DOCSLIB.ORG

Symposium Program [Pdf]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Symposium Program [Pdf] The Winnipeg effecT: Should i STay or Should i go? Winnipeg art gallery november 3-5 2016 centre for contemporary canadian art 20th anniversary symposium conTenTS Symposium Program 5 Welcome 13 Foreword 15 The Centre For Contemporary Canadian Art 18 The CCCA Canadian Art Database 19 Guest Speaker Martha Langford 21 Reading Jeanne Randolph 22 Spotlight Board Member Presenters 24 Spotlight Guest Presenters 25 Panel 1 The Winnipeg Effect: (t hose from here, who left or stayed) Noam Gonick 26 Suzanne Gillies 28 Robert Houle 30 Laura Letinsky 32 Panel 2 The Winnipeg Effect: (those who came and stayed) Mary Reid 34 hannah_g 36 Kristin Nelson 38 Alexis (Letch) Kinloch 40 Panel 3 The Winnipeg Effect: (assessing the history of contemporary art in Winnipeg) Kegan McFadden 42 Sigrid Dahle 44 Steve Loft 46 David Churchill 48 Keynote Presentation Shawna Dempsey & Lorri Millan Why Winnipeg? 50 Akimbo Writer in Residence Jenny Western 51 SympoSium Committee Book Launch 52 Andrew KeAr, Bill KirBy, KegAn mCFAdden, SheilA SpenCe, diAnA thorneyCroFt, liv vAlmeStAd Library/Bookstore 54 Cover: SuzAnne gillieS & douglAS SigurdSon, 1980. Everything Must Go! 56 photo: SheilA SpenCe There’s More Than One Way 57 deSign: SuSAn ChAFe The Afterlife Cabaret 58 editing: Bill KirBy, KegAn mcFAdden Acknowledgements 60 SyMpoSiuM prograM ThurSday noveMber 3 6:30 pm Registration 7:00 pm Welcoming remarks Winnipeg Art Gallery Patricia Bovey, [MC], Director Emerita, Winnipeg Art Gallery; Past Chair, Centre for Contemporary Canadian Art launch of the Winnipeg effect project Bill Kirby, Founder and Director, Centre for Contemporary Canadian Art guest Speaker Dr. Martha Langford Research Chair and Director, Gail & Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University (And now a word from our sponsor): How the CCCA has kept faith with the artist – what a concept! What an effect! SPoNSoRED By BoRDER CRoSSINGS 7:30 pm Reception 1968 1971 Bill Lobchuk The Eleventh New Winnipeg Art establishes Winnipeg Show Gallery building opens The Screen Shop at Oct 31 - Nov 24 at 300 Memorial Blvd. 48 Princess Street Winnipeg Art Gallery 4 5 friday noveMber 4 friday noveMber 4 8:30 am Registration / Coffee 11:00 am Spotlight 3 Diane Whitehouse & Mentoring Artists for Women’s Art (MAWA) 9:00 am Welcoming Remarks Presented by Liv Valmestad reading by Jeanne randolph panel 2: The Winnipeg effecT Sewer of Stories (ThoSe Who caMe and STayed) SPoNSoRED By WINDoW / AS WE TRy & SLEEP PRESS Panelists: hannah_g, Kristin Nelson, Alexis (Letch) Kinloch Moderator: Mary Reid Spotlight 1 SPoNSoRED By MENToRING ARTISTS FoR WoMEN’S ART, ACE Art INC., Border Crossings UNIVERSITy oF MANIToBA SCHooL oF ART Presented by Kegan McFadden Spotlight 4 panel 1: The Winnipeg effecT: Celebrating the legacy of The Professional Native Indian (ThoSe froM here, Who lefT or STayed) Artists Inc. in Canada Panelists: Suzanne Gillies, Robert Houle, Laura Letinsky Presented by Jaimie Isaac Moderator: Noam Gonick SPoNSoRED By PLUG IN INSTITUTE FoR CoNTEMPoRARy ART, 12:30 pm LUNCH [provided] BUHLER GALLERy, VIDEo PooL MEDIA ARTS CENTRE, AND PLATFoRM CENTRE FoR PHoToGRAPHIC + DIGITAL ARTS library/booKSTore Spotlight 2 in The lecTure rooM all day Bill Lobchuk,Grand Western Canadian Screenshop & Border