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A Kind of Webcam Art Nicolas Thély
A kind of webcam art Nicolas Thély To cite this version: Nicolas Thély. A kind of webcam art. Les presses du réel. Vu à la webcam (essai sur la web-intimité), Les presses du réel, pp.10, 2002, Documents sur l’art. hal-00637088 HAL Id: hal-00637088 https://hal.archives-ouvertes.fr/hal-00637088 Submitted on 30 Oct 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A kind of webcam art Extrait de Vu à la webcam (essai sur la web-intimité), Les Presses du réel, Dijon, 2002. Présentation Si à la fin des années 1990, l’utilisation domestique de la webcam était devenue un phénomène de société, il s’agissait dans ce chapitre de montrer de quelles manières les artistes contemporains appréhendaient ce nouveau régime de visibilité et de circulation des images. Une anecdote En consultant le journal de Corrie à la date du 3 février 2001, le jour de ses 28 ans, un paragraphe retient l'attention, il est illustré par une image qui porte le titre « webcam art ». Elle représente la sculpture d'un Bouddha posée sur un socle blanc faisant face à un poste de télévision. -
Changing Horizons
Changing Horizons SASKATCHEWAN ARTS BOARD 2015-2016 ANNUAL REPORT MISSION: VALUES: TABLE OF CONTENTS: The Saskatchewan Arts Board recognizes, • Accessibility — We are committed to Letter of Transmittal 2 encourages and supports the arts to enrich providing accessible and user-friendly Message from the Chair 3 community well-being, creativity, diversity and services for our clients. Message from the Chief Executive Officer 4 prosperity. • Diversity — We are committed to building Board & Staff 5 an organization that reflects the ever- VISION: Stories 6 increasing diversity of the people of A creative society where the arts, artistic Saskatchewan and which embraces a In Memory 35 expression and innovation play a dynamic role broad scope of creativity and artistic Strategic Plan 36 and are accessible to everyone in expression through the arts. Permanent Collection: New Acquisitions 38 Saskatchewan. • Accountability — Our policies and Permanent Collection: Works on Loan 40 processes are transparent and reflect a Grants & Funding 42 commitment to effective stewardship for Jurors, Assessors & Advisors 46 the public trust we hold. Management Responsibility for Financial Information 48 • Collaboration — We recognize greater Auditor's Report 48 outcomes will be achieved through Financial Statements 49 collaboration, partnerships and the engagement of clients, staff and Notes to the Financial Statements 51 stakeholders. • Excellence — Our commitment to focusing on our clients and going above and beyond to support excellence in the arts. • Adaptability — Our ability to think differently, innovate and continuously evolve in order to support our clients and the dynamic role of the arts within a creative society. Cover Image: Gabriela García-Luna Blue Wheat , 2011 Giclée print on paper Photo courtesy of the artist The Saskatchewan Arts Board provides opportunities to change horizons for people across Saskatchewan. -
Goose Lane Editions Fall 2018 Where to Begin? with a Heartbeat
Goose Lane Editions Fall 2018 Where to begin? With a heartbeat. A word. An image. Fall 2018. A season of provocation, of entertainment, of complete absorption. A season of ideas. And of emotion. “This is where the heart of feminism beats.” — Annie Lennox on Powered by Love This fall our selection of new titles includes books destined for everyone’s reading list: a provocative (and yes, decidedly controversial) book on the myths of mammography by investigative journalist Renée Pellerin; a memoir of a river by one of Canada’s best nature writers, Wayne Curtis; and the first of two volumes on the Great Trail by hiker extraordinaire Michael Haynes. “Blunt, honest and well-researched.” — Flurt on F-Bomb Readers will be entranced by fabled lawman Strother Purcell in Ian Weir’s deadpan revisionist western and pulled into the undertow of history in Paul Carlucci’s ravaged high-rise of the north. In icehouse