WINTER 2011 The magazine of OCAD University

SKETCH

Connective Clout: Dozens of Ways We Make Things Better, Together SKETCH

OCAD University (ocad.ca) is Canada’s “university of the imagination,” dedicated to art and design education, practice and research and to knowledge and invention across a wide range of disciplines. OCAD University publishes Sketch magazine twice yearly.

President Dr. Sara Diamond Chair, Board of Governors Robert Montgomery Vice-President, Academic Dr. Sarah McKinnon Vice-President, Finance & Administration Peter Caldwell Associate Vice-President, Research, and Associate Dean, Graduate Studies Dr. Helmut Reichenbächer Associate Vice-President, Students Deanne Fisher Dean, Faculty of Art Dr. Vladimir Spicanovic Acting Dean, Faculty of Design Doreen Balabanoff Dean, Faculty of Liberal Studies Dr. Kathryn Shailer Chair, OCAD U Foundation John Vivash President, Alumni Association Maggie Broda

Produced by OCAD U Marketing & Communications Department Editor Larissa Kostoff Contents Design Hambly & Woolley Inc. Contributors to this issue: Ryan Bigge, Skye Goodden, Leanna McLennan, Charles Reeve, Lena Rubisova, Nadja Sayej Date of issue Winter 2011

Charitable Registration #10779-7250 RR0001 Canada Post Publications Agreement # 40019392 Printed on recycled paper Columns Return undeliverable copies to: OCAD University President’s Message Page 2 100 McCaul Street, Toronto, Ontario Canada M5T 1W1 Telephone 416.977.6000 Facsimile 416.977.6006 On Campus Page 3 ocad.ca Alumni Notes Page 16 Note: The views and opinions expressed in this publication are those of its contributors and do not necessarily reflect OCAD University Emerging Alumni Profile Page 22 policy or position. Features From Subtlety to Bombast: Adel Abdessemed’s Romantic Cynicism by Charles Reeve Page 6

Solitude in Numbers: The Struggle of Nuit Blanche By Sky Goodden Page 8

Open Source, Open Windows, Open Future By Ryan Bigge Page 12

A Moment at OCAD UNIVERSITY Bruce Mau Design Visual Identity Workshop Photo courtesy of Bruce Mau Design

Cover: Bentley Jarvis Temporal Loop 2 Sketch PRESIDENT’S MESSAGE ON CAMPUS Sketch 3

Happy New Year OCAD OCAD University President’s The 2nd decade partners with Message of the 21st century: Bruce Mau Design to create An era of collaboration ONOCAMPUSC new visual

In the latter part of the 20th century and in Enhancing the work of the IDRC is its affili­ identity the last decade, this university model began to ate, the Inclusive Design Institute, which gath­ break down. Hard research questions required ers eight universities and colleges and their that researchers join forces—across faculties, industrial partners. Treviranus is a champion of institutions and national and international open platforms that encourage collaboration as The job of redesigning OCAD University’s boundaries. Individual researchers are now well as crediting inventors. visual identity follows the institution’s long- driving collaborative practices, and enabling Our partnerships flow across borders. In awaited change in designation and has been structures such as granting agencies are follow­ this winter issue of Sketch, we feature an alli­ tasked to expert collaborators Bruce Mau ing suit. University-affiliated artists, designers ance between alumni that has resulted in a Design (BMD). After a rigorous process and and other scholars with strong links to local design entity (AmeobaCorp.) and an art col­ a publicly issued RFP, a selection committee communities are clamouring for their institu­ lective (Artlab). You’ll read about the work of chose by unanimous vote BMD— a self- tions to act as intermediaries for a larger urban our alumni and students in Germany, Sweden described “innovation and design studio or regional ecology. and the U.K. We highlight Adel Abdessemed, centred on purpose and optimism.” Creators As a city builder, OCAD University sets a a French artist of Algerian descent who is our of Massive Change—the internationally fine example. All our capital acquisitions build current Nomadic Resident and whose compel­ acclaimed travelling exhibition, book, resources into the neighbourhood and welcome ling exhibition, The Future of Décor, focuses website and interview series—BMD is an partners into our labs and studios. The Mobile on action collaborations with performers. And interdisciplinary studio comprised of artists, Incubator of the OCAD University–initiated we recently led a research mission to Brazil— architects, graphic designers, filmmakers, Mobile Experience and Innovation Centre mConnect—which gathered researchers brand strategists, biologists, publishers, (MEIC) exemplifies this model, thanks in part from OCAD U and York along with com­ curators and technologists. Some of the At OCAD University, our vision and mission to the support of the City of Toronto. We have panies and associations to explore alliances firm’s clients are MTV, the AGO, Coca-Cola, statement are focused significantly on collabo­ a fundamental role in the economic lives of between research and industry. This initiative Arizona State University and MoMA. A key factor in the awarding of the ration. Necessary to that focus is a strong our communities, both in actual job creation has resulted in projects in inclusive design, “Our face-to-face and on-line project was BMD’s demonstrated sense of identity and a spirit of generosity. We and in facilitating strategic action to rebuild mobile content and wearable technology as commitment to work with the University’s engage in these readily as we recognize that a in hard times. Interdisciplinary and institu­ well as Canadian-Brazilian curricular ventures. outreach and research gave many communities. “They place value on small, specialized institution like OCAD U has tional alliances have increased significantly As well, I participated in the Association of us a chance to hear the the process itself,” explained President excellent leveraging capacity by contributing on the individual, group and program levels. Universities and Colleges of Canada’s mission Sara Diamond when the partnership was specialized art, media and design knowledge to For example, we collaborate with the college to India, undertaking dialogues with leaders perspectives of a great diversity announced. “This ensures that students, sector through articulation agreements with in science and technology, innovation, design all its partnerships. of the community’s voices on staff, faculty, alumni and community In this issue of Sketch, we chronicle a sam­ Durham, Sheridan, Sir Fleming, Georgian, and art. Our university now has four collabora­ what the future should look stakeholders will all be participants.” pling of local and global activities initiated by Seneca and George Brown colleges. And we’re tion agreements with India to inform graduate The consultation process conducted this our students and faculty that demonstrate the developing—in concert with the University of degree programs, student recruitment and the like for OCAD University.” past fall engaged a multitude of voices, length and breadth of our reach—and success. Waterloo—a new Digital Media master’s pro­ development of research in wearable technolo­ perspectives and locales. Included in the —Greg Judelman North American universities emerged as gram that will launch in 2011/12. gies, art, digital media and ICT. latter were China, Denmark, Hong Kong, Senior Designer, Bruce Mau Design standalone institutions in the 20th century. It University private-public partnerships have As we apply our consultative, collabora­ India, Italy, New Zealand and the U.K., to was an era of specialization wherein programs flourished, as have program advisors and tive and inclusive method to the process of name a few. Locally, the BMD team held operated with little collaboration among them, research partners from industry and NGOs. building—with Bruce Mau Design—our new Bottom Right: Photo by Lino Ragno All other photos courtesy of Bruce Mau Design a total of nine community engagement and universities competed for funding from Global partnerships in education and research visual identity, we are reminded of our legacy workshops, which elicited the participation donors and government. Alliances between have proliferated, involving emerging and of nearly 135 years, one that has served us well of students, prospective students, staff, university and industry research were often developed worlds. Quite fittingly, our cover and has brought here, to 2011. faculty and alum. The team has also worked regarded as compromising. Bureaucratic story in Sketch showcases one of Canada’s Welcome to our new era of collaboration closely with a fourth-year branding class structures of internal and external evaluation renowned international collaborators, Dr. and to a happy, productive new year. and solicited feedback on Facebook (see measured—and still measure—departmental Jutta Treviranus. She has recently joined the —Dr. Sara Diamond facebook.com/ocaduid) and via an online achievement and institutional excellence. OCAD U community as Director of the survey. All research will be corralled into Rarely were interdisciplinary contributions and Inclusive Design Research Centre (IDRC), guidelines that will inform the visual work, inter-institutional alliances considered markers which takes a participatory approach to to be presented in early spring. of success. building inclusive technologies worldwide. Sara Diamond Photo by Tom Sandler Photography 4 Sketch ON CAMPUS Sketch 4 ON CAMPUS Sketch 5

