Annual Report 2014–2015 Art Gallery of York University
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Sara Angelucci | Aboretum (Willow Tree with Marsh Wren) | Inkjet Print | 27 X 35.5 Inches | 2015
SARA ANGELUCCI | ABORETUM (WILLOW TREE WITH MARSH WREN) | INKJET PRINT | 27 X 35.5 INCHES | 2015 SARA ANGELUCCI P A T R I C K M I K H A I L M O N T R É A L 4815 BOULEVARD SAINT-LAURENT MONTRÉAL CANADA H2T 1R6 T. 514.439.2790 SARA ANGELUCCI EDUCATION 1997 Master of Fine Arts, Nova Scotia College of Art and Design 1993 Bachelor of Fine Arts, University of Guelph 1987 Bachelor of Arts (Honours), Art History, University of Guelph SELECTED SOLO EXHIBITIONS 2017 Lianzhou Photography Festival, (Arboretum), Lianzhou, China, curated by Yan Zhou 2017 Piece Work (part of Piece by Piece), Canadian Cultural Centre, Paris 2017 Arboretum, Patrick Mikhail Gallery, Montreal, PQ 2017 Piece Work, Art Gallery of Hamilton, ON 2016 Arboretum, Stephen Bulger Gallery, Toronto, Ontario 2016 Aviary, Halsey Institute of Contemporary Art, South Carolina, USA 2015 TAKING FLIGHT, September 18, Patrick Mikhail Gallery, Montreal, Quebec 2014 Performance of A Mourning Chorus, - September 26, Royal Ontario Museum, Toronto, Ontario 2014 Public performance of A Mourning Chorus – February 5, Walker Court, AGO, part of Artist-in-Residence, Art Gallery of Ontario, Toronto, Ontario 2013 Provenance Unknown, curator Emelie Chhangur, Art Gallery of York University, Toronto, Ontario 2010 Lacrimosa, Wynick/Tuck Gallery, Toronto, Ontario 2010 Regular 8, Occurrence, Montreal, Quebec 2009 Somewhere in Between, St. Mary’s University Art Gallery, Halifax, Nova Scotia 2009 Regular 8, Wynick/Tuck Gallery, Toronto, Ontario 2008 Room To Remember, Trinity Square Video, Toronto, Ontario 2008 -
Nd Mark the Appropriate Box(Es)
Telephone: (416) 944-1096 • Facsimile: (416) 465-4356 • Email: [email protected] • www.takeonemagazine.ca nd mark the appropriate box(es). Individuals: $10 (includes postage and GST) Institutions: $ 1 5 (includes postage and GST) No. 33: Summer Animation Issue: Reboot, 0 No. 7: Picture of Light, Wind from Wyoming, O No. 21: The Herd, Last Night, Un 32 aodt sur O Valentine's Day, Whale Music, Wasaga terre, Dirty, Saul Rubinek, the films of Joyce Xcalibur, Cyber World in 3—D, Paul Driessen, Wieland, interview with Wayne Clarkson Michele Cournoyer, Pierre Hebert, Cinar, 0 No. 8: Dance Me Outside, Goin' down the Road, Quickdraw Animation Society Jesus of Montreal, including 'Roads Not Taken, 0 No. 22: The Red Violin, Such a Long Journey, Avenues Not Explored: Confessions of an Power Play, Telefilm Canada, Canadian cinema: O No. 34: Last Wedding, Lost and Delirious, Unconscious Canonizer' by Peter Harcourt the tax—shelter years Atanarjuat, Century Hotel, a chronology of Canadian film and television 0 No. 9: Le Confessional, Rude, Soul Survivor, No. 23: eXistenZ C't'a ton tour, Laura Cadieux, O The War Between Us, Margaret's Museum, the Boy Meets Girl, Dog Park, Extraordinary Visitor, O No. 35: Un Grebe dans la tete, Picture Claire, Lip films of Mike Hoolboom Foolish Hearts, Emily of New Moon, interview Service: A Mystery, Mariages, Treed Murray, with Colin Low, part I Allan King, Callum Keith Rennie, Nick Mancuso 0 No. 10: Who's Counting? Marilyn Waring, Sex, No. 36: Men with Brooms, Red Green's Duct Lies and Global Economics, Baseball Girls, The O No. -
Difficulty in the Origins of the Canadian Avant-Garde Film
CODES OF THE NORTH: DIFFICULTY IN THE ORIGINS OF THE CANADIAN AVANT-GARDE FILM by Stephen Broomer Master of Arts, York University, Toronto, Canada, 2008 Bachelor of Fine Arts, York University, Toronto, Canada, 2006 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program in Communication and Culture Toronto, Ontario, Canada, 2015 © Stephen Broomer, 2015 Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film Stephen Broomer Doctor of Philosophy in Communication and Culture, 2015 Ryerson University and York University Abstract This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty. -
Winter 2011 – 12 December 2011 – March 2012 OVERVIEW Winter at the Power Plant
