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Liz Magor I Have Wasted My Life
Andrew Kreps 22 Cortlandt Alley, Tue–Sat, 10 am–6 pm Tel. (212)741-8849 Gallery New York, NY 10013 andrewkreps.com Fax. (212)741-8163 Liz Magor I Have Wasted My Life May 21 - July 3 Opening Reception: Friday, May 21, 4 - 7 pm Andrew Kreps Gallery is pleased to announce I Have Wasted My Life, an exhibition of new works by Liz Magor at 22 Cortlandt Alley. On the wall, a new sculpture titled Perennial is formed from a duffle coat, which in the 1960s and 1970s had become a de-facto uniform for student protestors, including those part of the nascent environmental movement in Vancouver, where Greenpeace was founded in 1971. A near artifact from this time, the coat carries with it the accumulated wear from these actions. The artist’s own interventions seek to repair the garment, though in lieu of erasure, Magor marks the damage using paint, ink, and sculptural material. Simultaneously, Magor adds vestiges of the coat’s past activity, such as two cookies cast in gypsum placed in its pocket to resuscitate it to its prior use. Magor often positions humble objects at the center of her sculptures, the stuff that plays fleeting roles in our lives as repositories for memories and affection before being replaced. Three found workbenches, positioned throughout the galleries, become stages for these objects, suggesting sites for their rehabilitation. On each, a meticulously molded and cast toy animal rests between an array of accumulated items that range from the deeply personal, such as small collections of rocks, shells, and dried flowers, to those that are ubiquitous, such as Ikea Lack furniture, which is produced in a way that it is no longer contained to one place, or time. -
Social18 Sponsor
PRESENTING SOCIAL18 SPONSOR THURSDAY SEPTEMBER 27 Fundraising Dinner and Auction SETTING TIME THURSDAY SEPTEMBER 27 2018 VENUE EVERGREEN BRICK WORKS 550 BAYVIEW AVENUE SCHEDULE 6PM COCKTAIL RECEPTION+ SILENT AUCTION 7PM DINNER 9PM LIVE AUCTION CONDUCTED BY STEPHEN RANGER of WADDINGTON’S Canadian Art is the preeminent platform for journalism and criticism about art and culture in Canada. Our print, digital, educational and programming initiatives deliver smart, accessible ideas, stories and opinions. A national non-profit foundation, Canadian Art develops and supports art writers, and engages with the work of artists, established and new. Most important, we empower diverse audiences to understand, debate and be inspired by art. Now in its 23rd year, Social 2018 offers one of the largest live and silent contemporary art auctions in Canada, and is an essential source of funding for Canadian Art. The great selections in this year’s auction reflect a discerning, mindful and generous art advisory committee, co-chaired by Jessica Bradley and Stefan Hancherow. These are people commit- ted to reflecting the values of our publication—in other words, to assembling artworks you can talk about, debate, and that alter and enrich in meaning as you think about and look at them. Many thanks to all of the artists and gallerists who have donated works this year. You keep our conversations on art interesting, and ongoing. David Balzer Canadian Art Editor-in-Chief and Co-Publisher 3 LETTER FROM THE PRESENTING SPONSOR Art inspires important conversations. It can also be a catalyst for change, driving us to evolve, examine and shape our communities. -
Old Works / New Works: When Contemporary
OLD WORKS / NEW WORKS: WHEN CONTEMPORARY PHOTOGRAPHIC ARTWORKS HELD BY CANADIAN PUBLIC INSTITUTIONS CHANGE AFTER ACCESSION by Anne Cibola Master of Arts, York University, Toronto ON, 2005 Bachelor of Fine Arts, Concordia University, Montreal QC, 2003 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Film and Photography Preservation and Collections Management Toronto, Ontario, Canada, 2014 © Anne Cibola 2014 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. Anne Cibola I further authorize Ryerson University to reproduce this thesis 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. Anne Cibola I understand that my thesis may be made electronically available to the public. ii Abstract Old Works / New Works: When Contemporary Photographic Artworks held by Canadian Public Institutions Change After Accession Master of Arts, 2014 Anne Cibola Film and Photographic Preservation and Collections Management, Ryerson University This thesis explores what is at stake when changes are made to artworks after Canadian public institutions have accessioned them. It argues that the materiality of an art object matters, and together with the narrative or history of the artwork, contributes to its interpretation. Changes at the object level can have an impact not only on the history of an artwork, but also on an artist’s larger practice and on an institution’s collection. -