poetry, renowned poet Patricia Young and first-book author Dominque Bernier-Cormier will encourage readers to cast their gaze on a pungent, pulsating universe. Full stop. And then, with much ado, we’ll unveil a dazzling array of illustrated books, including three distinctive books of photography. ...Everything Remains Raw records the evolution of the Toronto hip hop scene through graffiti, magazine shoots, and behind-the-scenes documentary photographs. The Lost City documents the vanished neighbourhoods of Saint John razed by the progress of “urban development” in arresting, black-and-white photographs by Ian MacEachern. In One Wave, Ned Pratt transforms the Newfoundland landscape into distillations of form and colour — without a hint of nostalgia. -
Jessica Eaton
JESSICA EATON Press Pack 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM JESSICA EATON BORN 1977, Regina, Saskatchewan EDUCATION 2006 BFA Photography, Emily Carr University of Art and Design, Vancouver SOLO & TWO PERSON EXHIBITIONS 2016 M+B, Los Angeles, CA Transmutations, Galerie Antoine Ertaskiran, Montreal, QC 2015 Wild Permutations, Oakville Galleries at Centennial Square, Oakville, ON Custom Colour, Higher Pictures, New York, NY Wild Permutations, MOCA Cleveland, Cleveland, OH 2014 Jessica Eaton: New Works, Jessica Bradley Gallery, Toronto, ON Ad Infinitum, The Photographers’ Gallery/The Hospital Club, London, UK 2013 Flash: Jessica Eaton, California Museum of Photography, Riverside, CA Hyères 2013: International Festival of Fashion and Photography, Hyères, France 2012 Polytopes, M+B, Los Angeles, CA Squeezed Coherent States, Clint Roenisch Gallery, Toronto, ON 2011 Cubes for Albers and LeWitt, Higher Pictures, New York, NY The Whole is Greater Than The Sum of The Parts: Lucas Blalock and Jessica Eaton, Contact Gallery / Contact Photography Festival 2011, Toronto, ON 2010 Strata: New works by Jessica Eaton, Red Bull 381 Projects, Toronto, ON Umbra Penumbra, PUSH Galerie, Montréal, QC 2009 Variables, LES Gallery, Vancouver Photographs, Hunter and Cook HQ, Toronto, ON GROUP EXHIBITIONS 2016 There is nothing I could say that I haven’t thought before, in collaboration with Cynthia Daignault, Stems Gallery, Brussels, Belgium 2015 Russian Doll, M+B, Los Angeles, CA Are You Experienced?, -
Karen Moss Curriculum Vitae Page 1
KAREN MOSS CURRICULUM VITAE PAGE 1 PROFESSIONAL EXPERIENCE OTIS COLLEGE OF ART AND DESIGN Ø Interim Director of Exhibitions anD Galleries (as of July 2014) Overseeing operations and programs for the Ben Maltz Gallery including Jorge and Lucy Orta’s Art / Life / Water exhibition and artists’ residency, Talking to Action: Decolonizing Experiments in Art from the Americas, an exhibition/symposium for the Getty’s PST Los Angeles/Latin America and other upcoming projects. Ø Senior Lecturer (2008 - Present) Teach courses in the Graduate Public Practice MFA program including Histories and Strategies of Public Art and Production Studio Critique Seminars. Conduct regular studio visits and advise on final MFA exhibition. While Chair Suzanne Lacy was on sabbatical, served as Acting Chair for the GPP MFA program. ORANGE COUNTY MUSEUM OF ART, 2003 - 2012 Ø Adjunct Curator (August 2010 - December 2012) Curated State of Mind: New California Art Circa 1970, an exhibition of conceptual art and other new genres in conjunction with the Getty’s Pacific Standard Time Initiative. Wrote successful proposals for a $175,000 research grant and a $225,000 implementation grant for presentations of the exhibition at Orange County Museum of Art and the UC Berkeley Art Museum and Pacific Film Archive, 2011-2012, followed by a 2-year tour to the Belkin Art Gallery, University of British Columbia, Vancouver; SITE Santa Fe; Bronx Museum of the Arts and the Smart Museum of Art, University of Chicago. The accompanying fully illustrated scholarly book was published by the University of California Press. Also curated 50 Years Forward, a photographic exhibition of OCMA’s institutional, exhibition and collection history in conjunction with the museum’s 50th anniversary. -
