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Lumière 2020 P O S S I B L E F U T U R E S Wasoqnmamkewe’L 2020
LUMIÈRE 2020 P O S S I B L E F U T U R E S WASOQNMAMKEWE’L 2020 WITH THANKS The Lumière Arts Festival Association extends its deepest thanks to the many sponsors, partners and community members who have provided support over the years. Without their generosity, this annual festival would not be possible. This year has been an especially difficult one for many businesses, organizations and individuals in our community and beyond Unama’ki / Cape Breton. The Lumière board would like to take this opportunity to recognize the following for their assistance in making Lumière 2020 happen: Fully Promoted Cape Breton, Cape Breton Partnership, Cape Breton University, Protocase, Island Folk Cider House, Cape Breton Centre for Craft and Design, The Convent, Highland Bow and Arrow, Thyme for Ewe farm, Stone Church Restoration Society, NovaStream, Cape Breton Drive-In, Parks Canada, Heritage Canada, Arts Nova Scotia, Nova Scotia Communities, Culture and Heritage, New Dawn Enterprises Ltd., Atlantic Art at Night Festivals Alliance, CBU Art Gallery, Port Hawkesbury Civic Centre, MacKenzie Motorsports We would also like to thank: Credit Union Sydney, Old Sydney Society, NSCC, Membertou Heritage Park, Corey Katz, Colbourne Ford, Doktor Luke’s, A Better Bite, Celtic Colours International Festival, Homestead Senior Care, Keltic Kubota, The River Filly, No Quarter Deli & Market, JA Douglas McCurdy Sydney Airport, Breton Brewing, CBC Radio Canada, Cape Breton Post, Cape 94.9, Visual Arts Nova Scotia, Cape Breton Regional Library, Cape Breton Island, Cape Breton Regional Municipality We appreciate all of your past support and look forward to 2021! TREATIES OF PEACE AND FRIENDSHIP The Lumière Arts Festival Association acknowledges that this event takes place in Mi’kma’ki, the ancestral and unceded territory of the Mi’kmaq People. -
Rapport Annuel | 2013-2014 Rapport Annuel | 2013-2014
Rapport annuel | 2013-2014 Rapport annuel | 2013-2014 Sommaire Philosophie du McMichael 1 Message du président du Conseil d’administration 2 Message de la Directrice et chef de la direction 3 Expositions d’œuvres de la Collection McMichael 4 Expositions temporaires 7 Prêts 10 Acquisitions 11 Hommage aux donateurs 15 Conseil d’administration 19 Personnel 19 Comité des bénévoles du McMichael 19 Guides bénévoles 19 Rapport des auditeurs indépendants 20 Statistiques comparatives 36 Sommaire financier 37 En couverture : Edward Burtynsky (né en 1955), Résidus d’uranium #5 – Elliot Lake, Ontario, 1995, tirage 2013, épreuve numérique à développement chromogène sur papier Kodak, 101,6 x 152,4 cm. Avec l’aimable autorisation de l’artiste, Collection McMichael d’art canadien, 2013.3.27 PHILOSOPHIE DU MCMICHAEL Vision du McMichael S’imposer comme un lieu extraordinaire pour explorer la culture et l’identité canadiennes de même que les liens entre l’art et la nature. Lieu extraordinaire Un carrefour de rencontre matériel et virtuel qui offre aux publics et communautés cibles une expérience captivante et sans cesse renouvelée, favorisant la fidélisation et l’élargissement des publics. Exploration de la culture et de l’identité canadiennes Permettre aux visiteurs de comprendre qui nous sommes en tant que Canadiens et où nous nous situons dans le contexte planétaire à travers l’art. Liens entre l’art et la nature Favoriser l’intégration des arts visuels dans la nature afin de créer un paysage culturel alliant des œuvres naturelles et artistiques. Mission du McMichael Interpréter et promouvoir l’art canadien et autochtone de manière à attirer des publics locaux, nationaux et internationaux. -
