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Une Bibliographie Commentée En Temps Réel : L'art De La Performance
Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4. -
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.. -
Cheryl Simon, Ph.D
Cheryl Simon, Ph.D. 758, rue Lusignan, Montréal, Québec H3C 1Y9 514-932-3491/514-770-3491 _______________________________________________________ Research + Education 1998 – 2000 Post-Doctoral Research, SSHRC-funded, at the University of Rochester, Visual + Cultural Studies Program, directed by Janet Wolffe • Entitled, Following the Archival Turn: Photography, the Museum and the Archive, the research project considers the photographic archive in both its concrete and abstract manifestations, exploring the dynamic role it has played informing a range of twentieth century art, art historical, museological and photographic activities. Looking at specific historical and contemporary, artistic and theoretical, European and North American examples, the study addresses the various implications of an 'archival turn' for aesthetic, historical, social, cultural, institutional, and/or disciplinary discourses and practices. 1992 – 1998 Ph.D. in Humanities/Interdisciplinary Studies in Society and Culture (Communications, Cultural Studies of Popular Culture; Film Studies, Film Noir & Melodrama, Feminist Film Theory; Literary Theory), Concordia University, Montreal • Thesis: Gender, Genre and Globalization: Discourses of “Femininity” in the Popular Culture of the 1990s The dissertation considers the political scope of appropriation and pastiche practices in recent popular cultural narrative production. Specifically, it addresses crime narratives about women that revive historical genres and forms: feminist hard-boiled detective fiction, the film noir renaissance and tabloid journalism. 1992 Photography Program, The Banff Centre for the Arts, Banff, Alberta 1991 The Arts Journalism Program, The Banff Centre for the Arts, Banff, Alberta 1983 - 1988 M.F.A. Studio Arts/Photography, Concordia University, Montreal • Thesis Exhibition: impulse, an exhibition of enlarged, colour, photographic stills from 8mm home movies circa 1960. -
SUZY LAKE 1947 Born in Detroit, Michigan, USA Currently Lives and Works in Toronto, Ontario, Canada Education 1978 Master Of
SUZY LAKE 1947 Born in Detroit, Michigan, USA Currently lives and works in Toronto, Ontario, Canada Education 1978 Master of Fine Arts, Concordia University, Montréal, QC, Canada 1968 Bachelor of Fine Arts, Wayne State University, Detroit Michigan and Western Michigan University, Royal Oak, Michigan, USA Forthcoming Exhibitions 2017 Suzy Lake, Ryerson Imaging Centre, Toronto, ON, Canada Suzy Lake: Performing An Archive, Art Gallery of Windsor, Windsor, ON, Canada (touring) 2016 The Feminist Avant-Garde of the 1970s. Artworks from the SAMMLUNG VERBUND collection, Vienna, curated by Gabriele Schor, The Photographers' Gallery, London, UK, (opening 6 October 2016 runs thru 8 January 2017); touring: 2017 Museum of Modern Art, Vienna, Aust; ZUM, Karlsruhe, Germany; 2018 Brno House of Arts, Brno, CZ; Stavanger Art Museum, Stavanger, Norway Form Follows Fiction: Art and Artists in Toronto, curated by Luis Jacobs, Art Museum (Justina M. Barnicke Gallery/University of Toronto Art Centre), Toronto, Canada Toronto: Tributes and Tributaries, Art Gallery of Ontario, Toronto, Canada Selected Solo Exhibitions 2016 Suzy Lake: Performing An Archive, McMaster University of Art, Hamilton, ON, Canada Suzy Lake: Performing An Archive, Georgia Scherman Projects, Toronto, ON, Canada 2014/15 Introducing Suzy Lake, Art Gallery of Ontario, Toronto, ON, Canada (retrospective, publication) 2013 Suzy Lake, The Darling Foundry, featured exhibition of Mois de la Photo “Drone: The Automated Image”, Montreal, QC, Canada (catalogue) Suzy Lake: Whose Gaze Is It Now, Grande -
Curriculum Vitae