Crossings Study Centre CARFAC Manitoba Also As Well Too Press Presented by Leona Herzog and Ted Howorth Lives of Dogs Press As We Try & Sleep Press 10:45 am HEALTH BREAK Parameter Press Martha Street Studio prints Grand Western Canadian Screen Shop prints 1972 1973 1974 Plug In. Inc. is co-founded Bruce Head: Painted New Prints from Winston Leathers Ivan Eyre: Recent Don Reichert [A Winnipeg by Suzanne Gillies, Douglas Objects and Graphics the Screen Shop Cosmic Variations Paintings and Sculpture Centennial Exhibition] Sigurdson and Lorrine Raboud April 10 - May 17 Nov 15 - Dec 31 March 1 - May 16 March 19 - June 19 Oct 21 - Jan 12, 1975 Winnipeg Art Gallery Winnipeg Art Gallery Winnipeg Art Gallery Winnipeg Art Gallery Winnipeg Art Gallery 6 7 friday noveMber 4 friday noveMber 4 1:30 pm Spotlight 5 3:45 pm Spotlight 7 The 1980s in Winnipeg The Sleeping Beauty Cabaret Guest Presenter: Jon Tupper Presented by Doug Melnyk panel 3: The Winnipeg effecT KeynoTe preSenTaTion: (aSSeSSing The hiSTory of ShaWna deMpSey & lorri Millan conTeMporary arT in Winnipeg) Introduced by Bev Pike Panelists: Sigrid Dahle, Steve Loft, David Churchill SPoNSoRED By THE LIBRARy GALLERy/CLIFF EyLAND Moderator: Kegan McFadden SPoNSoRED By URBAN SHAMAN CoNTEMPoRARy ABoRIGINAL ART, 4:30 pm book launches THE UNIVERSITy oF WINNIPEG’S GALLERy 1C03, MARTHA STREET STUDIo Aunt Agony’s Cavalcade of Mysteries , by Bev Pike Lives of Dogs Books by Artists Spotlight 6 Winnipeg Telephone (Artist) Book The Royal Art Lodge Also As Well Too Presented by Diana Thorneycroft 7:00 pm + FIRST FRIDAy Exhibition openings & Events 3:30 pm HEALTH BREAK 1975 1976 1977 Don Proch’s Eight from Toronto West Coast Waves David Umholtz opens Arts Manitoba: The Design Process Asessippi Clouds Aug 22 - Oct 5 Sept 4 - Nov 14 the Moosehead Press Issue 1 [Sheila Butler] at Herman Miller Jan 8 - March 2 Winnipeg Art Gallery Winnipeg Art Gallery Lithography Workshop is published March 10 - April 17 Winnipeg Art Gallery Border Crossings Winnipeg Art Gallery 8 9 SaTurday noveMber 5 SaTurday noveMber 5 11:00 am – 5:00 pm 8:00 pm ccca Winnipeg effecT cabareT open for visits to Winnipeg’s galleries and artist-run centres. Jekyll & Hyde’s Freehouse 437 Stradbrook Avenue at osborne Street 4:00 pm exhibition opening and publication launch The Revival of the Sleeping Beauty Cabaret: Lantern Fine Art, 211 Pacific Avenue The Afterlife Cabaret Everything Must Go! - Plugette ephemera 1972-1980 Performers: Ellen Peterson, Cathy Nosaty, Sharon Bajer, Archival material and photographic documentation from the first Debbie Patterson, Lori Freedman, Erika MacPherson, decade of Plug In Inc. from the personal archives of co-founders Gerry Atwell, Angie St. Mars, Allysa Watson and Frances Koncan Suzanne Gillies and Douglas Sigurdson organized by Doug Melnyk Publication launch: Mondo Trasho, edited by Kegan McFadden (As We Try & Sleep Press) 6:00 pm exhibition opening Special Collections Gallery, University of Manitoba School of Art 313 ARTlab, University of Manitoba (Fort Garry Campus) There’s More Than One Way: An overview of collective art making practices in Winnipeg, 1968-NOW Curated by Kegan McFadden 1977 1977 1978 1979 Prints from the Grand Sculpture on the Prairies General Idea: Kenneth Lochhead. Form & Performance The Winnipeg Perspective 1979: Western Canadian July 16 - Sept 25 Hot Property An Exhibition of Nov 10 - Jan 7, 1979 Photo / Extended Dimensions Screen Shop Winnipeg Art Gallery Oct 19 - Oct 22 Paintings. 