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. -
NL Writers/Literature – Joan Sullivan (Guest Editor)
Week of August 24 – NL Writers/Literature – Joan Sullivan (guest editor) Wikipedia Needs Assessment – NL Writers/Literature A Selection of Existing Articles to Improve: Megan Gail Coles: Can be expanded Mary Dalton: Can be expanded Stan Dragland: Can be expanded Margaret Duley: Needs more citations Percy Janes: Needs more citations Maura Hanrahan: Needs citations Michael Harrington: Needs citations and can be expanded Kenneth J. Harvey: Needs more citations and a more neutral point of view Andy Jones: Can be expanded and needs more citations Kevin Major: Can be expanded and needs more citations Elisabeth de Mariaffi: Can be expanded Janet McNaughton: Can be expanded George Murray: Needs more citations and can be updated 1 Patrick O’Flaherty: Can be expanded and needs more citations Al Pittman: Needs citations Bill Rowe: Needs more citations Dora Oake Russell: Can be expanded and needs more citations Winterset Award: Can be expanded Russell Wangersky: Needs more citations These lists could also be checked to see if any of the existing articles need expansion, improvement or citations: • Wikipedia’s list on Writers from St. John's, Newfoundland and Labrador • Wikipedia’s list on Writers from Newfoundland and Labrador Suggested New Articles to Create: Smokey Elliott (poet) Carol Hobbs (poet) Charis Cotter (YA author) Running the Goat Books & Broadsides Uncle Val, Andy Jones’ fictional character Online Resources on NL Writers/Literature “Literature” in Encyclopedia of Newfoundland and Labrador Volume 3, pp. 320-333. Literature – Heritage NL Web Site Poetry Bibliography – Heritage NL Web Site Writers – Heritage NL Web Site Also consult Online Resources with Newfoundland and Labrador Content. -
Preview – the Gallery Guide | November 2011
w w w .p re vi ew -a rt .c om THE GALLERY GUIDE ALBERTA I BRITISH COLUMBIA I OREGON I WASHINGTON Nov/Dec/Jan 2011-2012 Michael Nicoll Yahgulanaas SOLO TWO November 5 – 26, 2011 1 1 0 2 , s e h c n i 0 4 X 6 2 , r e p a p n o a i d e m d e x i m , 6 2 . 5 . 1 1 0 2 r e g g i B , s a a n a l u g h a Y l l o c i N l e a h c i M Opening reception: November 5, 2-4pm DOUGLAS UDELL GALLERY 1566 West 6 th Ave Vancouver, BC V6J 1R2 www.douglasudellgallery.com • 604-736-8900 Serving the visual arts community since 1986 Celebrating 25 years www.preview-art.com 8 PREVIEW I NOVEMBER/DECEMBER/JANUARY 2011/12 Nov/Dec/Jan 2011/2012 previews Vol. 25 No.5 12 Lesley Dill’s Poetic Visions ALBERTA Whatcom Museum 10 Black Diamond, Calgary 20 Edmonton 14 Douglas Coupland: Twelve Slogans 21 Lethbridge 8 TrépanierBaer Gallery 38 2 22 Medicine Hat 16 Norman Lundin: Inside/Outside BRITISH COLUMBIA Hallie Ford Museum of Art 23 Abbotsford, Burnaby 18 Group Exhibition/Emotional Blackmail 24 Campbell River, Castlegar, Southern Alberta Art Gallery 25 Chemainus, Chilliwack, 22 Painting Seattle: Tokita & Nomura Coquitlam Seattle Asian Art Museum 27 Courtenay, Fort Langley, Gibsons, Grand Forks 28 24 Robert Orchardson: Endless façade 30 Kamloops , Kaslo Contemporary Art Gallery 31 Kelowna, Maple Ridge 30 Nature, Knowledge and the Knower 32 Nanaimo, Nelson, Satellite Gallery New Westminster , North Vancou ver 36 Kate Scoones: Wish You Were Here 34 Osoyoos, Penticton, Port Moody, Polychrome Fine Arts Prince George, Prince Rupert 38 Ray Mead (1921-1998) 35 Qualicum Beach, -
La Biennale De Venise : Une Expérience Encyclopédique
