May 2019 Preview-Art.Com Media Sponsor ERIC KLEMM Fields of Colour
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Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
Maccarone Is Pleased to Announce an Exhibition of New Works by Eli Hansen
Maccarone is pleased to announce an exhibition of new works by Eli Hansen. Displaying a laboratory of hand-blown glass, CFL and LED light bulbs, plastic and chopped wood locally sourced from the artist's surroundings in Upstate New York, Hansen crafts a narrative of regionalism, subterranean laboratories, the idiosyncrasy of hand and the spectral presence of a storyteller. These ethereal components congregate in the dimly lit gallery space, simulating an environment of codependence. In the penumbral light exists the murky sensation that a protagonist has been there, abandoning the audience to contemplate who will stop the chemistry set from bubbling over, or pick up the shards of a shattered beaker. In both wall pieces and freestanding sculpture, irregularities emerge from glass blown so precisely it could be mistaken as mass- produced. Hansen effectively abstracts the ready-made; though functional, it is in the surfaces' subtle warps that the hand of the artist is revealed. The objects' inconsistencies force the viewer to reconsider Hansen's process, submitting to an immersive experience where the irregularities seem as confident and unhinged as a hallucinatory vision. Coupled with rough-hewn objects of refuse, Hansen seeks to complicate the division between the clean and the gritty. From found objects and scrap bits emerges an aesthetic of need. The do-it- yourself ethos underscores the artist's commitment to the handmade and a vernacular of the basement laboratory. Hansen's tables of scavenged wood form a stage upon which interloped glass characters tell us a story. Proof of the human comes into play with the vessels' anthropomorphic forms replete with cinched waits, potbellies and slender necks. -
Telluride N E"Ws Letter
Telluride N e"Ws Letter VoL XIII April, 1927 No.2 STAFF DAN C. LIND SA y ____ ........................................................................ Edz"tor EL.UER M. J OHNSON. __________________ Editor Emeritus and Alumni Editor CARLYLE M. ASHLEY.------------·------·-·---·-·-····------··--··--·--Associate Editor FRANK MoNAGHAN ................................................ Comell Correspondent JOHN B. ABBOTT......................................... JJeep Springs Correspondent CONTENTS EDITORALS: Page No. The Cost of the NEWS LETTER.-................................................... 2 Robert Maynard Hutchins............................................................ 2 A ''Pre-Professional'' School._..................................................... 2 The Louis Lathrop Memorial._............................. ........................ 3 The Woodrow Wilson Prize Essay .................................... .... -.... 3 The L. L. Nunn Biography.......................................................... 4 Clmrles DooliUle WakoU _______ ......................... -............................ 5 COMMUNICATIONS: V. Y. Davouil Dies........................................................................ 6 Dean Kimball Speaks Frankly... _................................................. 6 Oliver Cle-rk.................................................................................... 7 Judge James B. Tucker........................................................ ........ 9 Specifications for a Cltancellor, Tom McFaddm ....................... -
Marian Penner Bancroft Rca Studies 1965