1952-1975 Winnipeg Art Gallery Feb 23 - April 8 March 17 - April 25 Winnipeg Art Gallery Winnipeg Art Gallery Winnipeg Art Gallery Canadian Cultural Centre 10 11 WelcoMe The Winnipeg Art Gallery joins in celebrating the twentieth anniversary of the Centre for Contemporary Canadian Art. As the venue sponsor partnering with the CCCA for the symposium The Winnipeg Effect: Should I Stay or Should I Go? I welcome every participant and visitor drawn from across the country, to this art-charged city. As Canada’s oldest civic art gallery, the WAG strives to ensure that exhibitions and programing continue to both celebrate the role artists and artistic communities have played in developing art in Winnipeg and, in turn, reflect on how this city, its history and environment, have shaped the artistic excellence that Winnipeg is known for. The CCCA Canadian Art Database continues to be an important resource for artists, students, and scholars. As an online record, it represents a primary source of vital information about contemporary Canadian art to the world. I commend founder and director Bill Kirby for the passion and work he has in - vested in creating and developing the CCCA Canadian Art Database, as well as Dr. Martha Langford and the commitment Concordia University’s Jaris - lowsky Institute for Studies in Canadian Art has demonstrated by providing the Database with a sound institutional home. Welcome to Winnipeg, where you all should most definitely stay! Dr. Stephen Borys Director & CEO Winnipeg Art Gallery 12 13 foreWord bill Kirby The cenTre for conTeMporary canadian arT and...“The Winnipeg effecT” A bit of history… In 1973 I was invited by Don Reichert to come to Winnipeg to be the Director of Gallery 1.1.1. at the School of Art, and to teach a course on Canadian Art. The invitation was delivered through Virgil Hammock [who I had known some 5 years earlier, when he was Art Critic at the Edmonton Journal, and I was Di - rector of the Edmonton Art Gallery]. The following year, Ferdinand Eckhardt invited me to become Curator of Con - temporary Art at the Winnipeg Art Gallery (replacing Philip Fry). By the time I left Winnipeg in 1978 to join the Canada Council as a Visual Arts officer, I had developed a close relationship with the art community and I know that I took some of Winnipeg with me. I kept in contact with Winnipeg over the next 18 years largely through annual jury visits to artists’ studios and galleries in Winnipeg as Director of the Canada Council Art Bank. After leaving the Art Bank in 1995, I founded the Centre for Contemporary Canadian Art (CCCA) as a registered charitable organization with a mandate to foster and promote the appreciation of contemporary Canadian Art. To ac - complish this, I created the Canadian Art Database to document the careers of leading Canadian artists, along with various Canadian art institutions, artist groups and events. From modest beginnings in a high school in ottawa, the Canadian Art Database has grown to be an essential resource for exhibitions, teaching and learning, and scholarly research. My contact with Winnipeg over the years had clearly left a lasting impression on me so, after 15 years in Toronto, when circumstances suggested a change, I decided to move back here.