BIENNALES ET SYMPOSIUMS / VIE DES ARTS 232 La Biennale de Venise : une expérience encyclopédique Au moment où les canaux Internet donnent un accès quasi instantané à tout le savoir humain, c’est une gageure extravagante que de proposer de faire de la Biennale de Venise 2013 Un gigantesque cabinet un palais encyclopédique. Pari en partie gagné de curiosités pour Massimiliano Gioni, le commissaire, puisque la prolifération des œuvres offertes Par Michelle Martin Sommers Traduit par Chantal Ringuet rend impossible une visite fidèle de la Biennale. Quelle surprise de découvrir que Will Gill et Je me demande si le conservateur expérience du monde ». Dans ces sites (auxquels Peter Wilkins, deux artistes de Terre-Neuve, Massimiliano Gioni a conscience à quel point s’ajoutent ceux de la Sérénissime), l’art repré- le thème qu’il a choisi pour la 55e Biennale de sente une sorte de Wunderkammer moderne ont été sélectionnés et font partie de la très Venise unanimement louée, Il Palazzo Enciclope- et témoigne des pouvoirs transformateurs de officielle exposition collatérale ! Déception, dico (Le palais encyclopédique), englobe non l’imagination humaine. seulement des découvertes stimulantes dans le Le Vaporetto dell’Arte propose un itinéraire en revanche, de constater que les œuvres domaine des arts, mais encore les innombrables comprenant dix arrêts. Il va de la station de train activités qui se déroulent dans la ville, à à San Giorgio, où il est impossible d’ignorer de Shary Boyle n’aient pas été mieux mises l’occasion de rencontres spontanées dans des Breath, l’énorme statue gonflable qui représente en valeur au Pavillon du Canada. -
The Rooms – 2015-16 Annual Report
ANNUAL REPORT 2015 – 16 CONTENTS Table of Contents A MESSAGE FROM THE CHAIR of the BOARD of DIRECTORS 1 OVERVIEW of the CORPORATION 3 SHARED COMMITMENTS 5 HIGHLIGHTS and ACCOMPLISHMENTS 8 PRIORITY 1 11 PRIORITY 2 14 PRIORITY 3 16 OPPORTUNITIES and CHALLENGES AHEAD 19 APPENDIX – FINANCIAL STATEMENTS 20 A MESSAGE FROM THE CHAIR OF THE BOARD OF DIRECTORS It is my great pleasure as Chair of The Rooms Board of Directors to present The Rooms Annual Report for 2015-16. This report represents the outcome for the second year of the three-year planning cycle of The Rooms Strategic Plan 2014-17. The Rooms Corporation of Newfoundland and Labrador is a Category One entity of the Provincial Government of Newfoundland and Labrador. As such, The Rooms Annual Report 2015-16 has been prepared in accordance with the requirements of the Transparency and Accountability Act of the Government of Newfoundland and Labrador. The Rooms has received incredible support for their Where Once They Stood We Stand capital fundraising campaign. By March 31st, 2016, more than $9 million dollars had been raised towards First World War projects, including Centennial Lead Donor Corporate – Fortis Inc.’s contribution of $3.25 million dollars in May, Centennial Lead Donor Individual – Elinor Gill Ratcliffe’s contribution of $3.25 million dollars in June, and $1 million dollars contributed from BMO Group presented by former Premier Brian Tobin, this past February. In June, The Rooms celebrated a momentous occasion - its tenth anniversary. To mark this event, Rooms staff published the magazine Celebrating 10 Years featuring stories and highlights from the past decade. -
Wade in 2014-2015 Eastern Edge Gallery, St. John's NL