MARIAN PENNER BANCROFT RCA STUDIES 1965-67 UNIVERSITY OF BRITISH COLUMBIA, Arts & Science 1967-69 THE VANCOUVER SCHOOL OF ART (Emily Carr University of Art + Design) 1970-71 RYERSON POLYTECHNICAL UNIVERSITY, Toronto, Advanced Graduate Diploma 1989 SIMON FRASER UNIVERSITY, Visual Arts Summer Intensive with Mary Kelly 1990 VANCOUVER ART GALLERY, short course with Griselda Pollock SOLO EXHIBITIONS 2019 REPUBLIC GALLERY, Vancouver, upcoming in May 2019 WINDWEAVEWAVE, Burnaby, BC, video installation, upcoming in May 2018 HIGASHIKAWA INTERNATIONAL PHOTOGRAPHY FESTIVAL GALLERY, Higashikawa, Hokkaido, Japan, Overseas Photography Award exhibition, Aki Kusumoto, curator 2017 REPUBLIC GALLERY, Vancouver, RADIAL SYSTEMS photos, text and video installation 2014 THE REACH GALLERY & MUSEUM, Abbotsford, BC, By Land & Sea (prospect & refuge) 2013 REPUBLIC GALLERY, Vancouver, HYDROLOGIC: drawing up the clouds, photos, video and soundtape installation 2012 VANCOUVER ART GALLERY, SPIRITLANDS t/Here, Grant Arnold, curator 2009 REPUBLIC GALLERY, Vancouver, CHORUS, photos, video, text, sound 2008 REPUBLIC GALLERY, Vancouver, HUMAN NATURE: Alberta, Friesland, Suffolk, photos, text installation 2001 CATRIONA JEFFRIES GALLERY, Vancouver THE MENDEL GALLERY, Saskatoon SOUTHERN ALBERTA ART GALLERY, Lethbridge, Alberta, By Land and Sea (prospect and refuge) 2000 GALERIE DE L'UQAM, Montreal, By Land and Sea (prospect and refuge) CATRIONA JEFFRIES GALLERY, Vancouver, VISIT 1999 PRESENTATION HOUSE GALLERY, North Vancouver, By Land and Sea (prospect and refuge) UNIVERSITY -
ELIAS HANSEN Born 1979. Lives and Works in Upstate New York
ELIAS HANSEN Born 1979. Lives and works in Upstate New York. EDUCATION 2001 New Orleans School of Glass and Print, New Orleans, LA Larson Red Angus Ranch, Big Timber, MT 1997 Whitman College, Walla Walla, WA – Printmaking and book arts SELECTED SOLO EXHIBITIONS 2014 Oh brother (with Oscar Tuazon), Maccarone, New York, NY You can cry all you want, but you ain’t changing shit, Jonathan Viner, London, UK. I'm a long way from home and I don't really know these roads, Anat Ebgi, Los Angeles, CA 2013 Solo presentation LISTE 18, Basel, CH 2012 We're just in it for the money (with Oscar Tuazon), Balice Hertling, Paris, FR We Barely made it (with the Reader), The Company, Los Angeles 2011 Certainly couldn’t have learned it on my own, Frieze Frame, Jonathan Viner It wasn’t until I found it later, The Fireplace Projects, Hamptons, NY You know we’re nowhere near there, right?, Jonathan Viner, London, UK Next time, they’ll know it’s us, The Company, Los Angeles, CA 2010 This is the Last Place I Could Hide, Maccarone, New York, NY We Used To Get So High, Lawrimore Project, Seattle, WA It Was One of My Best Comes (with Oscar Tuazon), Parc Saint Leger, Pougues Les Eaux, FR Predicting the Present, The Company, Los Angeles, CA 2009 Truths We Forgot to Lie About (with Joey Piecuch), The Helm Gallery, Tacoma, WA 2008 Kodiak, Seattle Art Museum (with Oscar Tuazon), Seattle, WA This world’s just not real to me, Howard House Contemporary Art (with Oscar Tuazon), Seattle, WA 2007 Voluntary Non vulnerable, Bodgers and Kludgers Cooperative Art Parlour (with Oscar -
OSCAR TUAZON 1975 Born in Seattle, DC Lives and Works in Paris, F and Tacoma, DC