Load more

Recommended publications
  • Wanda Koop, on the Edge of Experience, National Gallery of Canada, Ottawa, from February 18 to May 15, 2011 Sheena Ellison
    Document generated on 09/26/2021 2:33 p.m. Ciel variable Art, photo, médias, culture Wanda Koop, On the Edge of Experience, National Gallery of Canada, Ottawa, From February 18 to May 15, 2011 Sheena Ellison Lieux Places Number 89, Fall 2011 URI: https://id.erudit.org/iderudit/65165ac See table of contents Publisher(s) Les Productions Ciel variable ISSN 1711-7682 (print) 1923-8932 (digital) Explore this journal Cite this review Ellison, S. (2011). Review of [Wanda Koop, On the Edge of Experience, National Gallery of Canada, Ottawa, From February 18 to May 15, 2011]. Ciel variable, (89), 85–85. Tous droits réservés © Les Productions Ciel variable, 2011 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/ Wanda Koop On the Edge of Experience National Gallery of Canada, Ottawa From February 18 to May 15, 2011 Hybrid Human series, 2010, acrylic on canvas, video projection, installation image, ngC, ottawa, photo : William Eakin “Wanda Koop: On the Edge of Experience” an affective installation that builds on the to her oeuvre. Themes can be traced throu- had fled prior to her birth in Vancouver, is a major attraction of the Prairie Scene fes- now-familiar large-scale works on plywood ghout her career – particularly the evolution British Columbia, in 1951), and global tival, the fifth presentation of this biannual and adds projected video and sound, media of the image from static to dynamic.
    [Show full text]
  • Art Institutions and the Feminist Dialectic
    Ontario Association of Art Galleries December 3 and 4, 2008 Art Institutions and the Feminist Dialectic Program Description Art Institutions and the Feminist Dialectic aims to explore, through panel discussions, working groups, and a series of conversations, the unique challenges and opportunities presented by the exhibition, acquisition, and preservation of feminist artwork by looking back over the last thirty-five years in Ontarioʼs public art gallery practice. What feminist artwork has come into Ontario collections? Both Museum London and the McIntosh Gallery are acquiring major pieces by Rae Davis and, in recent years, a number of Ontario public art galleries, including the National Gallery of Canada, the Art Gallery of Ontario, and the Textile Museum of Canada, have mounted major exhibitions and acquired significant works of art that take up a feminist dialectic. Performative or performance-based works by Rebecca Belmore, Jana Sterbak, and Janet Cardiff have recently been chosen to represent Canada at the Venice Biennial, while Lisa Steele, Suzy Lake, and Colette Whiten are featured in WACK! Art and the Feminist Revolution, a major international exhibition of feminist art organized by the Museum of Contemporary Art, Los Angeles. Given that artworks that arose from the activism and social consciousness of the late 1960s and that addressed civil rights, war protest, and feminism have been entering public art galleries and museums in recent years, a new discussion of how feminist work performs in the museum space is timely. This two-day symposium will address issues, contradictions and paradoxes around the exhibition, acquisition, and preservation of feminist artwork by Ontario public art galleries.