CURRICULUM VITAE BARBARA TODD SELECTED EXHIBITIONS Bold face type signifies a one-artist exhibition. 2019 • In Faux-Structure, Opalka Gallery, Albany, NY. • Artists of the Mohawk Hudson Region, The Hyde Collection, Glens Falls, NY. 2018 • Fait-main/Hand-made – Musée national des beaux-arts du Québec, Quebec City, QC. • Bombhead – Vancouver Art Gallery, Vancouver, BC. • Home – Collarworks, Artist-run Center, Troy, NY. • Interwoven – Albany Public Library, Albany, NY. • Connecting Threads – Surrey Art Gallery, Surrey, BC. 2017 • Passé inaperçu /Gone Unnoticed - Biennale internationale du lin de Portneuf, Deschambault-Grondines, QC. • Artists of the Mohawk Hudson Region, Albany Institute of History and Art, Albany, NY. 2016 • Reclamation, Collarworks, Troy, NY. • Artists of the Mohawk Hudson Region, The Hyde Collection, Glens Falls, NY. • Blood, Toil, Tears, Art Gallery of St. Albert, St. Albert, Alberta. 2015 • Barbara Todd : Colour Play, Galerie Art Mûr, Montreal. • The Nature of Conflict, Warren G. Flowers Gallery, Dawson College, Montreal. 2014 • Dreamland, Museum London (ON) (originated by the Textile Museum of Canada). • Things We Do in Bed, Danson House, Bexley Heritage Trust, Kent, England. • Homespun, Albany Public Library, Albany, NY. • The Black & White Show, Albany Center Gallery, Albany, NY. 2013 • Studio Art Faculty Exhibition, Emma Willard School, Troy, NY. • Barbara Todd:African Market Textiles, Waterford Public Library, Waterford, NY. 2012 • Grey Matters, Albany International Airport. • Friend of a Friend, Thomson Giroux Gallery, Chatham, NY. • Dreamland, The Textile Museum of Canada, Toronto. • Barbara Todd – Teaching a stone to talk, The Tom Thomson Gallery, Owen Sound, ON. • Barbara Todd – Side by Side, Galerie Art Mûr, Montreal. • Disparaître, Diagonale, Montrea, QCl. 2010 • Femmes artistes. -
Programme Automne 2015 Fall 2015 Program
PROGRAMME AUTOMNE 2015 FALL 2015 PROGRAM www.mcgill.ca/mcll_ joy COMMUNAUTÉ D’APPRENTISSAGE CONTINU DE MCGILL POUR LE PLAISIR D’APPRENDRE MCGILL COMMUNITY FOR LIFELONG LEARNING FOR THE JOY OF IT MCGILL COMMUNITY DEAN’S MESSAGE FOR LIFELONG LEARNING First, a warm welcome to new members of the McGill Community for Lifelong Learning—and welcome back to returning members. Fall always signals new 688, rue Sherbrooke ouest, bureau/suite 229, Montréal (Québec) H3A 3R1 learning opportunities—an exciting time for all of us. I hope that the slate of study groups, lectures, workshops and outings contained Téléphone | Telephone: 514 398-8234 Télécopieur | Fax: 514 398-2757 herein captures your imagination and invigorates your thirst for meaningful intellectual and social engagement. Courriel | Email: [email protected] Underlying MCLL’s educational experiences is a commitment to fostering Site web | Website: www.mcgill.ca/mcll_joy community. When you take part in MCLL activities, you have the opportunity to invest yourself in a dynamic environment where your feedback and input Facebook: www.facebook.com/mcll.joy are valued and necessary. On a recurrent basis, MCLL convenes events that are intended to encourage T discussions amongst members on the role and direction of their community. At the outset of the semester, an information session will be convened for new mem- STREE bers to introduce them to MCLL. This is a great way to meet other first-timers and ITY find out what will be in store during the semester. Returning members invested METRO or interested in moderating may also wish to attend the beginning-of-term MCGILL ERS IV Moderators’ Workshop during which you will learn about the craft of creating UN engaging study groups and facilitating group discussion. -
1977-78-Annual-Report.Pdf