Syndicat and Matthieu Laurette Present MATTHIEU: Une Rétrospective Dérivée, 1993-2015 Chaumont Design Graphique, 26Th Festiva
Syndicat and Matthieu Laurette present MATTHIEU: Une rétrospective dérivée, 1993-2015 Chaumont design graphique, 26th Festival, 27th May – 14th June 2015 The artist Matthieu Laurette (b.1970) operates like a Buren stripe. perversely even photographs taken from very low-resolution Since the start of his career in 1993 he has inserted himself into TV images - but on the goods created for the exhibition they pre-existing situations with the aim of raising questions about their are reduced to a minimal numbers of pixels. Also, although not premises and exposing their mechanisms. While still a student, deliberately so, some of the designers’ choices ran against the usual Matthieu took part in a show titled Tournez Manège (The Dating hierarchy of images of the artist’s work. For example, a widely Game) on which he introduced himself as ‘a multimedia artist’. reproduced photograph of The Freebie King, a wax sculpture of He has been using TV formats as ready-mades ever since and calls Matthieu pushing a laden supermarket trolley that was exhibited his appearances ‘Apparitions’. Among them is a session on Je passe by Harald Szeemann at the Venice Biennial in 2001, is reprinted on à la télé (I am on TV), a talent show in which both the aim and the the least imposing objects in the exhibition, a small metal military prize are avoiding being voted off by a live audience. Alongside his dogtag on a stainless steel ball-chain (Matthieu himself think of work on screen during the 1990s, Matthieu undertook several long- this image as something of an icon). -
Alberta College of Art + Design
Catalyst FALL 2013 art + design in our community and beyond ALBERTA COLLEGE OF ART + DESIGN art + design in our community and beyond ALBERTA COLLEGE OF ART + DESIGN President’s Message 1 On Campus Academic Update 2 ACADSA Show + Sale 2 Nurturing the Creative Entrepreneur – Centre for Creativity + Entrepreneurship 3 White Walls, Infinite Possibilities – Illingworth Kerr Gallery 4 The Art of Learning – Extended Studies 5 Telling ACAD’s Stories SCHOOL OF CRAFT + EMERGING MEDIA Code + Clay– Katrina Chaytor 6 Andy Nichols Photography EDITORIAL PHOTOGRAPHY Ground Control to Major Tom – Catherine Larose 8 Computer Canvases – Paul Robert 10 Brieanne Biblow Alex Middleton Shifting Gears – Natalie Lauchlan 12 Kara Tersen WRITING SCHOOL OF CRITICAL + CREATIVE STUDIES Natalie Sit Zombies, Dinosaurs, Ghosts, Oh My! – Alex Link 14 EDITING A Wicked Problem – John Calvelli 16 GOOD Company Wordplay – Derek Beaulieu 18 DESIGN Molding Theory – Nicole Burisch 20 McAra Printing PRINTING ACAD at a Glance 22 ALBERTA COLLEGE OF ART + DESIGN Telling ACAD’s Stories (continued) 1407 - 14 AVE NW CALGARY, ALBERTA CANADA SCHOOL OF COMMUNICATION DESIGN T2N 4R3 403.284.6238 WWW.ACAD.CA An Unexpected Journey – Wayne Traudt 28 Back to Basics – Ray Ferraro 30 Make Art for your Friends – Geoff McFetridge 32 A Student of the Medium – Tim Okamura 34 SCHOOL OF VISUAL ART 36 COVER PHOTO: Susan Turcot. Hide and A Life Aquatic – Laurel Johannesson Seek (2012). Charcoal on paper, each 39 Finding Home – Marty Kaufman 38 x 53 cm. Courtesy the artist and Illingworth Kerr Gallery. Critic’s Choice – Don Kottmann 40 Presented as part of the exhibition Susan From Pencil to Lens – Yuqi Kang 42 Turcot, Illingworth Kerr Gallery, September 26 to October 26, 2013. -
Dossier Laurette