OC ONCAMPUS Environmental Design students Exchange opportunities for propose students complement university- interactive space wide internationalization strategy By Lena Rubisova for ancient

OCAD University President Sara Diamond Aboriginal joined the largest delegation of university presidents ever to travel abroad in the seven- heritage site day mission to India in November 2010. The By Lena Rubisova MOVEMENT

THAT NEVER GOES OUT visit, which forged mutually beneficial links between Canada and India, represents one in a host of internationalization opportunities at OCAD U. “[It] is largely a continuation OCAD U is currently leveraging— innovation, of the work I was making while studying THERE IS A LIGHT education and research options that will abroad. The physical distance between me

STUDIES benefit our own students, faculty and staff, and my collaborator, who was in the Florence IN DIS/ORDERS The predominant theme within the works on show is the need for momentary OPENING NIGHT RECEPTION: OCT 21 2O1O program last year, was inspirational. It helped connection in daily reality. Or, in other as well as those at our partner universities. ow can we apply the design down barriers to designing across diverse After watching class presentations of the site words, the everyday human struggle. This exhibition examines the idea of the

EXHIBITION collective memory in comparison to the

personal memory. Through the growing HABIT GALLERY but steady vocabulary of imagery these us view our collaborative practice from a artists attempt to research how and why They also build on OCAD U’s existing process to a living space? communities, and to do so in a meaningful and the proposed experience, Douglas was we tend to hang on to memory, despite

it having an inevitable ephemeral nature. OCT 14 – NOV 27 2O1O

JENNIFER MURPHY is known for collaged works different perspective.” involving materials such as silk, velvet, gold leaf, Mobility/Exchange program, which invites dollar store foils, garbage bags, and cut-out photos In one OCAD University and engaging way. Part of OCAD U’s encouraged. Participating students, he says, from printed matter. A universe teeming with cats, birds, insects, flowers, gemstones, and heavenly bodies, Murphy’s work also calls to mind writers, designers, poets, botanists, and artists ranging from Bruno Munari to Odilon Redon and Hans Peter Feldman to Gerald Durrell. This exhibition presents several of these fragile, Third-year Graphic Design student Robert richly layered works, weaving together diverse images third-year students to study abroad. and forms to suggest life and death in full bloom. classroom and outside of Aboriginal Visual Culture Program, the course showed “a genuine interest in learning about KATIE BOND PRETTI is a Toronto based artist who is interested in the ability to employ the formal concerns of line and colour to achieve narrative in semi-abstracted form. A rising star in the Contemporary Canadian art world, Pretti’s ability to harness the visceral impact of H Lindblom is finishing his semester here on emotions is reflected in her frenetic style of markmaking Mobility/Exchange students report on both paper and canvas. Informed by a rich history it, students were asked that investigates the role of design in collaborating the culture.” Many of these students later of predecessors in the field of abstract expressionism, Pretti adds her distinct exploration of human experience and emotions through her studio practice.

THADDEUS HOLOWNIA reinvents the way we look at familiar imagery in order to provoke extraordinary exchange from Malmö University in Sweden. relationships between viewer and subject. As an enriched educational experiences and an environ mentalist, Holownia draws on his metaphysical question, in fall 2010, by and maintaining a dialogue, specifically commented that the course’s emphasis on relationship with the ecosystem as a response to human- kind’s intervention with the landscape. The photographs from the body of work, Silver Ghost, communicate both the beauty and the possible disappearance of the Atlantic salmon from Canada’s eastern rivers. Employing his signature large-format film camera, the images He chose OCAD U because he’d heard memorialize and celebrate the habitat of the salmon expanded art or design practice, while visiting by taking a “slow look” at its geology, forests, pools Sessional Instructor Cathie Sutton in her with Canada’s Aboriginal cultures. Working collaboration—within and among the student and runs, as well as its artifacts. TORONTO students from universities around the world positive things about it from other visiting Environmental Design class—“Designing in groups, the students get to know the teams and with the Aboriginal community—

997 Queen Street West, Toronto, Canada M5V 2P2 Tel +1 416 987 1663 Fax +1 416 987 1764 students. He has been able to take courses 4 East 77th Street, New York, NY 10075 bring new perspectives to the OCAD U Tel +1 212 987 1663 Fax +1 212 987 1764 Across Difference: Aboriginal Communities.” community they’re designing for—through allowed for stronger ideas and concepts to [email protected] www.habitgallery.com

Gallery Hours Tue to Fri 10 am to 6 pm and access studios that are not available Sat 11 am to 4 pm classroom. Frequently, going abroad is the Responding to the challenge, Sutton’s research, conversations and hands-on come through. On the structure of the class, Corporate sponsor first chance for many students to live away to him at Malmö. “OCAD U is a much students set out to design a public space for the experiences. During one of their visits to the third-year Environmental Design student Government sponsor from home, become independent and grow larger school with more departments and Mnjikaning fish weirs at the Atherley Narrows weirs, for example, students participated in a Avalon Backus explains, “[It’s] so different as individuals. The experience comes with opportunities than Malmö, like screenprinting of lakes Simcoe and Couchiching. These traditional learning circle, spent time talking from everything else that you’re able to focus other benefits—the students learn a new and bookbinding.” This semester, he learned 5,000-year-old wooden fish traps have long to community members about the site and on it more.” about how the design process can influence language, expand their knowledge of other been a sacred site and an ancient traditional documented it through photos and sketches. This class reflects a current trend in and formulate an outcome—concepts he cultures and increase their career options, meeting place for Aboriginal communities. As This push to design for and with other design education—increasingly collaborative plans to use in his professional career. both at home and overseas. part of the course, the class visited the site and cultures reinforces the need for collaborations community engagement. As third-year Graphic Lindblom hopes to return to Toronto to work The program is reciprocal—for every met with Aboriginal community members to in today’s world. For example, globalization has Design student Angela Gillis notes, working as once he has completed his thesis in Sweden. student who spends a semester away, there collaborate with them and receive guidance for made it possible for a Japanese architectural a group means that “everyone has something Says Lindblom, “It has been an awesome is a student who spends a semester here— their semester-long design project. firm to design a project for a Canadian to bring to the table, especially for this kind opportunity to get to know Toronto-based which also enhances OCAD U’s international Abandoned by the Huron in the 1650s, the Aboriginal community, and for such a of project.” The work presented thus far profile in the art, design, new media and designers and design students who may help Atherley Narrows weirs—a series of underwater collaboration to work, it’s important to clearly illustrates that multiple approaches and post-secondary-education communities. me work here later on.” fences that were once used to trap and harvest keep the lines of communication open. The methods were taken up by students of diverse Like the students, word of mouth travels too, The proliferation of international and cross- fish—are as old as the Pyramids of Giza and students in Sutton’s class are learning how to cultural and academic backgrounds. and many of the visitors choose to come cultural relationships in academia, industry were rediscovered in the 1960s by the Royal do just that. At the time of this writing, they’re Scheduled for completion at the end of because they’ve heard of OCAD U through and elsewhere has changed the way people Ontario Museum and Trent University. In generating ideas for a wayfinding system and the semester, the final presentation of the the students who’d spent time here. and businesses interact worldwide. It’s a 1982 the Canadian government designated interactive centre at the weirs site, presenting design for the Aboriginal heritage site will Last year, fourth-year Sculpture/Installation trend that many students want to be part then be submitted to the elders of the student Sasa Rajsic spent a semester at the of and they’re looking for ways to infuse them as a National Historic Site to promote concepts to one another, to community Glasgow School of Art. He picked the school their education with an international flavour. awareness of the site as well as the threats— members and to OCAD U alumnus Keesic community, reinforcing the importance of in Scotland for the structure of its program This can mean taking classes with visiting boating, fishing and land development—to Douglas for feedback. Some of the questions keeping the dialogue open at every step of and its proximity to other European cultural faculty from other universities; attending its preservation. Now maintained by Parks that the students were asked at this stage the design process. centres. The loose class structure at Glasgow public lectures by visiting artists, designers Canada, the site is protected and promoted by have to do with whether or not they fully Lena Rubisova is a third-year student in OCAD U’s allowed Rajsic to absorb the culture of the and thinkers; getting to know students on a group of local residents collectively known as understand the community they’re servicing, the Mnjikaning Fish Fence Circle. Although how well the navigation system for the Faculty of Design, majoring in Graphic Design. practicing artists around him and to work on exchange here from other universities; and She graduated from the University of Toronto in projects he may not have had the chance choosing to go abroad themselves to study. the priority today is to keep the weirs safe and proposed space flows, and whether they should 2007 with a degree in Art History and Classical Top: Robert Lindblom Top right: Robert Lindblom 24" X 36" poster advertising City Of Glass to work on otherwise. “It gave me space prevent further damage, the group hopes to consider an open or closed space for the site. Civilizations. Gallery Exhibition Hardcover graphic novel build an on-site interpretive cultural centre For Douglas, the questions being posed are 2010 Adaptation of Paul Auster’s to work on a larger number of projects and City of Glass with custom to spend more time experimenting.” The sometime in the future. tricky because Aboriginal cultures are evolving Above: Sasa Rajsic slipcover. Impositioned and All Well-Come* hand-bound by the artist. experience has also influenced his approach The students in the “Designing Across and it’s often difficult to determine what is 2010 2010 to his thesis, now that he is in his final year Difference” class were asked to break culturally authentic for a given community. Photo: courtesy of Parks Canada 6 Sketch ON CAMPUS ON CAMPUS Sketch 7