Property of the Estate of Betty Goodwin
PrOPerty Of The estate Of Betty goodwin BeTTY GOODWIN (1923 – 2008) mentor Joseph Beuys, who often wore vests. In her own words, “With the Vest series, I made a very explosive and meaningful Born in Montreal in 1923, Betty Goodwin was the only child connection.” 2 of Romanian and Jewish immigrants, Clare Edith and Abraham In 1995, Goodwin’s work was included in the exhibition Roodish. Spanning nearly 50 years, her oeuvre is monumen- Identity and Alterity: Figures of the Body, 1895 / 1995, at the Venice tal, sentient and authentic, and thanks to her strong sense of Biennale, and in 1996, the National Gallery of Canada held a humanism, it expresses the fragility and complexity of the human major solo show entitled Betty Goodwin: Signs of Life. She was experience. Goodwin has worked in a variety of media—painting, the recipient of many awards and recognitions throughout her drawing, collage, printmaking and sculpture—and often in series, exceptional career, including the Victor Martyn Lynch-Staunton such as Swimmers, Tarpaulin and La mémoire du corps (Memory Award of the Canada Council for the Arts in 1983, the Banff Cen- of the Body). Often associated with expressing themes of loss, tre National Award for Visual Arts in 1984, the Prix Paul-Émile absence and memory, her poignant works deal sensitively with Borduas in 1986, a Guggenheim Foundation Fellowship in 1988, challenging subjects. Art historian Matthew Teitelbaum wrote the Gershon Iskowitz Prize in 1995, the Harold Town Prize that “her work is a process made clear; expressing feeling is a way in 1998, and the Governor General’s Award and the Order of of preserving and healing the self.” 1 Canada in 2003. -
Old Works / New Works: When Contemporary
OLD WORKS / NEW WORKS: WHEN CONTEMPORARY PHOTOGRAPHIC ARTWORKS HELD BY CANADIAN PUBLIC INSTITUTIONS CHANGE AFTER ACCESSION by Anne Cibola Master of Arts, York University, Toronto ON, 2005 Bachelor of Fine Arts, Concordia University, Montreal QC, 2003 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Film and Photography Preservation and Collections Management Toronto, Ontario, Canada, 2014 © Anne Cibola 2014 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. Anne Cibola I further authorize Ryerson University to reproduce this thesis 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. Anne Cibola I understand that my thesis may be made electronically available to the public. ii Abstract Old Works / New Works: When Contemporary Photographic Artworks held by Canadian Public Institutions Change After Accession Master of Arts, 2014 Anne Cibola Film and Photographic Preservation and Collections Management, Ryerson University This thesis explores what is at stake when changes are made to artworks after Canadian public institutions have accessioned them. It argues that the materiality of an art object matters, and together with the narrative or history of the artwork, contributes to its interpretation. Changes at the object level can have an impact not only on the history of an artwork, but also on an artist’s larger practice and on an institution’s collection. -
26727 Consignor Auction Catalogue Template
Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation. -
Post-War & Contemporary
post-wAr & contemporAry Art Sale Wednesday, november 21, 2018 · 4 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, November 21, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Calgary 888 4th Avenue SW, Unit 609 Friday, October 19 through Saturday, October 20, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 27 through Tuesday, October 30, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, November 8 through Saturday, November 10, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, November 17 through Tuesday, November 20, 10 am to 6 pm Wednesday, November 21, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-8884 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. -