OSCAR TUAZON 1975 Born in Seattle, DC Lives and works in Paris, F and Tacoma, DC Education 1995 Cooper Union for the Advancement of Science and Art, New York, NY 2001 Whitney Museum of American Art Independent Study Program, Studio Program, New York, NY 2002 Program/Cooper Union School of Architecture, Architecture/Urban Studies Program, New York, NY Solo Exhibitions 2012 Shaman/Showman, Karl Holmqvist – Oscar Tuazon, Galerie Chantal Crousel, Paris, F Scott Burton, by Oscar Tuazon, Fondazione Giuliani, Rome, I Manual Labor, Galerie Eva Presenhuber, Zurich, CH Action, Jonathan Viner, London, UK We're just in it for Money(with Elias Hansen), Balice Hertling, Paris, F Oscar Tuazon, Centre d'édition contemporaine, Geneva, CH 2011 Die, The Power Station (Aldon Pinnell), Dallas, TX STEEL, PRESSURE-TREATED WOOD, OAK POST, OFFICE CHAIR, INDUCTION STOVETOP, ALUMINUM, Standard (Oslo), Oslo, N America is my Woman, Maccarone, New York, NY 2010 Sex Booze Weed Speed, (with Garder Eide Einarsson), Rat Hole Gallery, Tokyo, J Sex, Jonathan Viner, London, UK My Mistake, ICA – Institute of Contemporary Art, London, UK Oscar Tuazon, Kunsthalle Bern, Bern, CH My Flesh to Your Bare Bones (with Vito Acconci), Maccarone, New York, NY One of My Best Comes, Parc St Leger - Centre d'Art Contemporaine, Pougues-les-Eaux, F 2009 Bend It Till It Breaks, Centre internationale d’art et du paysage Ile de la Vassivière, F Against Nature, Künstlerhaus, Stuttgart, D F.T.W., Dépendance, Brussels, B That’s Not Made For That, David Roberts Foundation, London, UK Ass To Mouth, -
Preview Magazine
www.preview-art.com ALBERTA I BRITISH COLUMBIA I OREGON I WASHINGTON GUIDE TO GALLERIES + MUSEUMS June/July/August 2012 www. preview-art.com LESLIE POOLE HARLEQUIN, acrylic/canvas, 60 x 40 inches 40 x 60 acrylic/canvas, HARLEQUIN, REPRESENTATIVE FOR LESLIE POOLE: GARY MAIER 604-525-4025 Also represented by: CALGARY: Virginia Christopher Fine Art EDMONTON: Scott Gallery VICTORIA: Winchester Galleries Serving the visual arts community since 1986 Celebrating 25 years www.preview-art.com 6 PREVIEW I JUNE/JULY/AUGUST 2012 June/July/ August 2012 Vol. 26 No.3 previews ALBERTA 12 The Automatiste Revolution 10 Banff, Black Diamond, Calgary 18 Edmonton Art Gallery of Alberta 19 Lethbridge 18 Mario Trejo: Catharsism 20 Medicine Hat, Red Deer Herringer Kiss Gallery BRITISH COLUMBIA 21 20 Abbotsford 22 Milutin Gubash: Remote Viewing 22 Bowen Island, Britannia Beach, Southern Alberta Art Gallery Burnaby 25 Campbell River, Castlegar, 26 Guy Laramée: Mountains Chilliwack Foster/White Gallery 26 Coquitlam, Courtenay 27 Fort Langley, Grand Forks, 71 30 Peter Krausz: Landscapes Kamloops, Kaslo, Kelowna Gallery Jones 29 Maple Ridge, Nanaimo, Nelson 38 Matthew Monahan 30 New Westminster, North Vancouver Contemporary Art Gallery 33 Osoyoos, Penticton 35 Port Moody, Prince George 74 40 Ellsworth Kelly: Selected Prints 38 Prince Rupert, Qualicum Beach, Portland Art Museum Richmond Elizabeth Leach Gallery 39 Rock Creek, Salmon Arm, Salt Spring Island 42 Jon Langford: Old Devils 40 Sidney, Silver Star Mountain, The New Gallery Sooke, Squamish 41 Sunshine Coast -
LANGUAGES Zuliani 4
T C featuring: Jordan Abel, Margaret Atwood, R TCR Jean Baird, Douglas Barbour, Sarah Blacker, T H THE CAPILANO REVIEW E Thea Bowering, Colin Browne, Ted Byrne, C A P I Louis Cabri, Alessandra Capperdoni, L A N Stephen Collis, J Marc Côté, Deanna Fong, O R E Dwight Gardiner, Tom Hawthorn, Aleksandra V I E W Bowering’s Kaminska, Kevin Killian, Jessica Langston, Books Monroe Lawrence, Daphne Marlatt, Steve McCaffery, rob mclennan, Sacha Milojevic, Jocelyn Morlock, Erín Moure, Miriam Nichols, Ken Norris, John O’Brian, Aaron Peck, Stan Persky, Carl Peters, Meredith Quartermain, Ian Rae, Nikki Reimer, Chelsea Rooney, Jacquelyn Ross, Karl Siegler, George Stanley, Rob Taylor, Lary Timewell, Michael Turner, Fred Wah, Rebecca Wigood, Andrew 3 ISSN 0315 3754 · $14.00 2 LANGUAGES Zuliani 4 “Thea, do your piano practice! Oh, excuse me, I was sposed to shout that, not type it. I am an automatic narrative plunker-down. I cant help myself, a slave of Gutenberg or Cupertino.” —George Bowering letter to Michael Ondaatje (25 Dec. 1984) Editor Jenny Penberthy