OC ONCAMPUS

back on itself, as the animals seem to take the and turning back received opinions reaches Visits to OCAD U by artists like unexpected in stride better than we do. out to current artistic and social contexts, it Abdessemed challenge us to think From Subtlety to Bombast: Not surprisingly, given their shared atavistic also reaches in to an august cultural legacy critically about humanity, diversity, basis, the incoherence that marks our in Algeria of questioning things as they culture and idealism, and offer a unique attitude toward death—we love animals so are—from the writings of Augustine of Hippo learning opportunity for our students. Adel Abdessemed’s Romantic Cynicism much that we can’t stop killing them—also in the fourth and fifth centuries to the art and Born in Constantine, Algeria, in characterizes our attitude toward sex. On the literature of Albert Camus, Frantz Fanon, 1971 and educated at the École By Charles Reeve oubt doesn’t come easily, one hand, while enlightened men in North Jacques Derrida and Hélène Cixous in the nationale des beaux-arts de Lyon especially when it disturbs America and Europe band together to fight 20th and 21st centuries. and Cité Internationale des arts in something fundamental. pornography, surveys of Internet usage show These historical and contemporary affinities Paris, Abdessemed exploded onto D Doubting that Toronto will that the on-line porn industry yields more speak to a thematic and formal richness that the international art scene in the mid- be warm in January is one revenue than Microsoft, Google, Amazon, characterizes Abdessemed’s art and informs 1990s. He has exhibited in solo and thing. But doubting that what eBay, Yahoo! and Apple combined. This the pieces in The Future of Décor. Consider, group shows around the world—at the The Nomadic Residents series we believe to be good merges with what we disjunction feeds the unease that surrounds for example, the three cowboy hats, Venice Biennale in 2007 and 2009, the aims to inspire and influence the know to be factual—as Adel Abdessemed Abdessemed’s Real Time (2003), a video fashioned from razor wire and suspended Pompidou Centre in Paris, Guangzhou’s OCAD University community and invites us to do—that’s another story. of a performance in which the artist filled a from the ceiling. The cowboy hat becomes Institute for Contemporary Art, MoMA the public by featuring artists and For instance, the care we shower on our gallery with strangers he brought together a crown of thorns evoking the interaction PS 1 and the MIT List Visual Arts thinkers from around the world pets hardly typifies our relationships with solely to have sex with each other, en masse between steel and skin that gives razor wire Center. He is represented by David whose work questions issues such animals. Starting from what we kill and pulp and in public. Ranging thematically from the the historical significance that distinguishes it Zwirner and divides his time between as travel, mobility, displacement, to feed our cats and dogs, violence toward subtlety and sentimentality of Sept Frères from its precursor and close relative, barbed New York, Paris and Constantine. dislocation and homelessness, as animals supports our demands for shelter, to the bombast and outrageousness of Real wire. While barbed wire spoke to modernity’s Abdessemed’s residency well as the speed or instability of clothing, food, waste disposal and so on. Time, Abdessemed’s art also explores media need for a material that could cut across (November 22–26, 2010) occasions modern life. But that train left the station millennia ago. varying from drawing and photography to film, geography and into animals and then into his first solo exhibition in Canada. The bulldozers that built our cities won’t video, ceramics and more. His sculptures, people, razor wire restricted its paranoia The exhibition, which opens during start flattening them to accommodate the for instance, incorporate such unorthodox to people—either keeping “dangerous” the residency and continues until return of the displaced wilderness. Streets materials as cannabis and—as with the persons in concentration camps and prisons, February 13, 2011, features the world and buildings belong there now, which is cowboy hats in his show at OCAD U, or his or keeping them out of private property or premiere of The Future of Décor—a why in Adel Abdessemed’s photograph Sept soccer balls of a few years ago—razor wire. foreign countries. video commissioned by Onsite [at] Frères (2006), the boars look incongruous. Also, following in the footsteps of such The razor wire’s silence in the gallery thus OCAD U—and the North American Indeed, without the artist’s apparatus artists as Marcel Duchamp and Alighiero contrasts with its cacophonous history—a premiere of Rio, another video, as well surrounding them, the boars would be Boetti, he created an alter ego. However, saga of war, strife, fear and danger. The as recent sculptural works. shot—a fate befalling thousands of their there’s nothing playful in Abdessemed’s chaos of the show’s title work, made with Thanks are due to Ales Ortuzar comrades in an inversion of Darwinism MohammedKarlpolpot, merging as it does Abdessemed’s frequent collaborator, David and Justine Durrett at the David whereby the boars’ adaptability becomes a Mohammed, Karl Marx and Pol Pot. The Moss, reflects our contemporary context Zwirner Gallery and to Julie and jinx that gets them killed. calamity evoked by this convergence and the back to itself rather than offering an escape Adel Abdessemed. The exhibition The incongruity depicted in Sept Frères fact that this list could include many others from it. The looping pandemonium bouncing and related events were supported of animals in the urban environment returns point to Abdessemed’s affinity with other off the gallery walls makes us long for its by the French Consulate in Toronto, Above, Adel Abdessemed several times in Abdessemed’s work, as in contemporary artists—Sharon Hayes, Ei opposite, for the very thing that our current Culturesfrance, the Toronto Arts Telle Mere Tel Fils Installation Jasmine (2009) and Séparation (2006). These Arakawa, Michael Krebber—who find ideals context of spectacle and violence makes Council and the Ontario Arts Council. 2008 works disturb our expectations only mildly, and, like paradise, nostalgia and utopia wildly impossible. In the gallery, as in the wider The Nomadic Residents program is Opposite, left: Adel Abdessemed in each case, that disturbance plays against anachronistic. As the current trend toward world, we find fewer and fewer reserves of supported by the Jack Weinbaum The Future of Décor Water and pastel drawing an understated but undeniable lyricism. The “reasonable” restrictions on immigration the one thing that facilitates doubt and its Family Foundation. 2010 tentativeness of the boars in the mid-ground, make clear, nothing undercuts the ideology companion, contemplation: fewer and fewer Opposite, right: Adel Abdessemed the stillness of the lion that Abdessemed hugs, Real Time of tolerance more completely than the reserves, that is, of silence. For more information, visit www.ocad.ca/ Video projection the nonchalant beauty of the dog and her rising insistence on its triumph. However, if onsite. To view a video of Abdessemed’s 2003 pups—these elements turn the incongruity Abdessemed’s process of turning, overturning — Charles Reeve, Curator, Onsite [at] OCAD U OCAD U talk, visit: http://www.ocad.ca/video-abdessemed 8 Sketch Sketch 9