exhibitions / programs / events Winter 2011 – 12 December 2011 – March 2012 OVERVIEW Winter at The Power Plant Our Winter season presents two major The evening before the opening of the Winter exhi- exhibitions that delve into a wellspring bitions, Stan Douglas will speak in our International Lecture Series (8 December), while the influential of cultural history and the archive of artist Martha Rosler will give an ILS presentation a the social. week later, on 15 December. In the new year, in addition to a lecture by participating artist Stan Douglas: Entertainment features selections Christian Holstad, Coming After extends into a from the Vancouver artist’s outstanding new series of live events and film programs co-present- photographic project Midcentury Studio, in which ed with the Feminist Art Gallery and the Art Gallery Douglas assumes the lens of a postwar photogra- of York University, in tandem with their retrospec- pher as he takes on various jobs from photojour- tive of the late Toronto artist Will Munro. nalism to advertising. The exhibition includes In addition, we are pleased to collaborate with images of novelties and divertissements, as well as World Stage, Harbourfront Centre’s international his Malabar People suite of portraits of the performing arts series for the theatrical run of denizens of a fictional nightclub. The bars, clubs Everything Under the Moon by Toronto artist Shary and bathhouses that appear in the work in the Boyle (who had a solo exhibition at The Power Plant group exhibition Coming After, however, are in 2006) and Winnipeg musician Christine Fellows, absent of revelers — as if the party is over. -
THB-Publication.Pdf
Jane ADENEY Sara ANGELUCCI Tom BENDTSEN Suzanne CARTE-BLANCHENOT Lesley Loksi CHAN Susan DETWILER Simon FRANK Insoon HA Dave HIND The HUNTERS Ivan JURAKIC Fiona KINSELLA Gareth LICHTY Tor LUKASIK-FOSS Steve MAZZA Aaron MURPHY Liss PLATT Gayle YOUNG and Reinhard REITZENSTEIN C. WELLS These are a few of the colourful local nicknames for the TH&B markers that can still be found hidden in plain sight on the side of rail bridges and train stations around Hamilton. TH&B was the common name of the former Toronto, Hamilton & Buffalo railway that operated out of Hamilton, crisscrossing the Niagara Peninsula from Lake Erie to Lake Ontario, from 1895-1987. The rail line was a vital link that like so many things in the city TO HELL & BACK, was folded into a larger corporation – in this case CN Rail – and forgotten. TITS, HOOTERS & BOOBS, Resuscitating the moniker of this defunct IRED, ungry ROKE, railway, TH&B is the creative partnership T H & B of Simon Frank, Dave Hind, Ivan Jurakic, and Tor Lukasik-Foss; a group of visual TRAMPS, HOBOS & BUMS... artists operating out of the Hamilton area. The group collaborates on projects that respond to site, context and history, and sets out to examine the often unexpected intersections between culture, industry and the natural environment. TH&B encapsulates an alliance between artists with ties to the region. As such, the team envisioned developing a large invitational warehouse exhibition that would focus on sculpture, installation and performance. To this end, we pursued a partnership with 270 Sherman, to secure a large venue in the industrial heart of Hamilton – the old sewing floor of the on Saturday, May 3, and attended by over Imperial Cotton Centre, 30,000 square feet 300 people. -
2018 Conference of the Universities Art Association of Canada Congrès 2018 De L’Association D’Art Des Universités Du Canada
Session 1 | Séance 1 : Theuaac-aauc Artery 2018 Conference of the Universities Art Association of Canada Congrès 2018 de l’Association d’art des universités du Canada October 25–28 octobre, 2018 University of Waterloo uaac-aauc.com Congrès UAAC-AAUC Conference October 25-28 octobre 2018 University of Waterloo 1 Welcome As someone who started attending UAAC conferences three decades ago, I can say that no two are alike: continuities exist, but there’s always something new. This year, for example, along with the customary launch of the Fall RACAR–a “Critical Curating” special issue edited by Marie Fraser and Alice Ming Wai Jim–and the perennial opportunity to renew old relationships and start fresh ones, we’ll kick off UAAC’s new website. Also, rather than a keynote lecture, we’ll have keynote performances by Louise Liliefeldt and Lori Blondeau, an exciting outgrowth of performance’s rising importance as a mode of presentation at our conference. Thanks to the conference organizers, Joan Coutu and Bojana Videkanic, for their insight in suggesting this shift, and for the rest of their hard work on this conference. The programming committee– Joan Coutu, Bojana Videkanic and Annie Gérin– also must be recognized for its great work reviewing session proposals. And, as always, huge applause for Fran Pauzé, UAAC’s administrator, who has kept us on track day in and day out for years now. As you know, our conference’s dynamism flows from the continued broadening and revitalization of UAAC’s constituency. However, the difficult state of culture and education today makes participation by students and precariously-employed faculty harder and harder. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