MATTHIEU LAURETTE SELECTED WORKS (1993-2003) WWW.LAURETTE.NET Represented by YVON LAMBERT, Paris/New York http://www.yvon-lambert.com DEWEER ART GALLERY, Otegem http://www.deweerartgallery.com BLOW de la BARRA, London http://www.blowdelabarra.com Matthieu Laurette was born in 1970 (Villeneuve St Georges, France). lives and works in Paris and New York. Matthieu Laurette recent selected exhibitions and projects include Let's Make Lots of Money, Blow de la Barra, London (2006) [Solo]; Notre Histoire, Palais de Tokyo, Paris (2006); Day Labor, PS1/MoMA, N.Y (2005) ; Populism, CAC, Vilnius, Lithuania; Kunstverein, Frankfurt, Germany; Stedelijk Museum, Amsterdam, Netherlands, (2005); The Today Show, Yvon Lambert Gallery, Paris (2005) [Solo]; Comodities, Deweer Art Gallery, Otegem (2004) [Solo]; Biennale de Pontevedra, Pontevedra (2004); Matthieu Laurette : Prix Ricard S.A. 2003, MNAM-Centre Pompidou, Paris, (2004) [Solo]; Publicness, ICA, London; GNS (GLOBAL NAVIGATION SYSTEM), Palais de Tokyo, Paris; Propaganda, Espace Paul Ricard, Paris (2003); Less Ordinary, Artsonje Center, Seoul; La vie au fond se rit du vrai, CAPC Musée d'Art Contemporain, Bordeaux; Art and Economy, Deichtorhallen, Hamburg (2002); Form Follows Fiction, Castello di Rivoli, Torino; Plateau of Humankind, 49th Venice Biennale (2001); Voilà, Arc-Musée d'Art Moderne de la Ville, Paris, El Gran Trueque, Consonni, Bilbao (Solo); Plan B, De Appel, Amsterdam; Au dela du Spectacle (Let’s Entertain), Centre Pompidou, Paris (2000); Patchwork in Progress, Mamco-Musée d'Art Moderne et Contemporain, Geneva [Solo]; Crash !, ICA, London (1999); Applaus, Casco Projects [Solo], Utrecht; Premisses, Salomon R. Guggenheim Museum Soho, New York (1998). He received in 2003 the RICARD S.A. -
Mise En Page 1
SEXTANT ET PLUS, associée à IKSV et CULTURESFRANCE, présente EMPLOI SAISONNIER "Emploi saisonnier" est un projet proposé par Celenk Bafra et Véronique Collard Bovy, basé sur un en - semble de recherches et d’échanges initié en 2008 dans les villes d’Istanbul, Izmir, Antakya, Diyarbakir, Paris et Marseille. Le point de départ était de rendre compte de manière précise des questions urbaines, sociales et culturelles des villes du pourtour Méditerranéen, et plus particulièrement de Turquie. Ces recherches se sont concentrées sur les différentes problématiques socio-culturelles de ces cités et sur les modalités de production collectives comme autant de solutions pour les artistes d’exister ensemble en inventant des systèmes d’échanges et de solidarité. De ces recherches découle l’élaboration de trois propositions artistiques, trois expositions présentées à la Friche Belle de Mai, à Marseille. Il était crucial, concernant le programme de résidence, d’y intégrer des artistes de Turquie familliers avec la dimension collective, le vivre et travailler ensemble. Venus d’Izmir, une des grandes villes de Turquie et un des plus important port de la côte asiatique, quatre artistes, par ailleurs figures emblématiques d’une des plus importantes initiatives d’artistes contemporains à Izmir, nommée K2, ont mené leurs résidences à Marseille. Bien que leurs propositions artistiques se soient formalisées de manière individuelle, une approche commune et une filiation spirituelle existe par ce passé partagé. Le processus de leur résidence jusqu'à la production de leur travaux, traitant des questions du quotidien et des modes de vie, a contribué au contenu de l'exposition "Arrangements" au même titre que les oeuvres des autres artistes invités qui, par leurs positions et leurs approches des questions du quotidien, viennent la nourrir et l'enrichir. -
Matthieu Laurette: Yvon Lambert
Matthieu Laurette: Yvon Lambert ArtForum, Summer, 2005 by Jean-Max Colard More than video, photography, or any other medium, Matthieu Laurette's favored mode of appearance is, precisely, the appearance. This tautology says a good deal about his art of endless refraction, a self-reflective oeuvre that nevertheless takes on, perhaps not the lowest forms, but in any case the least reputable ones in the realm of television and media, from talk shows to celebrity gossip. It's not surprising to have seen his appearance--excuse me, exhibition--at Yvon Lambert open with some man-in-the-street interviews: Made with a team from NOATV, the local cable access network in New Orleans, The Louisiana Repo-Purchase, 2003-2004, shows passersby being asked to sign a petition to keep France from buying back the Louisiana territories: "That's ridiculous!" "We don't like Louisiana, so sell it!" "Yes, I want to sign that. We live here now, and we're here to stay." The video turns into a documentary on the difficulty of French-American relations in the wake of the war in Iraq: "It's sometimes easier to talk about real issues in a playful way," the artist himself has said. "People can listen more easily because you don't frighten them with ideologies." If Laurette places trust in television--something rather unexpected these days--it's because he has been able to make it his tool and his workplace. The proof comes with his recent Apparition: The Today Show, NBC, December 31, 2004. That day, in front of Rockefeller Plaza, where the network has an outdoor set and -