It’s 5:30 in the morning as I wearily climb inside the booth and press my Solitude in face into the camera. Reena Katz looks back at me and asks how I am. She is asking it with all the presence in the Numbers: world, it seems. I furtively glance at our framed exchange, cast on the back wall of the Art Gallery of Ontario, some 40 The Struggle of feet high, and try to focus my response. “I’ve had a frustrated evening, Reena.” Nuit Blanche We both find ourselves laughing. By Sky Goodden

Above: Agnes Winter Monument to Smile Photo by Peter Sramek

Opposite: Martin Arnold and Micah Lexier Erik Satie’s Vexations (1893) Media: two pianos, one table, 840 printed scores (folded), various performers Photo courtesy of Sam Javanrouh and Toni Halkenscheid, 2010 10 Sketch Sketch 11

Below: Right:

that this year’s Nuit Blanche had yet to reveal to me. However, as I soon discover, it’ll be presented here best by making place matter, and making people work. Uptown, an extension of the digitally democratic flashes across the façade of Holt Renfrew, of all places. Photography Chair Peter Sramek had various students and alumni collaborate on Toronto’s iteration of the ongoing Agnès Winter project, Monument to Smile. Previously staged in cities such as New York, Paris and Rio de Janeiro, Smile involves photographing a spectrum of a city’s inhabitants, and then inventively projecting them onto the façade of a defining structure. The rotation of grinning busts takes a while I am limping back to the site of my evening’s start, to run its course before beginning all over again, all the while injecting the street with beginning to wonder if I’m the only one, in this city of a rhythmic joie (this particular incarnation Katz (Integrated Media, 2010) is in Brooklyn. Hundreds The displaced protests channel their urgency clicked along to the soundtrack of Michael raving drunks and sodden parades, who spends the night of miles separate us, and yet I am having my first real to this place, and though it’s merely a parking Jackson’s “Smile”) and superseding its as if on a pilgrimage, seeking something special. exchange in as many hours—or at least it feels that way. lot dividing art school and institution, the architectural buttress with a benevolent Moments later, I am reciting a chant under Katz’s direction, screen melding New York and Toronto scaffolding. The makeup of a metropolis its offerings of detritus and commodity, unfortunately and the artist is cooing thanks and encouragement. And eclipses distance entirely. Katz fosters intimacy begins to be revealed, with the sum of its outmatched by the corridor of artlessness on Yonge Street when I step out of the booth, my Nuit Blanche is not the in real-time, and pulls the oral archives into profiles being much more than its parts. (a harbinger for future attempts at efficacy over event); Kent letdown I had initially resigned myself to. On a night like the digital present. Buoyed by these various plays on Monkman’s red-lit rock, where I will arrive only to be met this one, all you’re seeking is a moment of connection. It’s Steps away, Bentley Jarvis (Assistant projection, I sweep the city for more. But the with the news that the performer left before midnight; and nearly 6 a.m. and finally I got mine. Professor, Faculty of Art) centres the Pitch_ guaranteed disconnects and disappointments the bonfires strung throughout Trinity Bellwoods Park, to Nine hours earlier, I roll into the streets of Chinatown, Patch_Pulse trilogy in a suspended space of of Nuit Blanche begin to set in. Starting which Ryan Gander’s aptly titled Just Because You Can See It pulled along by the swell and rill of White Night acoustic meditation. Titled Temporal Loop, with Daniel Lanois’s $400,000 enterprise Doesn’t Mean It’s There doesn’t hold a candle. beachcombers, all searching for that metallic shimmer or a span of windows project what can only at the helm of City Hall, I find myself less But the successes of Nuit Blanche await me—out of glass-hewn crust—something special to collect, to tweet, be described as the visual iteration of sound interested in the large screen relay of Lanois sight, tucked away indoors. Catherine Gordon and Ulysses to call their own. It’s the fifth anniversary of Toronto’s itself. To the accompaniment of Jarvis’s fanning his guitar (a noxious revolution of Castellanos pair up in the city’s resident castle, Casa Loma, Scotiabank Nuit Blanche, and our all-night, city-wide art distinctive composition style—a numerically screen savers unfolding behind him) than with their darkly thrilling and site-spectacular Cabin in the spectacle comes with anticipation—and some trepidation. As programmed and lulling soundscape that in the massive black mirror that tilts up Woods. Micah Lexier and Martin Arnold perform Eric Satie’s the most expensive event of its kind in the world, Toronto’s has the effect of stilling everything in its over the stage on which he plays, dully. The Vexations (1893) between two pianos, extending the score’s Nuit Blanche is often met with criticism. But as I cast scope—the images scrawl themselves across large band of switchboards and controls machinations and unique beauty in origamic terminations. past the AGO, with Allyson Mitchell’s fleshy mannequins the windows, the visual and the acoustic that gear his projected performance become And Sarah Robayo Sheridan similarly makes the audible anchoring her feminist library in the Toronto Now gallery, splintering colour and form between tree and projected themselves, but through a much sculptural with Reunion, an interpretive addendum to Marcel this vitrine-like microcosm of the city hums with a frame. I don’t know it yet, but this will be my simpler technology. Accounting for milling Duchamp and John Cage’s historic “chess match” of 1968. promising energy. I approach OCAD U, hoisted above us evening’s enchantment. crowds and flickering lights, the mirror’s Still, I find myself missing the personal connection that by its familiar blue-lit stems, and a crowd of students and Around the bend, Geoffrey Shea (Associate vast span roves with an unerring focus that makes Nuit Blanche more than what An Te Liu wryly calls passersby ripple beneath it. We are all gearing up for a long Professor, Faculty of Art) dances his Trio calls to mind an Andreas Gursky print set in “Ennui Blanc.” I am limping back to the site of my evening’s night in search of some jewel. projection over the University’s Butterfield motion. If only the magic in this had been start, beginning to wonder if I’m the only one, in this city In years past, I’d begin my Nuit Blanche at OCAD U Park, a space typically occupied by skilled the spectacle, I think, steering around Lanois’s of raving drunks and sodden parades, who spends the night because it was close to home and, because I attended school skaters and class-skippers. With a digital screen-splattered riffs. as if on a pilgrimage, seeking something special. Is it just me there, I regarded it as my port. This year, a few months out projection programmed by phone-ins from I head to the top of City Hall, where, in search of that glass-hewn crust, while the others content from my MFA in Criticism & Curatorial Practice, I could passersby, Shea inventively crosses elements again, practical magic trumps purpose, as I themselves with broken bottles? I seem to be forgetting that have anchored myself anywhere. But having been charged of folk art and DIY digital media. The press myself up against the ribbed walls of Katz is waiting, leaning through her screen, and collapsing with reviewing the evening for Sketch, I find myself pulled projection pictures bobble-headed musicians Toronto’s municipal lighthouse and watch the distance between us. Upon our encounter, I realize that back to the underbelly of the University’s checkered torso, who change (as does the music), depending the pussy willows sweep the crowd along. her parenthetical title maintains its promise: the dimensions considering its frame and the way it will frame my night. on the viewers who phone in the switch. Shea Nearby, Dan Graham’s Performance Café with of our dawn-break exchange are not to scale. Nine hours of Perforated Sides Top: Bentley Jarvis Luckily, nothing about this proves difficult. sites his inclusion of folk music for its history doesn’t quite connote the sloughing through the running streets amount to less than Temporal Loop I am first transfixed by Katz’s Empathic Maneuvers of participation and accessibility, aptly linking performance it’s meant to, as vague reflections these five minutes in a parking booth, where two people meet, Above: Cathy Gordon and (dimensions not to scale), a Skyped broadcast responding to it to the current digital era. And with his do less to populate the glass structure than to and a history is called to be present. Ulysses Castellanos Cabin in the Woods the city’s desire for real exchange. Night-trippers crowd into collaboration-driven configurations matched call up the emptiness of projection. Mixed media Sky Goodden is an art writer and editor living in Toronto. A recent Photo by the artists the parking booth to cantillate a series of chants, variously by Jarvis’s cogitative compositions and Katz’s I cast my eyes over the city, and regard graduate of OCAD U’s Master’s program in Criticism & Curatorial the satellite hotspots where my night will Opposite: intoning protest demonstrations from the contested sites of remotely performed archive, Pitch_Patch_ Practice, she writes for Canadian Art, C Magazine and Muse, and is Geoffrey Shea the U.S.