Sinking Fast and Swimming In post-Internet1 age are not only negotiating how to represent them- in limbo, in the waiting for change. Middle, End, Beginning: The Most Human Thing BY MARY MACDONALD & JASON PENNEY selves in social groups IRL but also continuously re-presenting Narrative and the Artist’s Film BY MICHELLE JACQUES While obviously layered in its message, That Teenage Feeling is ulti- themselves through digital tools and online platforms. The myriad BY CHRIS CLARKE mately a time-based portrait of the teenager archetype. More than a Working with a pool of 42 video artists, WADE IN demanded that notion of self constructed through these behaviours illustrates the “Canada is the only country in the world that knows how to live developmental stage of our biology or even a key consumer market, we dive deep. For our part, WADE IN was an opportunity to ex- paramount quality of teenagehood: endless transformation. without a national identity.” - Marshall McLuhan pand our shores and introduce the work of 12 Newfoundland and the Teenager is the simultaneously hapless and heroic figure onto The short narrative artist’s film seems to fall between two, distinct- ly opposed, camps. On the one hand, it is overshadowed by the Labrador artists to our peers, placing their work in conversation The video works presented in this screening sketch a contour of which society projects its fears and desires. In times of unrest—po- feature-length motion picture, as indicated by the dispiriting re- Much ink has been spilled on the subject of Canada’s national iden- with national and international video and new media art. -
Annual Report
ANNUAL REPORT 2014-15 A MESSAGE FROM THE CHAIR of the BOARD of DIRECTORS 1 OVERVIEW of the CORPORATION 2 SHARED COMMITMENTS 4 HIGHLIGHTS and ACCOMPLISHMENTS 7 PRIORITY 1 10 PRIORITY 2 14 PRIORITY 3 16 OPPORTUNITIES and CHALLENGES AHEAD 18 APPENDIX A - FINANCIAL STATEMENTS 19 A MESSAGE FROM THE CHAIR OF THE BOARD OF DIRECTORS As Chair of The Rooms Board of Directors, I am pleased to present the 2014-15 Annual Report. This report represents the outcome for the first year of the three-year planning cycle of The Rooms Strategic Plan 2014-17. The Rooms Corporation of Newfoundland and Labrador is a Category One entity of the Provincial Government of Newfoundland and Labrador. As such, The Rooms Annual Report 2014-15 has been prepared in accordance with the requirements of the Transparency and Accountability Act of the Government of Newfoundland and Labrador. We are pleased with The Rooms success in achieving its stated goals and objectives for this past year. The Rooms marked several significant centenaries in 2014-15 and shared them with the people of Newfoundland and Labrador. Exhibitions and public programs commemorated the 100th anniversaries of the International Grenfell Association; the Newfoundland Sealing Disasters; Rockwell Kent’s time in Brigus; and Newfoundland and Labrador’s involvement in the First World War, all were highly attended and met with resounding success. In April and May 2014, The Rooms continued its public engagement with the Corporation’s first ever travelling road show. The Rooms staff travelled to 14 communities throughout the Province with the First World War Road Show and Tell. -
Ghost Stories… Denis Longchamps
Document generated on 09/26/2021 3:42 a.m. Espace Sculpture Ghost stories… Denis Longchamps La société du spectacle The Society of the Spectacle Number 105, Fall 2013 URI: https://id.erudit.org/iderudit/70044ac See table of contents Publisher(s) Le Centre de diffusion 3D ISSN 0821-9222 (print) 1923-2551 (digital) Explore this journal Cite this review Longchamps, D. (2013). Review of [Ghost stories…]. Espace Sculpture, (105), 40–42. Tous droits réservés © Le Centre de diffusion 3D, 2013 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/ ÉVÉNEMENTS EVENTS Ghost stories… Denis LONGCHAMPS The question “is there a life after still darkness prevailed. It was a death?” has fascinated people for cool summer night, like so many ages. As far back as the eighteenth others in this region. Gill’s and century, novels such as Frankenstein Pittman’s search lights danced on 1 the water... from left to right then and The Cavern of Death captured back to the left... further down the imagination of the public. Even the river... then closer to the today, just a quick look at the line bridge. A reflection. Another. up of films and television programs Here. -