Bik Van Der Pol* – 301
THE ADDITION BIK VAN DER POL* – 301 REPLACING A MOON ROCK WITH A PIECE OF PETRIFIED WOOD AND HOW THIS CHANGED OUR PERCEPTION OF THE WORLD [excerpts from press release, links are examined from various perspectives. Through September 2006] this object, the artists address issues such as the exploration of the unknown, colonisation, and authenticity, as well as FLY ME TO THE MOON questions concerning the public, public interest and the Moon rock from Rijksmuseum significance of a public collection. collection on display as part Fly Me To The Moon consists of guided tours— of art project following a so-called “dynamic script”—to the exhibition October 6–November 17, 2006 in one of the empty and now fully stripped towers of the Rijksmuseum in Amsterdam. The project also manifests In connection with the renovation of the Rijksmuseum itself in the public realm of Amsterdam with posters in Amsterdam, the art project Fly me to the Moon will be 100 public lightboxes. Part of the project is the publication opened on Friday October 6. Artists Bik Van der Pol took Fly Me To The Moon, designed by Ben Laloua/Didier as core item of the project one of the oldest objects in the col- Pascal, published by Sternberg Press, containing texts by lection of the Rijksmuseum: a moon rock. The crew of the Jennifer Allen, Bik Van der Pol, Wouter Davidts, Frans first manned lunar landing mission, Apollo 11, brought von der Dunk and Jane Rendell, reflecting on the presence this rock back to earth in 1969. That same year the three and potential significance of the moon rock in the collec- astronauts Neil Armstrong, Edwin Aldrin and Michael tion of the Rijksmuseum. -
When Edouard Manet Exhibited in the Conservatory, Critics Accused Him of Making Concessions to the Public. the P
AKIMBLOG VANCOUVER CALGARY PRAIRIES WINNIPEG ONTARIO TORONTO MONTREAL EAST COAST ALL MONTREAL TAMMER ELSHEIKH COETUS FLOREUS A T GALERIE NICOLAS ROBERT August 01, 2018 J’aime 36 When Edouard Manet exhibited In the Conservatory, critics accused him of making concessions to the public. The painting features a welldressed couple in a greenhouse, comically missing each other’s vacant stares and looking rigid amid an explosion of plant life. More recently the “excessively finished” work was read as an “anxious attempt to reconsolidate the visual field in whose disassembly Manet had already participated.” For art historian Jonathan Crary, the malaise of modernity is signalled in the “fraudulent earthly paradise” of a greenhouse. Coetus Floreus at Galerie Nicolas Robert might also be mistaken for a conservative display of skillfully rendered flowers, figures, and faces. Continuities between the honeymoon phase of European modernity and our more circumspect latecapitalist era appear throughout the exhibition. But if the motif of flowers was used by Manet to stage a conflict between nature and culture, this group exhibition exposes our tendency nowadays to recode nature as culture. Lorna Bauer, The Westmount Conservatory and Greenhouse, 2018, inkjet print A provocative link is made between Manet’s century and our own in Lorna Bauer’s The Westmount Conservatory and Greenhouse. Bauer began photographing the iconic Westmount building between its renovations while preparing for a residency in Paris to study the green spaces of Baron Haussmann’s 19th Century urban renewal program. The photo’s middle ground is occupied by zinnia flowers visible through paint, plaster, or milkshake spatter on a pane of glass.