    [Show full text]
  • SOME CURRENT PROBLEMS with PAINTING Master of Fine Arts
    SOME CURRENT PROBLEMS WITH PAINTING by Andy Patton Department of VisuaI Arts Submitted in partial hrlfilment of the requirements for the degree of Master of Fine Arts Faculty of Graduate Studies The University of Western Ontario London, Ontario December, 1996 O Andy Patton 1997 National Library Biblioth&que nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wedlinglor, Street 385, Wm WONK1AW OltewaON KlAW Canada Canada The author has granted a nm- L'auteur a accord6 me licence non exclusive licence allowing the exclusive pennettant a la National hiof Canada to Bibliothkpe nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distti'buerou copies of his/her thesis by any means venQe des copies de sathtse de and in any form or format, malting qyelque manibe et sous ~uelque this thesis avaiIable to interested fonne que ce soit purrnettre des persons. exemplaires de cette Wse ii la disposition des pefsonnes int&ess&s. The author retains ownership of the L'auteur conserve la propri6te du copyright in his/her thesis. Neither droit &auteur qui proege sa these. Ni the thesis nor substantial extra& fiom it may be printed or otherwise reproduced with the author's autrement reproduits sans son permission. Abstract and Keywords This essay examines several problems in contemporary painting, beginning with the question of painting's real or imagined centrality within the visual arts. The question then asked is whether or not there is anvthing fundamental which distinguishes painting from the other arts, by looking at the example set in sculpture by Richard Serra.The conclusion reached, in opposition to Serra, is that what distinguishes painting are its conventions, following the work by the critic, Yve-Alain Bois, and Ludwig Wittgenstein.
    [Show full text]
  • Art and Cold Cash
    Ruby Arngna’naaq is an Inuk from Baker Lake, Nunavut, Exhibition now residing in Ottawa. Ruby co-produced “Inuit Myths 13 February–4 April 2009 and Legends” for the Inuit Broadcasting Corporation, and has worked in the Inuit cultural sector as a politi- REcEption cal activist and a representative on arts boards. Sheila 7–10 pm, Friday, 13 February Butler is an artist and teacher, working primarily in panEl discussion drawing and painting. She has exhibited in solo and group exhibitions in Canada and abroad, including in 3 pm, Saturday, 14 February the national touring exhibition, “Just My Imagination,” 2005–07. Jack Butler’s hybrid practice uses the means In association with Art and Cold Cash, and methods of visual art to produce research in three Video Pool Media Arts Centre presents the work domains—medical science, collaborations with Inuit of ARNAIT VIDEO PRODUCTIONS, 2 pm, Saturday, artists, and money. Jack exhibits internationally and 4 April, at Cinematheque. Discussion to follow. his work is included in public and private collections. Patrick Mahon’s work as an artist includes print-based projects that engage with historical and contemporary aspects of “print culture” and involves responding to gallery and museum collections through artistic and curatorial gestures. He lived in the North from 1986 to pLATFORm wishes to thank Manitoba Arts Council, 1988. Today Patrick is a Professor of Visual Arts at the Winnipeg Arts Council, and The Winnipeg Foundation for University of Western Ontario, and is currently Chair of their continued support, as well as the Canada Council for the Arts, and Calm Air for supporting this project.
    [Show full text]
  • WANDA KOOP Born 1951, Vancouver, BC Lives and Works in Winnipeg, MB