Co-Editor Aurelea Mahood Managing Editor Todd Nickel Editorial Board Andrea Actis, Colin Browne, Pierre Coupey, Brook Houglum, Aurelea Mahood, George Stanley Contributing Editors Clint Burnham, Roger Farr, Andrew Klobucar, Erín Moure, Lisa Robertson, Sharon Thesen Founding Editor Pierre Coupey Designer Andrea Actis Website Design Adam Jones The Capilano Review is published by Capilano University. Canadian subscription rates for one year are $28 for individuals, $50 for institutions. Outside Canada, please add $5. Address correspondence to The Capilano Review, 2055 Purcell Way, North Vancouver, BC v7j 3h5. -
Essays / Marian Penner Bancroft UBC in The
Essays / Marian Penner Bancroft UBC in the Sixties A conversation with Audrey Capel Doray, Gathie Falk, Donald Gutstein, Karen Jamieson, Glenn Lewis, Jamie Reid, and Abraham Rogatnick Abraham Rogatnick: In the last ten to fifteen years, students have approached me, and they are always interested in this period of the sixties. They are working on a thesis or some project, and I always wonder why, as they were born in the eighties or the nineties. But they come to me with an interest, a very specific interest. I always thought they were wonderful days, but it never occurred to me that another generation would have known about it. Marian Penner Bancroft: I think that there were certain events and moments in the sixties that have spawned all kinds of current activities and actions, whether in politics, visual art, writing, theatre, dance. (We don’t have someone from theatre here.) But, for example, there are overlaps such as your perfor- mance work, Glenn and Gathie, coming out of the workshop that you did with Deborah Hay in 1968, and these are overlaps that continue. Audrey Capel Doray: The first time I met you, Karen, was in my living room, for an Intermedia meeting. And then at an Intermedia Night when I had the phosphorescent wall up. You brought your dancers in, and you decided on a metronome and then worked there for a couple days in a room of your own. Another room had Claude Breeze and his band. You did this dance, and all I have is one simple little photograph of your dancers, of the shadows of your dancers in that backlit room. -
Download a Copy of Sites of Assembly Here
Sites of Assembly 1 Sites of Assembly June 23 – August 13, 2017 Contents Lorna Brown 5 Sites and Assemblies Gabrielle Moser 13 Sites of Assembly: Places for Potential Histories 39 Works from the Collection of the Morris and Helen Belkin Art Gallery 47 Works from the Collection of Dr. John O’Brian 51 Works from the Research Archive of Dr. Marcia Crosby William Notman, “Indian women and children,” 1901 Vancouver Public Library 1869 Sites and Assemblies Lorna Brown Like most Canadian universities, the University of British Columbia is a private non-profit organization, yet as it is supported in large part by public funds, it is generally perceived as a “public” institution; however, universities in Canada are not technically public institutions that are “state run,” but rather are decentralized organizations mandated by provincial and territorial governments. Especially in western Canada, universities occupy large swaths of suburban space rather than integrating into urban environments like many institutions do in Toronto and Montreal. Beyond the western edge of the less-developed land of Pacific Spirit Regional Park, on the unceded territory of the Musqueam people, the public spaces of UBC emerge. Compared to the planned space of the City of Vancouver, where the influence of the Canadian Pacific Railway is foundational, UBC’s Point Grey campus is plotted along a point of assembly. Main Mall evokes the expansive parade grounds needed to rally the troops for the two world wars that figure prominently in UBC’s development. Both the plan drawing from 1914 and an aerial photograph from 1931 illustrating the construction of campus focus on this corridor from a bird’s-eye perspective. -
