search for Home Chapter 7 Mona Hatoum ~ There’s No Place like Home 68 Chapter 8 Do Ho Suh ~ Mobile Home 77 Chapter 9 Guan Wei ~ Looking for Home 87 At the Cross-Road Chapter 10 Reflection and Discovery 96 The Passage of Research and Findings Chapter 11 ‘I’ in the Liminal ~ A Place to Be 121 Chapter 12 Conclusion ~ A Place of Belongingness 172 Bibliography 179 i Note on Transliteration of Chinese Characters The customary order for Chinese name of persons, place and terms in this research is followed in both Wade-Giles (a Romanisation of Pinyin was used in the first half of the 20th century in the English-speaking world) and Hanyu Pinyin systems (invented in 1950s and adopted as a standard in mainland China in 1958). -
LANGUAGES Zuliani 4
T C featuring: Jordan Abel, Margaret Atwood, R TCR Jean Baird, Douglas Barbour, Sarah Blacker, T H THE CAPILANO REVIEW E Thea Bowering, Colin Browne, Ted Byrne, C A P I Louis Cabri, Alessandra Capperdoni, L A N Stephen Collis, J Marc Côté, Deanna Fong, O R E Dwight Gardiner, Tom Hawthorn, Aleksandra V I E W Bowering’s Kaminska, Kevin Killian, Jessica Langston, Books Monroe Lawrence, Daphne Marlatt, Steve McCaffery, rob mclennan, Sacha Milojevic, Jocelyn Morlock, Erín Moure, Miriam Nichols, Ken Norris, John O’Brian, Aaron Peck, Stan Persky, Carl Peters, Meredith Quartermain, Ian Rae, Nikki Reimer, Chelsea Rooney, Jacquelyn Ross, Karl Siegler, George Stanley, Rob Taylor, Lary Timewell, Michael Turner, Fred Wah, Rebecca Wigood, Andrew 3 ISSN 0315 3754 · $14.00 2 LANGUAGES Zuliani 4 “Thea, do your piano practice! Oh, excuse me, I was sposed to shout that, not type it. I am an automatic narrative plunker-down. I cant help myself, a slave of Gutenberg or Cupertino.” —George Bowering letter to Michael Ondaatje (25 Dec. 1984) Editor Jenny Penberthy Co-Editor Aurelea Mahood Managing Editor Todd Nickel Editorial Board Andrea Actis, Colin Browne, Pierre Coupey, Brook Houglum, Aurelea Mahood, George Stanley Contributing Editors Clint Burnham, Roger Farr, Andrew Klobucar, Erín Moure, Lisa Robertson, Sharon Thesen Founding Editor Pierre Coupey Designer Andrea Actis Website Design Adam Jones The Capilano Review is published by Capilano University. Canadian subscription rates for one year are $28 for individuals, $50 for institutions. Outside Canada, please add $5. Address correspondence to The Capilano Review, 2055 Purcell Way, North Vancouver, BC v7j 3h5.