2018-2019 School of Fine Art & Music
MFA HANDBOOK 2018-2019 School of Fine Art & Music TABLE OF CONTENTS The Master of Fine Arts Program .............................................................................. 1 MFA Faculty Listing.................................................................................................. 2 - 3 Regular Graduate Faculty Descriptions ..................................................................... 4 - 7 The Graduate Calendar .............................................................................................. 8 Suggested Program of Full-Time Study .................................................................... 9 Course Descriptions ...................................................................................................10 - 12 Open Learning & Educational Support ..........................................................12 Summer Semester/ Registration Information .............................................................13 Advisory Committees ................................................................................................14 - 15 End of Semester Critiques .........................................................................................16 - 18 MFA Thesis Examination ..........................................................................................19 - 25 Thesis Support paper specifications ...............................................................23 Graduation/ Studio clean up ...........................................................................26 MFA Studios -
The Grace of a Gesture Rafael Lozano-Hemmer Angelica Mesiti EM15
Already Fifty Years! The Grace of a Gesture Rafael Lozano-Hemmer Angelica Mesiti EM15 • BIAN Ryoji Ikeda Artur Zmijewski Printemps du MAC Nocturnes Magazine of the contemporain Musée d’art de Montréal Volume 25, Number 1 — Summer 25, 2014 Volume editorial | 1 In his classic work The Gift, French anthropologist Marcel Mauss theorizes and reflects upon the giver, the gift and the recipient: “The objects are never completely separated from the men who exchange them,” he writes tellingly. An indissoluble link between the giver and the gift— the gift being a part of the giver—makes the act of giving not as innocent a transaction as it might seem. Indeed, it creates a social bond and an obligation to reciprocate on the part of the recipient. It creates relationships. Reciprocity and exchange are the basis of friendship, perhaps also of just and prosperous societies. Ultimately, reciprocity promotes a better way of living. Photo: George Fok © 2013 The month of June marks the fiftieth anniversary of the founding of the Musée d’art con- temporain, a museum that grew out of the wishes, the enterprise and, perhaps most impor- tantly, the donations of collectors and artists. The Musée’s very inception is the result of the kindness of givers. The Grace of a Gesture is our sprawling homage to the builders and makers of the MAC, a celebratory exhibition comprising some 200 artworks donated over the last fifty years—a formal act of reciprocity, in the form of an exhibition, for the generosity of the museum’s many donors and supporters. -
Ron Shuebrook
RON SHUEBROOK Home Address: 95 Nottingham Street Guelph, ON N1H 3M9 Home Telephone: Telephone: (519) 766-4744 E-mail Address: [email protected] Canadian Citizen since 1987 I. GENERAL INFORMATION A. Education Dates Attended Degree Certificate Date Granted Institution Kent State University, Ohio 1970-72 MFA with major in painting, and June, 1972 additional studies in printmaking, sculpture, philosophy, and art history Blossom-Kent Summer Program, 1971 (Summer) Graduate coursework in painting Kent State University with visiting artists R. B. Kitaj, Leon Golub, and others Fine Arts Work Center, 1969-70 Fellowship in painting Provincetown, Massachusetts with Myron Stout, Fritz Bultman, Phillip Malicoat, Robert Motherwell, and others Kutztown University, Pennsylvania 1968-69 MEd in Art Education 1969 Haystack Mountain School of 1965 & 1967 Graduate coursework in Crafts, Deer Isle, Maine (Summers) printmaking and painting Kutztown University, Pennsylvania 1961-65 BSc in Art Education 1965 Pennsylvania Art Teaching Certification, K - 12 B. Recent Academic Appointments July 2008 to Present Professor Emeritus, OCAD University, Toronto, Ontario. May- June 2011 Visiting Instructor, Drawing and Painting Workshop, Haystack Mountain, School of Crafts, Deer Isle, Maine January 19- 29, 2010 Visiting Instructor, Drawing Marathon, New York Studio School of Drawing, Painting & Sculpture, New York City, New York Ron Shuebrook Curriculum Vitae Page 2 of 41 July 1, 2005 – June 30, 2008 Professor, Faculty of Art, Ontario College of Art & Design (now OCAD University), Toronto, Ontario Coordinator and Professor, OCAD Florence Program, Italy, January through May 2007. 