Sinbad in the Rented World
Sinbad in the Rented World Sinbad in the Rented World JOEL GIBB ANDREW HARWOOD JEREMY LAING AND WILL MUNRO IAN PHILLIPS THE ENSEMBLE OF TOPS ‘N’ BOTTOMS SCOTT TRELEAVEN Ian Phillips Untitled Found Object, 2003 [detail] Sinbad in the Rented World WITH AN ESSAY BY R.M. VAUGHAN AND A STORY BY DEREK MCCORMACK ART GALLERY OF YORK UNIVERSITY TORONTO Jeremy Laing and Will Munro Pavilion of Virginia Puff-Paint, 2004 [detail] ON THE OTHER HAND Sinbad in the Rented World With the title, Sinbad in the Rented World, I pay homage to the legacy of the legendary underground filmmaker and performer Jack Smith, referring to one of his unfinished film projects. Not that I suspect Smith’s legacy to be fulfilled by the artists in the exhibition—or even his amazing achievements in film, experimental theatre, and installation necessarily to be known. What I want to explore is a queer aesthetic in Toronto art but as applied to social function. Is this a new phenomenon? Perhaps, if we are willing to stretch our understanding of the parameters of visual culture—or queer art. One might not think that glamour or the superficial excess of glitter could have a social function, but Smith adamantly believed so saying: “Could art ever be useful? Ever since the desert glitter drifted over the burnt-out ruins of Plaster Lagoon thousands of artists have pondered and dreamed of such a thing, yet, art must not be used anymore as another elaborate means of fleeing from thinking because of the multiplying amount of information each person needs to process in order to come to any kind of decision about what kind of planet one wants to live on before business, religion, and government succeed in blowing it out of the solar system.”* The environmental costuming of the gallery (to extend a phrase of Charles Ludlam’s) that takes place here can be considered co-extensive with social practices in the world, even if the works herein contained seem too playful. -
Clara Thomas Fonds Inventory #432
page 1 SERIES FILE LIST - S00018 Clara Thomas fonds Inventory #432 Call #: File: Title: Date(s): Note: 1995-002/008 (1) Clara Thomas on York University 1978, 1981 1995-002/008 (2) Honorary Degree (York). [includes 13 colour June 1986 photos] 1995-002/008 (3) Honorary Degree (Trent). [includes 4 colour May 1991 photos] 1995-002/008 (4) Honorary Degree (Brock). [includes 18 colour June 1992 photos] 1995-002/008 (5) PhD Parchment - Royal Society 1982 1995-002/008 (6) Thomas, Clara (Birthday Cards) 1995-002/008 (7) Thomas, Clara (Christmas Cards) 1995-002/008 (8) Thomas, Clara (Illness & Operation) 1988 1995-002/008 (9) Thomas, Morley 1995-002/008 (10) Northrop, Frye - England 1965 1995-002/008 (11) Anne Welwood. "Judith's Fish" 1977 1995-002/008 (12) Notes on Strathroy, Ont. 1 of 3 1995-002/008 (13) Notes on Strathroy, Ont. 2 of 3 1995-002/008 (14) Notes on Strathroy, Ont. 3 of 3 1995-002/008 (15) Strathroy - C. Thomas, Personal 1995-002/008 (16) WW I, II letters from Vernon Sullivan, Vernon McCandless, and Alfred Brandon Conron. Typescript copies. 1995-002/009 (1) Western Extension, 1956-1957. [University of Western Ontario - Extension Dept.] 1995-002/009 (2) Re: William Arthur Deacon 1982 1995-002/009 (3) C. Thomas - Royal Society 1983 1995-002/009 (4) Thomas, Clara (Retirement). [includes 3 1984 colour photos] 1995-002/009 (5) Northern Telecom Award 1989 1995-002/009 (6) Photos [67 photos: b&w, col.) 1995-002/009 (7) Photos [21 photos: b&w, col.) 1995-002/009 (8) Yearly Log 1971-1987 1995-002/009 (9) Northrop Frye Newsletter 1988-1994 1995-002/009 (10) C. -
Investigating Race, Space and Meaning in Toronto's Queer Party