–Mexico border and the Palestinian Separation Wall. Pulse delivers on the digital projection trend eventually take me: Nuit Market with the managing editor of ONE HOUR EMPIRE. Trio 12 Sketch< Sketch 13 Jutta Treviranus begins our interview by mentioning that OCAD University still has she’s trying to correct the spelling of her name on a plane the agility, creativity and Open ticket for an upcoming flight purchased on her behalf. Such a mistake is not that surprising for two reasons. Her last name freedom of movement that isn’t particularly easy to pronounce (Tray-vee-rah-nouss), let a large institution such as alone spell correctly. And since Treviranus has been a frequent U of T doesn’t have. Source, flier as of late, such a typo was bound to happen eventually. In the past few months, Treviranus has visited Washington, D.C., Brussels, Barcelona, Seville, Paris, Vancouver and Colorado to present her work on accessibility standards and Open inclusive design to audiences that have included European commissioners, secretaries of state and various high-level government ministers. Treviranus is not the only one in flux; so is the Adaptive Windows, Technology Resource Centre (ATRC), the research unit she W founded 16 years ago at the University of Toronto. In August of this year, the ATRC started a new chapter when it moved to OCAD University, where it will serve to augment and Open reinforce an ongoing commitment to diversity and inclusive design. Now known as the Inclusive Design Research Centre (IDRC), Treviranus and her team are clearly excited about the possibilities, since OCAD U “still has the agility and creativity Future and freedom of movement that a large institution such as U of T doesn’t have.” By Ryan Bigge That’s not the only reason to be excited, however. OCAD U is now also home to the brand-new Inclusive Design Institute (IDI), a multi-institutional regional research network led by Treviranus, with partners that include Ryerson University, University of Ontario Institute of Technology, University of Toronto, York University, Sheridan College, Seneca College and George Brown College. Treviranus is director of both the IDRC and the IDI, which, when complete, will include offices at 205 Richmond Street West, a captioning and multilingual translation centre at 230 Richmond Street West, plus a participatory design lab and accessible performance space­ —the Black Box Theatre—at 49 McCaul. F “What we’re constructing with the IDI is a regional centre that is looking at designing for diversity,” explains Treviranus. “We’re trying to engage the end user in creating systems that will become part of their lives.” Despite her 25 years of experience, Treviranus wasn’t entirely sure if the Canada Foundation for Innovation (CFI) would recognize the IDI proposal. “It was actually quite a miracle it was accepted because I wrote it in such a way that it went counter to everything that they tell you to do,” Treviranus says. Instead of following the conventional wisdom of only including senior researchers from major universities and having a strong patent strategy, her proposal included researchers from colleges and researchers without PhDs. And, A A A of course, the entire project is open-source, which means that 14 Sketch HSketch 15 not only can the curious peek at the source code of software that was lost due to a patent mix-up when Nortel Networks created by the IDI, but the research process itself is viewable, downsized in 2001. providing complete transparency. Much of the IDRC’s current work involves “access for all” Treviranus’s belief in openness pervades both her achieved through auto-personalization. “Rather than having conversational style and the mandate of the research centre. a one-size-fits-all solution to accessibility, it’s a one-size- The inclusive design and accessibility systems created fits-one,” says Treviranus. Users might, for example, have by the IDRC and the IDI are both open-access and open- a USB key or smart card with a list of personal needs and source—and, of course, her staff and researchers work in an preferences, so that if they’re blind, a government information open-plan office. Such openness benefits both end users and kiosk will speak to them. “You don’t have to negotiate or OCAD U faculty, who are already working on projects such as explain or get someone to fix or readjust the security settings, AccessForAll, which will result in accessible infrastructure for so that you can use the system,” explains Treviranus. “It will training the more than 65,000 Ontario Public Service workers just automatically do what you need it to do.” i involved in the implementation of the Accessibilities for The implementation of the AODA, an ambitious piece of Ontarians with Disabilities Act (AODA). legislation that will enforce mandatory accessibility standards “Everything is transparent,” says Treviranus as she for both the private and public sectors, is already bringing points me to the wiki for the FLUID project, which infuses worldwide attention to the IDRC’s work. As part of a meeting accessibility into various software development toolkits. “You with U.S. Secretary of Education Arne Duncan, Treviranus can tell whether we’ve had a disagreement and our every found herself within a few metres of President Barack Obama. bug is known to the world.” And since each decision and But she refuses to say she actually met him. “Met is an conversation is documented in digital form, Treviranus notes exaggeration,” she says. “I was introduced together with that involved grad students “can get a full history and see the a group of people. He said a few words and we said a whole process and workflow.” few words.” Treviranus is currently helping to create a two-year Meanwhile, the world will soon be watching Treviranus professional Master’s program in Inclusive Design at OCAD U, and her team on a daily basis, thanks to the IDRC’s nearly which is scheduled to begin in September 2011 and will completed Distributed Collaboration Room, where an underscore a growing university-wide focus on inclusive otherwise ordinary boardroom is being outfitted with six design, evinced most recently by OCAD U’s partnership screens—three at each end of the room. The screens will Rather than having a with Toronto Community Housing. If all goes according to serve as open windows with live audio and video feeds from one-size-fits-all solution plan, the following year will see an undergraduate program various work environments of collaborating partner institutions, in inclusive design. Working with an existing team that has including the Open University of Catalonia, University of to accessibility, it’s a already created the necessary IT infrastructure, grad students Cambridge, Sofia University in Bulgaria, the University of one-size-fits-one. will be in a supportive environment that will allow them to California, Berkeley and the University of Colorado at Boulder. focus on research instead of the usual grunt work of website The idea is to foster casual and ongoing conversations maintenance. And because end users are woven into the between international research partners, rather than formal process, the work of the IDRC and the IDI will have tangible, scheduled conference calls. measurable impact and benefits. Not that open windows can solve every communication Treviranus first began using information and communication problem—at least not yet. A recent conversation with the technologies as a way to improve accessibility back in 1981, Chicago-based MacArthur Foundation required synchronizing when she helped a group of students with severe disabilities with IDRC partners at the University of Kaiserslautern in negotiate their first semester at McMaster University. Germany and Georgia Tech, plus a researcher on a cellphone Treviranus realized that the first personal computers, including located 60 kilometres outside of Lagos, Nigeria. Six webcam- the Apple II, were very mutable in terms of information input enabled computers were eventually jammed together into a [ED: note singular input, so will jive with it]—be it visual, tactile circle, facing one other in order to overcome networking and or auditory—and thus had great potential for bridging the communication incompatibilities. Treviranus laughs at the barriers that face people with disabilities. “It was still very memory. open territory—the ‘Wild, Wild West’ in terms of possible “That’s the type of bizarre distributed collaboration we interfaces,” she recalls. do here.” The value of open systems has remained a consistent theme in her work. Back in 1993, one of the first ATRC projects involved an HTML accessibility initiative for the web. Ryan Bigge is a Toronto-based cultural journalist and content strategist. His work has appeared in The New York Times Magazine, Toronto Life and The Globe and Mail. He Treviranus and her team became determined to move to an is currently completing the Canadian Film Centre (CFC) Media Lab’s Interactive Art and H open-source model after having to recreate valuable work Entertainment Program. 16 Sketch ALUMNI NOTES ALUMNI NOTES Sketch 17