The Canada Council 21st Annual Report 1977-78 The Canada Council The Canada Council, an organization created by Parlia- Financial Resources ment in 1957, promotes the arts in Canada. It functions through a wide-ranging program of financial assistance Annual grants from Parliament are the Council’s main and special services, offered to both individuals and source of income. These grants are supplemented by organizations. The Council also has some responsibility income from a $50 million Endowment Fund established for promoting Canadian culture abroad and provides the by Parliament in 1957. The Council has also received sub- secretariat for the Canadian Commission for Unesco. Up stantial amounts in private donations and bequests, usu- to March 3 1, 1978, the Council was also responsible for ally for specific purposes. For fiscal 1978-79, the Council encouraging graduate studies and research in the human- has a budget of some $49 million. ities and social sciences. This part of its mandate has been transferred to a new public body, the Social Sci- ences and Humanities Research Council of Canada. Organisation The Council is headed by a 21-member board appointed by the Government of Canada. The board usually meets four times a year to set Council policies and make deci- sions within the terms of the Canada Council Act. These policies and decisions are implemented by a staff headed by a Director and an Associate Director, both appointed by the Government of Canada. In the development and application of its policies and pro- grams, the Council and its staff rely heavily on the advice and cooperation of artists and arts-related professionals from all parts of Canada, who are consulted both individu- ally and in juries, committees and advisory groups. -
Une Bibliographie Commentée En Temps Réel : L'art De La Performance Au Québec Et Au Canada
Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time: Performance Art in Quebec and Canada (2017/2018) Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time: Performance Art in Quebec and Canada 2014 – 2020 Chercheure responsable : Professeure Dr phil Barbara Clausen, UQAM DéparteMent d’histoire de l’art Partenaires (s’il y a lieu) : Bibliothèque des arts UQAM et Artexte Montréal. Organisme subventionnaire : FRQSC (2016-2019) PARFAC (2014-2015) Équipe de recherche 2016 – 2019 Jade Boivin, EMManuelle Choquette, Geneviève Marcil, Maude Lefebvre, CaMille Richard (étudiantes de Maitrise en histoire de l’art) 2014 – 2015 Jade Boivin, EMManuelle Choquette, Joëlle Perron-Oddo, Julie Riendeau (étudiantes de Maitrise en histoire de l’art) Description Ce projet de recherche universitaire Une bibliographie coMMentée : l’art de la perforMance au Québec et au Canada, vise à dresser l’inventaire des textes et des ouvrages que des théoricien.ne.s, critiques, artistes, conservateur.trice.s et autres auteur.trice.s ont rédigés par anticipation, en réaction ou en réponse à l’art perforMatif. Le projet de recherche vise la réalisation d’un survol des histoires coMplexes et reMarquableMent Multidisciplinaires de la perforMance au Québec et au Canada. L’objectif est de procéder à une identification et à une évaluation globale des Modes de production reliés et corrélés qui sont au cœur de la théorie, de l’histoire et de la pratique de la perforMance au niveau local, provincial et national depuis le début du XXe siècle. -
Murphy B E P & Pattee C J. Determination of Thyroxine Utilizing
CC/NUMBER 21 This Week’s Citation Classic ™ MAY 21, 1984 Murphy B E P & Pattee C J. Determination of thyroxine utilizing the property of protein-binding. J. Clin. Endocrinol. Metab. 24:187-96, 1964. [Clin. Invest. Unit, Queen Mary Veterans’ Hosp., and Dept. Investigative Med.. McGill Univ., Montreal, Canada] This article described the first practical assay “The initial experiments went well, with the for serum thyroxine (T4), with data setting-up of 12 small Sephadex columns demonstrating its diagnostic validity in hyper- which successfully separated the bound and and hypothyroid patients and its freedom from free hormone. However, the standard curve the effects of iodine [The SCI® indicates that was unsatisfactory, not behaving at all as I had this paper has been cited in over 545 expected, and quite useless for assay publications since 1964] purposes. One day in January 1963, feeling ill with a cold, nauseated due to my pregnancy, Beverley E. Pearson Murphy and discouraged with my results, I decided to Montreal General Hospital go home to bed. On my way out, I picked up Montreal, Quebec H3G 1A4 Antoniades’s Hormones in Human Plasma to Canada read. Between trips to the bathroom, I made April 20, 1984 my way through the chapter on thyroid hormones by Ingbar and Freinkel4 and “The work in this paper formed part of my suddenly realized what was wrong. I had PhD thesis1 done under the supervision of neglected to consider the effects of Chauncey Pattee. Since the gestation of this prealbumin, another, but weaker, T4 binder in paper paralleled that of my second child, blood. -