AND YA DON’T STOP: INVESTIGATING RACE, SPACE AND MEANING IN TORONTO’S QUEER PARTY ‘YES YES Y’ALL’ by Trudie Jane Gilbert, BSW, University of British Columbia, 2015 A Major Research Paper presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the program of Immigration and Settlement Studies Toronto, Ontario, Canada © Trudie Jane Gilbert 2017 AUTHOR’S DECLARATION I hereby declare that I am the sole author of this Major Research Paper. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. Trudie Jane Gilbert ii AND YA DON’T STOP: INVESTIGATING RACE, SPACE AND MEANING IN TORONTO’S QUEER PARTY ‘YES YES Y’ALL’ Trudie Jane Gilbert Master of Arts 2017 Immigration and Settlement Studies Ryerson University ABSTRACT This Major Research Paper (MRP) is a case study of the queer hip hop and dancehall party Yes Yes Y’all (YYY). This MRP seeks to challenge white, cismale metanarratives in Toronto’s queer community. This paper employs Critical Race Theory (CRT) and queer theory as theoretical frameworks. Racialization, racism, homophobia, homonormativities and homonational rhetoric within queer discourses are interrogated throughout the analysis. -
Libraries and Cultural Resources
LIBRARIES AND CULTURAL RESOURCES Archives and Special Collections Suite 520, Taylor Family Digital Library 2500 University Drive NW Calgary, AB, Canada T2N 1N4 www.asc.ucalgary.ca Malcolm Ross fonds. ACU SPC F0027 https://searcharchives.ucalgary.ca/malcolm-ross-fonds An additional finding aid in another format may exist for this fonds or collection. Inquire in Archives and Special Collections. MALCOLM ROSS fonds MsC 18 The Malcolm Ross Fonds MsC 18 CORRESPONDENCE .......................................................................................................................... 2 Correspondence from Canadian writers, and Canadian and American academics .................. 20 CORRESPONDENCE RELATING TO NEW CANADIAN LIBRARY SERIES, MCCLELLAND AND STEWART ....................................................................................................................................................... 24 PUBLISHED WORK BY MALCOLM ROSS ......................................................................................... 50 ABOUT MALCOLM ROSS ................................................................................................................ 50 ABOUT NEW CANADIAN LIBRARY SERIES ...................................................................................... 52 Page 2 MALCOLM ROSS fonds MsC 18 FILE TITLE DATE BOX/FILE Biographical material about M. Ross [197- (?)] 1.1 - typescript (photocopy) and typescript CORRESPONDENCE Academic letters and documents 1934-April 5, 1962 1.2 - arranged chronologically: • E.E. Stoll -
"Surfacing" and "The Diviners"
FOLKLORE, POPULAR CULTURE & INDIVIDUARON IN "SURFACING" AND "THE DIVINERS" Terry Goldie СIONTEMPORARY CANADIAN FICTION includes a number of works which reject modern technology and turn to some form of knowledge which might be described as traditional or primitive. In a review of a prime example, Surfacing, Bruce King states, "The search for roots in the past and some better life in contrast to modern urban civilization is widespread at present and the novel may be said to record an extreme representation of the new romanticism and a critique of it."1 Clara Thomas suggests something similar in an article on a comparable work, The Diviners: "The passing on of an authentic heritage of their people is a central preoccupation of writers of today, particularly of writers of the post-colonial nations."2 This similarity between the two novels, however, hides certain important, although perhaps subtle, distinctions. In each novel, the central character, the narrator, is a woman going through a search for identity, what Jung referred to as individuation, "becoming one's own self."3 Each is inspired by a mystical, non- or even pre-rational knowledge, removed from contemporary technology. In Surfacing, however, the only such knowledge is found in a distant past and in isolation. In The Diviners, there is a feeling that while the quest for identity requires an exploration of the past it must also be shaped by the present and by those a sociologist would call the "significant others," parents, children, lovers, and friends. Elsewhere I have observed that the search for self often takes the form of an interest in folklore,4 a diffuse assemblage of what could be defined as "The tradi- tional beliefs, legends, and customs, current among the common people."5 Con- temporary folklorists would see this definition as far too limiting but it fits com- mon usage.