    ! WANDA KOOP Born 1951, Vancouver, BC Lives and works in Winnipeg, MB EDUCATION 2009 Doctor of Law (honoris causa), University of Manitoba, Winnipeg, MB 2007 Doctor of Letters (honoris causa), Emily Carr Insitute of Art & Design, Vancouver, BC 2002 Litt.D. (honoris causa), University of Winnipeg, Manitoba, Winnipeg, MB 1975 Lemoine Fitzgerald School of Art, University of Manitoba, Winnipeg, MB SELECTED SOLO EXHIBITIONS 2017 In Absentia, Night Gallery, Los Angeles, CA 2016 Wanda Koop: In Absentia, Division Gallery, Toronto, ON Wanda Koop: paintings + drawings (1984-2016), Galerie Division, Montréal Trick Rider, Canadian Museum of Human Rights, Winnipeg, Manitoba 2015 VIEW FROM HERE, Winnipeg Art Gallery, Winnipeg, MB 2014 Interplay, Michael Gibson Gallery, London, ON 2013 Wanda Koop: 1951-, Division Gallery, Toronto, ON Wanda Koop, Galerie Division, Montrealm QC 2012 No News, Galerie Division, Montreal, QC Interface, Michael Gibson Gallery, London, ON 2011 Wanda Koop…On the Edge of Experience, National Gallery of Canada, Ottawa The Studio Room, Michael Gibson Gallery, London, ON No News, Galerie Division, Montreal QC Interface, Michael Gibson Gallery, London, ON Wanda Koop…On the Edge of Experience, Winnipeg Art Gallery, Winnipeg, MB Wanda Koop: Decades, Mayberry Fine Art, Winnipeg, MB 2009 FACE to FACE, Richmond Art Gallery, Richmond Art Gallery, Richmond, BC VIEW from HERE, Michael Gibson Gallery, London, ON 2008 BuroDjikstra, Rotterdam, The Netherlands Interweave, Birch Libralato, Toronto, ON2007 Deep Bay, Michael Gibson Gallery, London,
    [Show full text]
  • Teacher Resource
    TEACHER RESOURCE CURRICULUM THEMES Environment; Technology; Painting CURRICULAR CONNECTIONS GRADE 3 | CP3.7- Students will be discussing GRADE 11 | CR20.2- Students will explore the artwork of Wanda Koop and the relationship interpretations of an artwork by Wanda to the featured environment and create a Koop, including exploring how her artwork response artwork that expresses their own relates to her environment and modern relationships to a specific environment. technologies. WANDA KOOP: SIGHTLINE As we can see in Sightline (Cityscape with Red Cross) the crosshairs (or “target”) in the piece sit directly over a compact city block with large open spaces on either side, conveying the environment of a city on the prairies. The crosshairs are a way of locating something, of targeting, of pointing to a goal or an objective. Usually, this is to cause damage; it comes from archery and rifling and was used to indicate where an arrow or bullet would fly. More recently it has come to be used for photography; the crosshairs in the camera indicates something that is worth taking a picture of, and therefore something that should be paid attention to. The practice of hunting is similar to the practice of photography. We refer to both hunting and photography in similar ways: in photography, we refer to recording an image as “capturing” or “shooting,” and another term for a gun’s crosshairs is its “sight.” Both are about targeting, locating, and choosing a moment. In this work, Koop has chosen to locate the crosshairs on the center of the piece, over the city part of the image.
    [Show full text]
  • Essais Bibliographiques / Book Review Essays Art Exhibition Catalogues
    Document généré le 29 sept. 2021 14:02 Études/Inuit/Studies Art exhibition catalogues BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. Amy Karlinsky Art et représentation Art and representation Volume 28, numéro 1, 2004 URI : https://id.erudit.org/iderudit/012645ar DOI : https://doi.org/10.7202/012645ar Aller au sommaire du numéro Éditeur(s) Association Inuksiutiit Katimajiit Inc. ISSN 0701-1008 (imprimé) 1708-5268 (numérique) Découvrir la revue Citer cet article Karlinsky, A. (2004). Art exhibition catalogues / BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. / WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. / WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. Études/Inuit/Studies, 28(1), 161–170. https://doi.org/10.7202/012645ar Tous droits réservés © La revue Études/Inuit/Studies, 2004 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal.