Marian Penner Bancroft CHORUS
REPUBLIC GALLERY Republic Gallery is pleased to announce the upcoming solo exhibition: Marian Penner Bancroft CHORUS Opening reception: Saturday, October 10th, 2 – 5 pm Showing: October 10th – November 7th Bow Valley, 2009, C-print, 20”x20" CHORUS is an installation of new work by Marian Penner Bancroft. The exhibition is comprised of colour photographs, texts, short videos and audio centred on the complex relationships amongst natural sounds, recorded music, social history and both urban and rural landscapes. Inspired by four particular songs sung by women, the artist photographed and recorded sounds where Franz Schubert, Johannes Brahms, Benjamin Britten and Edward Elgar lived and wrote their music in both Europe and the UK, as well at a resonant site in the Alberta foothills where the great mapper David Thompson spent his first western winter with the Piegan tribe, a sojourn concurrent with the life of Franz Schubert. Marian Penner Bancroft’s work has been exhibited nationally and internationally and can be found in a number of collections including those of the 732 Richards Street, Third Floor, Vancouver B.C. V6B 3A4 604.632.1590 | www.republicgallery.com REPUBLIC GALLERY Vancouver Art Gallery and the Canadian Museum of Contemporary Photography in Ottawa. Her most recent exhibitions have been at the Canadian Cultural Centre in Paris and at Republic Gallery. Current interests are the intersections and overlaps amongst issues related to history and its objects, the uses and representations of landscape, and the family. Her work periodically includes text, sound, drawing and sculpture. Marian studied at the University of British Columbia, the Vancouver School of Art (now ECUAD) and Ryerson Polytechnical Institute in Toronto. -
Christos Dikeakos Curriculum Vitae Education Selected Solo Exhibitions
Christos Dikeakos Curriculum Vitae Born 1946, Thessaloniki, Greece Lives and works in Vancouver Education 19 ! B"#, $niversity o& British Colum'ia, Vancouver (elected (olo E)hibitions *!14 Chistos Dikeakos: Sites and Place Names, +alter C, -oerner Librar%, Universit% o& British Columbia, Vancouver BC, .une *! / #u0ust 1 Nature Morte, -elowna #rt Galler%, -elowna BC, .une *! / 1ctober 2 *!1* Christos Dikeakos: Pâtisserie Duchamp/Puis-je fumer?, Con&ederation Centre #rt Galler%, 3amilton 14 *!11 Pâtisserie Duchamp/Puis-je fumer?, 5cMaster 5useum o& #rt, 5cMaster Universit%, 3amilton 14 *!1! Puis-je fumer? May smoke Duchamp? 5useum London, London 14 *!!9 !he Apartment, Vancouver, Catriona .e&&ries Galler%, Vancouver Panorama Pictures, #kau 6nc, Toronto 14 *!!2 Christos Dikeakos, Catriona .e&&ries Galler%, Vancouver BC *!!* Catriona .e&&ries Galler%, Vancouver BC 1997 Catriona .e&&ries Galler%, Vancouver BC Christos Dikeakos: Sites and Place Names and Recent 'orks, #rt Galler% o& 4orth 8ork, 4orth 8ork 14 1996 Christos Dikeakos: Sites and Place Names: Athens, Catriona .e&&ries Galler%, Vancouver BC 1994 Christos Dikeakos: Sites and Place Names, #rt Galler% o& +indsor, +indsor 14 Christos Dikeakos: Sites and Place Names, 5endel #rt Galler%, (askatoon (- Skwachays/)ole in *ottom, Catriona .e&&ries Galler%, Vancouver BC 199* Christos Dikeakos: Sites and Place Names, Contemporar% #rt Galler%, Vancouver BC 1977 Canadian #rcheolo0ical 6nstitute, #thens, Greece Epipeda Galler%, #thens, Greece Canadian Culture Centre, :ome, 6tal% 1976 Christos Dikeakos,