Organizers of Kai Chan’s 35-year the range of integral meanings that can Twigs, retrospective­ have further distinguished capture my concerns about living in our the artist with an unlikely title: master contemporary world. I look instead to the of the unremarkable. But the designation simultaneously irregular and linear qualities toothpicks, is one of affection, even admir­ation, and of threads and tree branches, to suggest speaks to Chan’s extraordinary way with the structure and meaning of Chinese buttons and everyday materials. characters and calligraphy. Using the tension In late fall of 2010 the Textile Museum of such characteristics similarly rooted in thread: of Canada and the Varley Art Gallery of other materials provides me with the tools Markham partnered to present Kai Chan: to negotiate a balance between East and A Spider’s Logic, celebrating 35 years in the West within the [conceptual framework] of Artist artist’s career. Curated by Sarah Quinton, the my art practice. I thus work to achieve an Voting public awards exhibition also marks the Textile Museum’s understanding that product and process in art- Kai Chan 35th anniversary. making emerge as the essence of living a life.” AN Chan, whose work has been known to Kai Chan has exhibited across Canada, ALUMNINOTES Kristan Horton celebrated play with assumptions about sculpture versus the U.S., Japan, Australia and Europe. He Canada’s largest prize textile, graduated from OCAD University’s is the recipient of numerous grants from the Environmental Design program in 1970. Canada Council for the Arts and the Ontario in 35-year He describes his years at the University as Arts Council, as well as the prestigious Jean in contemporary “familial,” years that exposed him to “a lot of A. Chalmers National Crafts Award (1998) and retrospective work by students in other departments.” This Prix Saidye Bronfman Award for Excellence in photography exposure would later inform his practice in the Crafts (2002). myriad ways. A Spider’s Logic includes a selection of Of that practice, Chan says: “I draw Chan’s work from 1975 to 2010, gathering inspiration from the basic elements in my 30 key pieces that have never been seen immediate surrounding—light, air, earth, together before, and introducing five large- he Grange Prize—the result four photographers—two from Canada and Winning the only major water, flora and fauna. I have chosen to work scale wall works made of finely knotted of a unique partnership two from the partner country. The 2010 with simple everyday and, often, recyclable thread. The exhibition opened at the Varley between the Art Gallery of partner country is the U.S.; the partner Canadian art award and found materials. For me, the nature of Art Gallery in late September 2010 and at Ontario and Aeroplan— institution, the Museum of Contemporary T these materials represents a fundamental the Textile Museum of Canada in November, voted on by the public is engages the public in a way Photography (MoCP) at Chicago’s value that informs living. where it continues until May 1, 2011. Chosen Columbia College. The Prize invites each a particular honour, and that other art awards don’t. “Indeed, I no longer find that mainstream artworks from these two exhibitions will tour By inviting members of the community to shortlisted artist to participate in a 10-day or ‘traditional’ art materials encompass to additional venues across Canada. this year it went to OCAD view public exhibitions of shortlisted artists’ residency. This year Canadian nominees University alum artist work—encouraging them to discuss the work travelled to the U.S. and American artists online and ultimately to vote on it—the visited Canada. Kristan Horton (Sculpture/ Prize is also contributing to a vital public When the four 2010 finalists are discourse, one with special meaning for considered together, it’s possible to see how Installation, 1996). institutions like OCAD U. all of them create non-traditional forms of With this accolade, Horton—a Toronto- photography. Horton’s work, for example, based artist who creates by layering and ranges from digitally altered abstracts Kai Chan Mirage (detail) manipulating photos—is at the centre of to large-format images of manufactured Silk thread, nail (179 x 2cm) this year’s conversation about the power and objects. He has described his practice as 2007/2008 prevalence of contemporary photography. one of intensive research and creation. Right: Kai Chan What It Is I Came for, I Turn and Turn. Part VI Recalling the time he spent at OCAD U Using layered processes of construction that Incense (304 cm x 915 cm x 36 cm) (he would eventually complete his MFA at are both material and virtual, Horton has 2004 Images courtesy of the artist and the University of Guelph), Horton says, “I produced numerous long-term projects. the David Kaye Gallery. learned from serious Canadian artists what Like the acclaimed Dr. Strangelove Dr. artists do. OCAD U’s contribution was for Strangelove (see above), these works are me a rich experience at a formative age. It often linked conceptually by their serial and wasn’t so much how to make artworks, but episodic structure. In a September interview This March at OCAD University, how to think in this particular tradition. I with CBC News, Horton described his we’re playing a month-long might be told how to do things, but never art: “We’re talking about layering inside PROJECT 31 game of digital show-and-tell, what to do.” the computer. Each layer I deal with culminating in a contemporary art Launched in 2008, The Grange Prize individually and where they meet, they have auction that features a staggering comes with a mandate to “recognize the best torque.” Eventually, he achieves a quality of 31 works by 31 faculty members. in Canadian and international contemporary “kaleidoscopic coherence.” photography.” It is this country’s largest For the past decade, Horton has shown Above: Kristan Horton Orbits: The Original photography prize, granting a total of his work widely in Canada and abroad. Inkjet print (135 cm x 102 cm) $65,000 to photographic artists each year: His multi-disciplinary practice includes 2009 Anda Kubis $50,000 to the winner and $5,000 to the sculpture, drawing, photography and Crosswind (36" by 48") Top: Kristan Horton Oil on Board Dr. Strangelove Dr. Strangelove three runners-up. Organizers work with an video, but he admits to being “closest” to 2010 Series of 200 giclée prints (28 cm x 76 cm) Save the date for Project 31: Courtesy of: Drabinsky Gallery 2003–6 international partner country and institution photography. To find out more about his Sold at Project 31, 2010 Thursday, March 31, 2011 to form a nominating jury of curatorial and art, visit kristanhorton.com. Images courtesy of the artist and Jessica Bradley ART + PROJECTS. scholarly experts who select a shortlist of 18 Sketch ALUMNI NOTES ALUMNI NOTES Sketch 19