    [Show full text]
  • Barbara Tekker – Exhibition Essay
    Fig. 1. Sharon Alward, Christian Woman of Virtue, 2000, performance/video. http://ccca.concordia.ca/artists/work_detail.html?languagePref=en&mkey=79166&title=Christia n+Woman+of+Virtue++&artist=Sharon+Alward&link_id=13742. Fig. 2. Ann Beam, Angel of the West Dreaming, 1996, cement, tin, and plywood, 50.8 x 76.2 cm. http://ccca.concordia.ca/artists/work_detail.html?languagePref=en&mkey=30830&title=Angel+o f+the+West+Dreaming&artist=Ann+Beam&link_id=171. Fig. 3. Sheila Butler, The Angel of God Appears at the Friday Night Movie, 1982, mixed media on paper, 76.2 x 104.1 cm, collection of Denis Lessard, Montreal. http://ccca.concordia.ca/artists/work_detail.html?languagePref=en&mkey=73225&title=The+An gel+of+God+Appears+at+the+Friday+Night+Movie&artist=Sheila+Butler&link_id=179. Messengers in a Skeptical World Barbara Tekker The emphasis on the artist and the distancing from religious to secular themes is typical of contemporary art, leading art historian James Elkins to assert: “[A]mbitious successful art is thoroughly non-religious.”1 Indeed, even Canadian artist and curator A.A. Bronson (b. 1946), whose own art deals with spirituality and is founder of the Institute for Art, Religion and Social Justice in New York City, believes that iconic symbols of religion have no place in today’s art.2 Bronson has stated that an artist “who uses religious language risks being cast out of the inner circles of contemporary art.”3 Is such art then categorized as irrelevant and outdated? What would propel contemporary artists to include religious symbolism in their artwork? Featured in this exhibition essay are three contemporary Canadian artists who have ignored Bronson and others who have similar views, and have injected the theme of angels into their work: Winnipeg- based performance artist Sharon Alward (b.
    [Show full text]
  • Cynthia Hammond CV August 2020
    C y n t h i a I m o g e n H a m m o n d c u r r i c u l u m v i t a e Contact 514 848 2424 x 5171 (w) [email protected] Biography Dr Cynthia Hammond (b. 1969) is an artist and historian of the built environment. In 2002 she graduated from the Humanities Interdisciplinary PhD Program, Concordia University (Montréal). Her dissertation argues that art-making is, in addition to being a form of knowledge and inquiry, a powerful means to mobilize communities around shared pasts and collective heritage, especially urban landscapes and architecture. The dissertation won the Governor-General's Gold Medal in 2002, and was published in revised and expanded form with Ashgate Press in 2012 (reissued in paperback, 2017). From 2003-05, Hammond held the first SSHRC-funded postdoctoral fellowship at the School of Architecture, McGill University. She is full Professor in Concordia’s Department of Art History, where she teaches the history of the built environment as well as courses on feminist and spatial theory and interdisciplinary practice. Hammond is the 2017 recipient of the Faculty of Fine Arts Distinguished Teaching Award, and the 2018-19 University Research Award in the category of “The Person and Society”. She was the founding Director of the Right to the City pedagogical initiative, which supports neighbourhood-based, cross- disciplinary research and creation. From 2013-16 she was Chair of the Department of Art History. And from 2017-2020 she was the lead Co-Director of Concordia’s Centre for Oral History & Digital Storytelling, a university-recognized research centre whose mandate is to support research with, and creation resulting from, life stories and interviews.
    [Show full text]
  • The First Enewsletter from the School of Art! the Launch of This Publication Marks an Exciting New Chapter in The
    WeWelcome to the first eNewsletter from the School of Art! Director’s Message The launch of this publication marks an exciting new chapter in the long history of the School of Art and arrives near the com- pletion of my first year as its new Director. My adjustment to life in Winnipeg has been both exciting and challenging. In many respects, Winnipeg offers a quintessentially Canadian experience: a city spread out but not too large; the fullness of seasons year ‘round, a verdant landscape; mornings full of light and freshness, intense summer heat and frigid winter cold. This shifting environment constantly stimulates our perceptions of the world, challenges us to engage our senses and, coupled with Winnipeg’s unique geographical centrality, makes us aware of our place in the big picture. For many decades the School of Art has played an important role in the development of art in western Canada. The future holds great promise: we are planning for a new home in a renovated Taché Hall and continue to lay the groundwork for an MFA program. I welcome the challenge of shaping the vision of the School of Art during these exciting times and encourage each one of you to consider how each member of the School’s educational community, both present and past, might play an important role in building our success. This newsletter is the first in what I hope will be a series of communications between the School of Art and its extended family of alumni and friends. You are a very special group and one of the most important objectives I have is to welcome you into a dialogue with each other and the School of Art as we move these projects forward.