2000 to June 30, 2005 President and Chief Executive Officer, Ontario College of Art & Design, Toronto, Ontario. Represented OCAD with the Ministry of Training, Colleges, and Universities, Council of Ontario Universities, Association of Independent Colleges of Art and Design, Canadian Association of Institutes of Art and Design, and other external organizations. -
MARCH 2021 ONLINE AUCTION JULY 15, 2020 Sale March 4, 2020 – March 25, 2021 001 HERBERT BRANDL 1959 - Austrian Ohne Titel Oil on Canvas
MaRCH 2021 ONlINe aUCTION JULY 15, 2020 15, JULY Sale March 4, 2020 – March 25, 2021 001 HERBERT BRANDL 1959 - Austrian Ohne Titel oil on canvas on verso signed and dated 2006 74 3/4 x 63 inches 189.9 x 160 centimeters Provenance: Galerie Elisabeth & Klaus Thoman, Austria Private Collection, Austria Sold sale of Zeitgenössische Kunst, im Kinsky Auktionhaus, May 10, 2011, lot 141 Collection of Joey & Toby Tanenbaum, Toronto Exhibited: Literature: This canvas by Herbert Brandl features a bluish teal ground populated by pale yellow brushstrokes sweeping from side to side. As the colours intermingle and separate, a veil of drips wanders down, slowly dissolving into (the ether of) the background. Brandl’s painterly mastery saturates this work. With a few simple, confident and elegant strokes, he creates an abstract form which can be almost instantly recognized as light reflecting on water. Light never materializes into an object, it occurs in time; and on the surface of water it always shimmers, flickering from one form to another. Brandl’s decades long preoccupation with pictorial form and the conceptual underpinnings of the image is clearly visible in this work. Here, Brandl captures something essential in an almost monumental format, and presents it as something still wavering between the abstract and concrete. Like an illusion or an apparition, it appears unmistakable, yet one cannot be sure of its true nature. Brandl’s work has been exhibited all over the world, including Biennale de Paris (1985), the São Paulo Art Biennale (1989), Documenta IX (1992), Kunsthalle Basel (1999) and the Venice Biennale (2007). -
FOR IMMEDIATE RELEASE Thursday February 28, 2019 from Holocaust
FOR IMMEDIATE RELEASE Thursday February 28, 2019 From Holocaust survivor to one of Canada’s most acclaimed painters and cultural philanthropists: Gershon Iskowitz: Life & Work chronicles one man’s remarkable trajectory from Auschwitz to famed Canadian artist TORONTO, ON — A few days after teenaged Gershon Iskowitz (1920 or 1921–1988) was accepted into the Academy of Fine Arts in Warsaw, the Nazis invaded Poland. As a Jew, Iskowitz was sent to Auschwitz and Buchenwald concentration camps, where he drew as a means of resilience. Surviving the war, he immigrated to Canada in 1948 where he quickly became one of its most important painters. Today the Art Canada Institute releases its online art book Gershon Iskowitz: Life & Work, by Ihor Holubizky which—for the first time ever—makes the story of this Canadian hero available to audiences, free of cost, in both English and French. “The book is of critical importance,” says Sara Angel, Founder and Executive Director of the Art Canada Institute, “because Iskowitz not only created some of the most important artistic documents of the Holocaust, he became an internationally renowned abstract painter and founded the Gershon Iskowitz Prize which became the country’s most important visual arts award of its kind.” The book also tells of Iskowitz’s 1967 transformative artistic experience when a Canada Council grant enabled him to take a trip to Churchill, Manitoba, where an aerial view of scattered clouds and vibrant colours inspired a new artistic direction. Over his mature career, Iskowitz produced a unique, coherent, and compelling body of abstract works. “For him the sky was a universal view, one we can all experience regardless of where we live,” says Ihor Holubizky, author of Gershon Iskowitz: Life & Work.