August 2017 (Bonavista Biennale Artist Spotlight: Will Gill
August 2017 #028 “I consider the green chair work a kind of collaboration with the ocean in that I have done my part and the surroundings – the ocean and wind – are left to do theirs.“ - Will Gill Bonavista Biennale Artist Spotlights Facilitated by Katie Butler Major & Jane Walker Will Gill Will Gill’s practice spans photography, painting, sculpture and live-action work. His Biennale work, The Green Chair, is a site-specific outdoor steel sculpture set at the ocean’s edge, allowing the free and ever-changing play of light, wind and water over and through the chair. It replicates an archetypal Newfoundland wooden chair found in many rural kitchens. Because kitchens are where families and friends gather, this chair calls up memories of the comfort and pleasure of daily activities and “times”. But it also can evoke thoughts of people sitting by the window in anxious vigil, awaiting overdue sailors and fishermen. Paintings from Gill’s on-going Fires in the Desert work at the Factory Building in Port Union draw from his recent experience of two “ice deserts” during a 2014 residency aboard a three-masted barquentine out of Svalbard, Norway and an earlier voyage through the Canadian Arctic. The canvases with their soft pink organic forms play off Doug Guildford’s large crocheted sculptural works, some of them pink, installed in the Factory’s second floor. Photo by Mark Gray What role does site-specificity play in your practice and in this work in particular? For some time now I have been making work - a kind of live action work - in the environment that relies on the unpredictable elements of our surroundings to add context and meaning to the work. -
Will Gill CV
WILL GILL 1968 Born, Ottawa, ON EDUCATION 1991 BFA, Mount Allison University, New Brunswick EXHIBITIONS – SOLO 2017 A Foundation of Ash, Dylan Ellis Gallery, Toronto, ON 2015 No Man’s Land, Christina Parker Gallery, St. John’s, NL 2014 Bloodredlife, Christina Parker Gallery, St. John’s, NL 2013 Bloodredlife, Curated by George Harris with publication, Two Rivers Gallery, Prince George, BC 2012 Black Water, Christina Parker Gallery, St, John’s, NL 2009 New Painting, Christina Parker Gallery, NL 2008 New Work, Christina Parker Gallery, NL 2007 White Noise, Peak Gallery, Toronto, On 2006 William Gill, The Leyton Gallery, St John’s NL 2005 NightDay, Sir Wilfred Grenfell College Art Gallery, Corner Brook, NL 2004 William Gill: Sculpture and Wall Works, Peak Gallery, Toronto, ON 2000 Will Gill: Into The Woods, MacLaren Art Center, Barrie, Ontario Small Victories For An Ordinary Person, RCA Gallery, St. John’s, NL EXHIBITIONS – TWO PERSON /GROUP 2017 I Dread To Think, Curated by Liz Blum, Mills Gallery, Boston Centre for the Arts, Boston, MA Imago Mundi, Curated by Francesca Valente. imagomundiart.com, Italy Bonavista Biennale, Curated by Catherine Beaudette & Patricia Grattan, Bonavista Peninsula, NL I Dread To Think, Curated by Liz Blum, Dorsky Gallery, Queens, NY Time and Place, Christina Parker Gallery, St. John’s NL 2016 Towards Night, Curated by Tom Hammick, The Towner Museum, Eastbourne, UK Land of Mirrors: On-going experiments in Newfoundland, Eastern Edge Gallery, St. John’s, NL 2015 Surveying: An Uncertain Landscape, Curated by Pan Wendt, Confederation Centre For The Arts, Charlottetown, PEI No Man’s Land, Christina Parker Gallery, St.