    [Show full text]
  • M. Lennon CV DF Final
    Madeline Lennon Curriculum Vitae Born: 1942, New York City, USA Citizenship: Canadian Married: Thomas M. Lennon Education: St. Helena High School, 1956-60, New York City B.A. College of New Rochelle, June 1964, English Literature M.A. University of Toronto, December 1974, History of Art Ph.D. University of Toronto, February 1981, History of Art Institut d’art et d’archeologie, Paris, 1970-71 Ecole du Louvre, Paris, 1970-71 Department of Visual Arts, The University of Western Ontario, Special Student 1971-1973 Distinctions, Honours, Fellowships University of Toronto Fellowship, 1974-1975 Ontario Graduate Scholarship (1975-1976, Declined) Canada Council Doctoral Fellowship, 1975-1978 Edward G. Pleva Award for Excellence in Teaching, 1990 3M National Teaching Fellowship, 1990 Distinguished Woman of the Year Award, YMCA, London, Ontario, 1993 Academic Career Teaching Assistant, University of Toronto, Toronto, Ontario 1974 Sabbatical Leave Replacement: Assistant Professor, Department of Visual Arts, The University of Western Ontario, London, Ontario 1978-1979, 1980-1981, 1981-1982 Part Time Lecturer, Department of Visual Arts and Faculty of Part Time and Continuing Education, The University of Western Ontario, London, Ontario 1976- 1977, 1979-1980, 1981-1982 Associate Professor, Department of Modern Languages and Literatures, The University of Western Ontario, London, Ontario 1984-1995 Department of Visual Arts, The University of Western Ontario, London, Ontario 1995-2008 Professor Emerita, June 2008 Administrative Appointments Coordinator,
    [Show full text]
  • William Eakin
    WILLIAM EAKIN (b. 1952, Winnipeg, Canada) EDUCATION 1971-1974 Vancouver School of Art, Vancouver 1974-1975 School of the Museum of Fine Arts, Boston SOLO EXHIBITIONS 2016 “Time”, The Gallery Space at Hut K, Winnipeg, MB “Time”, Art Gallery of Southwestern Manitoba, Brandon, MB 2013 “24Hours”, Stephen Bulger Gallery, Toronto, ON 2010 “Fading Dream”, Stephen Bulger Gallery, Toronto, ON 2007 “acoustic_space”, Gallery 803, Winnipeg, MB “The Visible World”, Museum London, London, ON 2006 “Drive Your Girlfriend Home”, Cream Gallery, Winnipeg, MB “My Mother’s Garden”, Piano Nobile Gallery, Winnipeg 2005 “Union Stock Yards”, Franco-Manitoban Cultural Centre, Winnipeg, MB “The Visible World”, Art Gallery of the South Okanagan, Penticton, BC. 2004 “Giddy Up”, Walter Phillips Gallery, The Banff Centre, Banff, AB “Night Rider”, Trepanier/Baer Gallery, Calgary, AB “Hanksville”, Mendel Art Gallery, Saskatoon,SK “Ghost Month”, Leo Kamen Gallery, Toronto, ON “Ghost Month”, Gallery 111, University of Manitoba, Winnipeg, MB “Mug Shot (digital)”, The Annex, Winnipeg, MB “Night Rider”, Trepanier/Baer Gallery, Calgary, AB 2003 “Black Velvet”, Leo Kamen Gallery, Toronto, ON “Union Stock Yards”, Nickle Art Museum, University of Calgary, Calgary, AB “Reunion”, Gallery 1C03, University of Winnipeg, Winnipeg, MB 2001 “Have A Nice Day”, Dalhousie Art Gallery, Dalhousie University, Halifax, NS “Have A Nice Day”, Art Gallery of Hamilton, Hamilton, ON TIVAC, Taipei, Taiwan 2001 “William Eakin”, Stock 20, Tai Chung, Taiwan 2000 “Open Studio”, St. Norbert Arts Centre,
    [Show full text]