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In 2010 Kelar and Richardson—whose client roster reads like a who’s who in inter- national dream accounts, such as Nike, Fruitopia, Mattel and Tetley—were hired by wireless telecom provider Wind Mobile to design the visual identity for its Canadian market. At a time when most mobile compa- nies favoured simple designs printed on high- gloss paper, Kelar and Richardson persuaded Wind Mobile to go for a multi-faceted, colour- ful design on matte paper. Says Kelar, “We thought it would be interesting to present technology in an analogue way.” Inspired by both art and design—Wassily AmoebaCorp.’s Mike Kelar Kandinsky’s abstract shapes, Eames’ mid-century Modern furniture and 1950s AmoebaCorp. The Pop Shoppe website; animation by OneMethod and Mikey Richardson cartoons—the designers created a cartoon- like design for Wind Mobile. They used apparel to the non-mainstream market. Kelar with with garbage bags containing their work By Leanna McLennan hand-drawn abstract shapes in text bubbles and Richardson brought together artists, because they didn’t own portfolio cases. to offer a sense of intimacy and playfulness; designers and musicians in a warehouse Fortunately, the consultants that YTV had multiple colours to suggest the possibility of in Liberty Village, a lively creative hub in hired from Big Blue Dot—a family/kid-oriented The deceptively simple amoeba moves by changing diverse conversations; and uncoated paper Toronto’s downtown west. Graffiti artists creative studio in Watertown, Mass.—advised its shape. And just like the amoeba, Mike Kelar to convey approachability and honesty. painted murals with precision and speed, and YTV to hire the young designers. That was the Art is a source of inspiration as well (Graphic Design, 1997) and Mikey Richardson short films about speed produced by film first major project for Kelar and Richardson, as a complement to design for Kelar and students at Ryerson University were shown and it allowed them to expand. In 2006 they (Illustration, 1996)—co-creative directors/partners Richardson, who both make art in their alongside films commissioned earlier by Nike. partnered with John Street Advertising to of AmoebaCorp. since their graphic design spare time—“the flame that keeps us going,” Over the course of the evening, DJs gradually share an office, and while the two companies and visual communications company started in notes Kelar. increased the music’s beats per minute, and currently share some clients, AmoebaCorp. To fan that creative flame, they created waiters served fast food. remains an independent design house. 1996—thrive on change. “We don’t have a house ArtLab in 2004 “to bridge the gap between style, a design philosophy or a way of working,” The exhibit Mr. Brown vs. Val Kilmer, in Kelar and Richardson continue to create art, design and corporate culture.” In their spring 2005, featured two street artists in both art and design, but they see a clear says Kelar. “Even that is always changing.” past studio, they had a gallery/retail space, Toronto: Mr. Brown, who was known for distinction between the two practices—the where they exhibited local and international paste-ups that resembled tattoos, and an intention of the artist is self-expression; that Given their propensity for change—and moving ahead—it is no surprise art and design. As part of ArtLab, they also anonymous artist who stencilled images of of the designer is to solve problems for other that these two designers won a prestigious Webby Award in 2010 for “Best now stage exhibits and events that provide American actor Val Kilmer’s face on telephone people—and although designers may draw Use of Animation or Motion Graphics” for redesigning the website of soft- opportunities to collaborate with other artists. poles, signs and buildings across the city. on their artistic skills, they’re not making art. drink retailer The Pop Shoppe. The project was a collaboration with the One such event took place in 2004, when People were intrigued by the stencils: Was “If you tell some designers that what they’re agency OneMethod Digital + Design; audio production house Tattoo Sound Nike hired AmoebaCorp. to design the this an advertising campaign for a film? Was doing isn’t art, they get defensive,” says + Music; and ON THE CHASE!, a motion graphics design studio. The Pop Toronto launch of Art of Speed, its global it publicity for the actor? Speculation about Kelar. “But the sooner young designers make Shoppe website features a soundscape of animal sounds, creaking trees campaign to promote athletic footwear and the artist’s identity generated a lot of hype the distinction, the better. The client isn’t pay- and music, tantalizing its viewers and inviting them to explore the world… and drew a large crowd to the event. To this ing you to express yourself.” inside a pop bottle. With each click, a different part of a vivid landscape day Kelar and Richardson have not revealed Richardson agrees. “You check your ego emerges, as does a soundscape reminiscent of an experimental noise the stencil artist’s identity. at the door. You’re not hired to create your improvisation class. It’s an experience that gives a whole new resonance to In 2006, Rumble Rumble: An Art Throw own style. You’re hired to form a connection “message in a bottle.” Down gathered eight illustrators for one night between the organization and its audience.” to produce original artwork on a 20'-by-4' Self-professed design addicts Mike Kelar table comprised of 40 panels. The illustrators, and Mikey Richardson connect with others most of whom were accustomed to working afflicted similarly through their studio’s official independently, collaborated gradually, draw- blog: designporn.com. Their website address ing over each other’s work and creating illus- is amoebacorp.com. trations together. At the end of the night, the panels were separated and later exhibited in Leanna McLennan’s fiction and poetry have a sold-out group show. been published in numerous literary journals and anthologies, including Third Floor Lounge: ArtLab This skillful crafting of large-scale experi- Rumble Rumble Art Throw Down An Anthology of Poetry from the Banff Writing Illustration by Mikey Richardson, Neil ences is a far cry from Kelar and Richardson’s Studio. She currently writes in her studio at Collyer, Gary Taxali, Tavis Coburn, Marco Cibola, Sophia Tanninen, Carey AmoebaCorp. early days. For their first pitch—to specialty Artscape Wychwood Barns and teaches at Sookocheff and Chris Wellard Tetley Cold Tea packaging cable TV channel YTV—they showed up OCAD U and the University of Toronto. Photo by Richard Sibbald 20 Sketch ALUMNI NOTES ALUMNI NOTES Sketch 21

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Hitting it Big in Berlin: One Couple’s Story

Gregory Blunt Emmy Skensved Emmy Skensved Emmy Skensved Top: Gregory Blunt Fade to Grey Untitled (Hong Kong) Maquette for outdoor pavilion project Framework Architectonic Acrylic paint and frosted mylar on acrylic glass Acrylic on canvas (80 cm x 60 cm) 2010 Exhibition at September Gallery, Berlin, 2009 Acrylic paint and black glitter in epoxy resin on acrylic glass (152 cm x 76 cm x 15 cm) 2010 Photo: courtesy of September Gallery (152 cm x 152 cm) 2006 2007

Berlin is the hottest city for contemporary work on an outdoor pavilion funded by the apartment and began exhibiting. A finalist a day practising with German friends, Blunt back home,” says Blunt. “We know so many art. Some would say it’s the new New Canada Council for the Arts (CCA). in the 2008 Royal Bank of Canada painting says that he is still not fluent enough to people [now from] all over the world.” Alumni, take note. York…of Europe. Now, 20 years after the But Blunt has sobering advice for those competition and a multiple recipient of apply for jobs that require German. But for this couple that could—and fall of the Wall, a strong community of who want to make it in Berlin: “People CCA project grants, Skensved has shown Be prepared too, he says, to pay a did, work is a top priority. Blunt continues For those of you artists has emerged, in particular, Canadians, think they can come here and opportunity at Kulturpalast Wedding International and minimum of €125 a month for health care to assist artists and is trying his hand at ever since the blockbuster electropop singer will drop on their laps. You’ve got to work Galerie Knoth & Krüger. She launched and for Kaution—the required three-month curating home shows. At the time of this looking to make it big Peaches made her way here almost 10 years for it—you’re in the big leagues.” her first solo at September Gallery in, deposit up front when renting an apartment. interview, Skensved is preparing to create ago. Numerous artists of note have since Over a bowl of Tuscan soup, pear salad coincidentally, September of last year. Blunt In the matter of travel documents, the best a public sculpture this winter. And as in Berlin’s bustling followed, from experimental filmmaker and cherry schnapps, on a frosty October showed at Galerie Scherer 8 and Künstlerhaus and easiest route is to get a youth mobility they approach their fourth year in this art world, meet—via Bruce LaBruce and Janet Cardiff to Matthew evening, the two OCAD U grads dish out Bethanien while assisting Sietsema. He’d also visa from the German Consulate General in city, working and living in Berlin remains Carver, Christine Cheung, Mark André tips on how to be a successful artist in worked as an assistant to Manhattan-based Toronto. Free of charge to applicants who magical, they say. Sketch’s intrepid Pennock and OCAD U grad Tiff Izsa, who Berlin. They do so despite the fact that their painter Sarah Morris in 2005. are Canadian citizens between the ages of 18 “Berlin is a real education, more…than lives in Düsseldorf. first year in the city was, as both will admit, “The best part…here is the apartment- and 35, the visa allows you to work for one my master’s,” says Blunt. “If you’re willing Berlin-based reporter, So, what is it about Berlin? It is the capital a bit of a party binge—“an endless flow of show scene. It’s all word of mouth— full year anywhere in Germany. Alternatively, to work, things will work out. I am grateful of production in the international art world. cool hipsters,” Blunt muses. that’s true Berlin,” says Blunt. “You’ve got you can get an artist’s visa, in which case every day.” Artstar* Nadja Sayej— The spacious studios, affordable housing and When they first spent time in Berlin, in to dig deep; on the surface it’s just the a letter from a German gallery willing to 70-cent beers draw the creative crowds to 2006, Skensved worked as an assistant to the commercial galleries.” employ you would help. Nadja Sayej—host of ArtStars* (artstarstv.com), OCAD U Drawing & the only contemporary-art travelling web-TV mingle, exchange and collaborate to build Danish-born Kirstine Roepstorff, an artist Ever keen for more challenges, the couple Of course, it also pays to know Canadian show—lives in Berlin. Painting graduates new realms. It’s home to more than 180 with Peres Projects. “I felt that I needed to are currently restoring—from scratch—their insiders like Blunt and Skensved, who will museums and 200-plus galleries, to German leave Toronto, that I couldn’t get any more apartment, which was built in 1905. walk newcomers through the most recent Emmy Skensved art superstars Neo Rauch and Elmgreen & out of it,” recalls Skensved. But their story of having made it in the Index art guide, recommend where to set up Dragset, and to those Canadian artists who She notes that it’s easy to feel at home in Berlin art scene is not, by any means, a fairy a bank account and perhaps offer directions and Gregory Blunt. have hit it big here—among them OCAD U Berlin, but “you never learn German.” Why? tale. Job-hunting can be difficult, Blunt to the next apartment show. Drawing & Painting alums Gregory Blunt Because there are so many Canadian artists cautions, because most gallerists no longer And don’t underestimate the importance Herewith tips from (2004) and Emmy Skensved (2005). in the city to mingle with. hire English speakers, preferring instead of parties, as they’re simply business this couple that Just this October, Blunt started a job as It was in 2007, after getting their MFAs fluently bilingual applicants. networking venues in disguise. “When full-time assistant to American artist Paul from the University of Waterloo, that Blunt Non-proficiency in German has been you run into the director of the National could—and did. Sietsema, who recently showed at New York’s and Skensved decided to move to Berlin a serious setback for Blunt and Skensved. Gallery of Canada, she’s in party mode. So, MoMA; meanwhile, Skensved is hard at permanently. That’s when they bought an Despite daily studying and up to five hours it’s easy to approach people here…versus 22 Sketch ALUMNI NOTES ALUMNI NOTES Sketch 23 Emerging Alumni Profile Vanessa Harden: Covert Gardening and Interspecies Collaboration By Leanna McLennan