Résumé Les Organisme, a Vocation Culturelle Qui Exerce Leurs Activités
Résumé Les organisme, A vocation culturelle qui exerce leurs activités au Canada depuis la Deuxième guerre mondiale ont désormais suffisamment d'ancienneté pour être soumis à une analyse historique. La revue d'art artscanada (1943-1982), est identifiée, dans cet ouvrage, A un organisme dont les origines et l'épanouissement mettent en lumière les modalités de constitution et d'exploitation ayant régi les organismes canadiens à vocation artistique et les politiques ayant conduit A leur création, auxquelles ils demeurent par ailleurs liés. Centré sur les principes directeurs de la revue et sur la façon dont celle-ci s'est intégrée au système de soutien artistique, c:et ouvrage est en fait une histoire critique et une "herméneutique" qui aborde l'organisme en question comme un texte pouvant être lu et interprété et qui implique que le commentateur reconnait sa propre participation à la construction d'une représentation de l'organisme. En outre, cette herméneutique propose des moyens permettant aux intervenants de la communauté artistique de percevoir les organismes culturels d'aujourd'hui comme des espaces englobant l'appartenance et des codes qui confèrent une signification. Ab.tract The cultural support·or,anizatione eatabliahed in Canada since the Second World War have reached a ata,e of aaturity which makes the. now available for hietorical analyai •• The art publioation artacanada (1943-1982) ia identified, in this work, aa an inatitution whose ori,in and developaent can be viewed aa illuminatin8 the ter.a of formation and operation which have shaped national arts or,anizationa and the policies which brouJht them into bein, and to which the y reaain related. -
Welcome to 1984; Reactions from Concordia by Howard Shrier If Only He'd Called It 2084
Campaijne de souscription Capital Campaign de l'Urnversite Concordia Concordia University ~ Volume 7 Number 15 January 12, 1984 Welcome to 1984; reactions from Concordia By Howard Shrier If only he'd called it 2084. slightest disloyalty is turned in from every man, millions of So your SIN is punched in and Friends with tlie Computer'' is Then our grandchildren could by friends, co-workers or their threads in all. If these threads the computer heaves up your of the slo·gan at Computerland (600 have suffered all the doom and children. The Party has absolute were to suddenly become visi ficial portrait: ''Bank of Montreal stores worldwide). Hewlett gloom. control of the past, present and ble, the whole sky would look 0166 balance $56.00, Mastercard Packard computers are ''Setting But no, 1984 was the inverse of future. like a spider's web, and if they credit limit $1,000. Tested for You Free," complete with but the year in which he wrote it. It Winston's revolt is brief and materialized as rubber - buses, social disease three times this terfly logo. was !like 1948) the Chinese Year unspectacular, consisting mainly trams and even people would all year. Rents Russ Meyer's "I'm optimistic that there is of the Rat (remember the rats in of illicit sex and reading. He is lose the ability to move." Beneath the Valley of the mtra technology for computer securi · the nasty climax in Room 101?). caught, and tortured until he ac In Canada, all the data trails Vixens every Saturday night." ty and decentralization," says And it was within the SO-year cepts Big Brother as his saviour.