f James Bond were a transit system one night, in her nice, smart And learn she did. In 2006 Harden covert gardener, what clothes, struggling with shovels and bags did a residency at XS Labs at Concordia spyware would he need? of soil. At that moment, she realized that University in Montreal and earned a diploma I OCAD University alum guerrilla gardeners face similar hurdles. from the MIT Media Lab’s Advanced Study Vanessa Harden (Material “I played on the idea that this type of Program. She learned how to program Art & Design, 2005) asks gardening is illegal and came up with a computers and build circuit boards. But in questions like this as part of her design narrative inspired by the gadgetry in James order to become a successful designer on process. Harden—who is currently working Bond films.” the international stage, she knew that she as a designer in London, England—was an In her storyline, two gardening spies needed to further her studies. That’s when OCAD U medal winner in 2005 and, more are on their way home from work. In an she enrolled in a Master of Arts program at recently, the recipient of the prestigious iF abandoned lot, the first spy takes out a the Royal College of Art. ‘I design for people in fringe groups. I spend concept award for Best Universal Design shovel from his stylish black briefcase, digs Now kept busy with myriad independent in 2010 and the Blueprint Award for Best a hole in the ground and leaves. The second projects, commissions and consulting work, time with them, so I can see what tools they Exhibition at 100% Design London in 2009. spy follows on his heels, unzips a secret Harden has a client roster that includes Vanessa Harden is a modern storyteller. bottom compartment in her red leather Burberry, the British luxury fashion house, need. And I look for the interesting story.’ She dreams and she builds. Her finely handbag and presses a button to trigger a for which she created a report on the impact tuned design process—brainstorming, conveyor belt that expels a plant from the of emerging technologies on the Burberry field research and prototype building—was handbag into the hole. She walks away, brand’s fashion shows, products, and retail to the popular annual music event in Built by… was exhibited at the honed at London’s Royal College of Art, leaving behind a beautiful flower. Mission stores; and the BBC, for which she and Scotland, T in the Park, in July 2010. “It Victoria and Albert Museum and made where she completed her Master of Arts accomplished. Dominic Southgate, her partner in the design was cold and raining the whole weekend, a the shortlist for the category Design for (Design Interactions, 2009). “I design for Harden has created other products for firm Gammaroo, designed and built props drunk person fell on my tent, and half of [the a Better World at the Seoul Design Festival people in fringe groups,” she says. “I spend clandestine gardeners—a shoe with a secret for an upcoming film, Operation Mincemeat. tent] blew away,” Harden says, laughing. in September 2010. time with them, so I can see what tools they compartment for seeds, and a camera that Recently, she was commissioned by “But people liked it.” need. And I look for the interesting story.” shoots seed capsules from its lens. “I take Do The Green Thing—a London-based Meanwhile, Harden is involved with To view Vanessa Harden’s designs and to Once that story is found, Harden crafts a everyday objects that you wouldn’t think non-profit public service that advocates a Built by… (her current collaboration find out more about her design process, visit narrative around the product and its users. twice about, but when you look closer, you greener life—to design an environmentally with industrial designer Kevin Hill) which vanessaharden.com. The James Bond storyline was inspired by realize there’s something different about friendly tent for music festivals where tents she describes as “an inter-species “Subversive Gardener,” which is part of them that’s intriguing.” are abandoned after the events. For her collaboration between humans and bees.” her master’s thesis. It was while creating Her own life story is no less interesting. origami-inspired design of an aesthetically In it, designers position furniture inside designs for “guerrilla gardeners”—those Right after graduation, she headed to innovative, biodegradable tent, Harden a specially con­structed beehive, so that who clandestinely plant, typically at night, Barcelona to make her mark as a designer. solicited input from Mark Bolitho, General beeswax will drip onto it. Later, they will flowers, shrubs and vegetables in neglected It was a humbling experience, recalls Secretary of the British Origami Society. retrieve the furniture and add a resilient urban spaces to beautify them—that Harden Harden. “I realized that if I wanted to work And, in keeping with her engaged design coating to the “bespoke detailing” in order found herself on the London Underground with technology, I had a lot more to learn.” process, she took the cardboard prototype to make it more resilient.

Left: Round Tactical Gravity Planter Above: Precision Bombing Device 2 Above: Built-by... Above: Future Tents: Prototype Top: Guerrilla Gardeners Photo by Roel Paredaens Photo by Roel Paredaens Photo by Vanessa Harden Photo by Ross Cairns Photo by Roel Paredaens 24 Sketch Sketch 25

Thank You to Our Donors Prof. Jayanne English S. Golvin Charitable Fund Attilio Francella Timothy Porteous Bonnie Devine Josephine Polera We are delighted to recognize the individuals, companies, Family & Friends of The Friends of Verant Richards G. & S. Dye & Accessories Ltd. Susan Potts Rosemary Donegan Doris Rea Abraham S. Gorbet Toronto Star Gagliardi Family Earl G. Preston Judith Doyle Robert Reuter foundations and associations who contribute to OCAD FCCP (Ont.) Education Foundation Joan Watson Gara Pruesse Rob Pyke & Jen Tripp Eva Ennist Kenneth H. Rodmell University and make a positive difference in the lives of The Estate of Patricia Fleisher Robert & Martha Whalen Andy Gemmell Steve L. Quinlan Exclusive Film & Video Services Jan Sage John & Patricia Fletcher Colette Whiten Mae Giroux The Reda Family Eldon Garnet Elizabeth Shaw our students and in the future of the University. With Four Seasons Hotels Limited Macrina Wiesen Jill Glessing Lenore Richards Simon Glass William & Phyllis Waters Al & Malka Green Han Su Yan Colin & Sherrill Graham Martin Roebuck Archie Graham your help, we strive to inspire imaginations both in our Andrew & Antoinette Guido David R. Grant Joseph R. Sampson Gary Gray In Memory community and beyond. The lists on these pages recognize Roman Gula Friends Malka S. Greene Julia Sax Brian C. Groombridge Elizabeth Blackstock Richard & Donna Ivey (Gifts of $1 to $499) Margot Gualtieri Valerie Schein Lee Henderson David W. Baine those who contributed to our success this past year. Donald K. Johnson 1994 Mississauga Rebels Roslyn & Ralph Halbert Judy Scolnik Jody L. Hewgill Lisa Brown Simone Jones & Hope Thompson Accu-Screen Supplies Ltd. Spencer J. 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Fortey Marsha R. Plewes Paul S. Dallas Gordon Macfarlane The Branscombe Family Foundation & Southeastern Alberta Glen E. Presley Lorne M. Fox Vassil Popvassilev Michael J. Desjardins Gregory Milavsky