Curriculum Vitae
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C H R I S C R a N R C a Born 1949, Ocean Falls, British Columbia Lives
C H R I S C R A N R C A Born 1949, Ocean Falls, British Columbia Lives and works in Calgary, Alberta, Canada E D U C A T I O N 1979 Alberta College of Art and Design, Graduate with Honours, Calgary, Alberta 1976 Kootenay School of Art, Nelson, British Columbia S E L E C T E D E X H I B I T I O N S Solo 2015 That's an Excellent Question!, Wilding Cran Gallery, Los Angeles, CA 2011 Reading Room, Trepanier Baer Gallery, Calgary, AB 2010 “if something appears to be photographic, it is” Trepanier Baer Gallery, Calgary, AB 2009 Bright Spiral Standard, Clint Roenisch Gallery, Toronto Ont. Chris Cran: Diversions, Trépanier Baer Gallery, Calgary, Alberta 2008 The Secret Ecstasy of the Whole World, 809 Gallery, Calgary, Alberta 2006 Novel, TrépanierBaer, Calgary, Alberta Chris Cran: The Return of the Beautiful Hayseed, Clint Roenisch Gallery, Toronto, Ontario 2005 Camera Obscura, Theatre, One Yellow Rabbit’s High Performance Rodeo, Calgary, Alberta Chris Cran: Camera Obscura Theatre, Calgary Science Centre, Calgary, Alberta 2004 Inspirational Themes and Sublime Sales, TrépanierBaer, Calgary, Alberta Camera Obscura Theatre, One Yellow Rabbit’s High Performance Rodeo, Calgary, Alberta 2003 Big Opening!!!, Sable-Castelli Gallery, Toronto, Ontario And Now It’s Personal, Owens Art Gallery, Sackville, New Brunswick Camera Obscura Theatre, One Yellow Rabbit’s High Performance Rodeo, Calgary 2001 Fully Visible, Harcourt House, Edmonton Art Gallery, Edmonton, Alberta 2000 The Second Hundred Years, TrépanierBaer, Calgary, Alberta Surveying the Damage, 1977-1997, -
SCAN by Colab
SCAN SCAN by CoLab ISSUE TWO ON ECOLOGIES OF THINKING AND ECOLOGIES OF PRACTICE: AN INTERVIEW WITH ERIN MANNING. PEACE IS STILL FRAGILE: AN INTERVIEW WITH PETER FRANZ By Pancho Puelles NOW WE’RE TALKING MAWA: AN INTERVIEW WITH SHAWNA DEMPSEY OF MENTORING ARTISTS FOR WOMEN’S ART (MAWA) By Bonnie Marin RHIZOMES AND MONUMENTAL STRUCTURE: CHRIS BOOTH IN CONVERSATION By Kelley Morrell THROUGH THE LIQUID LENS: QUESTIONS FOR LAUREL JOHANNESSON By Lori Lofgren A CONVERSATION MASQUERADING AS AN INTERVIEW: JEANNE RANDOLPH AND SHAUN DE ROOY A CONVERSATION WITH KARA UZELMAN By Michelle Bigold WHAT IS POETRY? WHO LIVES IT?’: FRED MOTEN ON RACE, CONTROVERSY, AND CONCEPTUAL POETRY. By Jessica Evans GREEK PROSTHETICS AND DOCUMENTA 14: A PARAPHRASE AND A PREVIEW OF AN EXHIBITION YET TO COME By Shep Steiner BEING IN PHOTOGRAPHY: AN INTERVIEW WITH KELLY LYCAN SCAN by CoLab ON ECOLOGIES OF THINKING AND ECOLOGIES HORIZONTALITIES OF PRACTICE: AN INTERVIEW WITH ERIN MANNING. Erin Manning is University Research Chair in Relational Art and Philosophy in the Faculty of Fine Arts at Concordia University in Montreal. She is the founder of SenseLab, the author of Always More Than One: Individuation’s Dance (Duke, 2013) and Politics of Touch: Sense, Movement, Sovereignty (Minnesota, 2006). More recently with Brian Massumi, she co-authored Thought in the Act: Passages in the Ecology of Experience (Minnesota, 2014), which provides the focus of the following conversation. The Minor Gesture (Duke 2016), Manning’s latest book will be released this year. Given her achievements and Massumi’s prodigious publishing record from 2014-15 alone—What Animals Teach Us about Politics (Duke 2014), The Power at the End of the Economy (Duke 2015), Politics of Affect (Duke 2015 and Ontopower: War, Powers, and the State of Perception (Duke, 2015) there should be little doubt that Thought in the Act is a major contribution to thinking the borders of art, philosophy and politics today. -
CURTIS CUTSHAW Born in Edmonton, Alberta 1967 Lives in Calgary, Alberta
CURTIS CUTSHAW Born in Edmonton, Alberta 1967 Lives in Calgary, Alberta Artist Statement Curtis Cutshaw’s paintings show us how a painting is made. Each step of the Artist’s process can be seen. Each choice is there for the viewer to unravel, as if stopped in time. Each piece shows a choice, a step forward to the final realization of the complete painting. Fractured and deconstructed images on individual birch wood tiles create a sense of removal of meaning. Scratched, rubbed, marked, erased and distressed images hint at repurposing and the multiple pieces appear to have had a history, where in fact the artist creates them. The viewers’ mind wants to reassemble the pieces and use what is there to create what is not there. Cutshaw does not allow for the accidental. The works may appear spontaneous, yet every piece, every mark; whether it is painted, drawn or scratched, is intentional and created by the artist. The artists’ touch, his hand and his construction are at the center of each work. Cutshaw has an ongoing dialogue with the picture plane. Depending on what the artist does with each piece in the painting, he either adds to or denies spatial reference. A mark scratched into the surface flattens the picture plane, denying illusionistic space, bringing the viewers’ eye to the surface; where half of a circle implies the whole, creating illusionistic space. Through Cutshaw’s paintings, the viewer can experience this dichotomy and the viewer is able to see one choice and a thousand choices through assemblage. Each shape is a record of a moment that can be seen, experienced, and arrived. -
Ted Godwin: Last of the Regina Five
TED GODWIN: LAST OF THE REGINA FIVE FOLDFORMING: OF LIGHT AND LUSTRE Fall 2012 ANACHRONISMS IN CLAY BEES IN BERLIN ACAD IN ACTION FALL.2012 | ACAD Publisher External Relations Statements, opinions and Account Director Stephanie Hutchinson viewpoints expressed by the Managing Editor Miles Durrie writers of this publication do Creative Director Anders Knudsen not necessarily represent the (Diploma in Visual Communications, 1988) views of the publisher. Art Director Venessa Brewer (Bachelor of Design, 2002) Alberta College of Art + Design Contributors Kelley Abbey, Shelley Arnusch, in partnership with RedPoint Carol Beecher, Miles Durrie, Kim Alison Media & Marketing Solutions. Fraser, Mackenzie Frère, Kevin Kurytnik, Alison Miyauchi, Jared Sych, Lori Van Copyright 2012 by RedPoint Rooijen, Colin Way Media Group Inc. No part of this Project Manager Kelly Trinh publication may be reproduced Production Manager Mike Matovich without the express written consent of the publisher. Cover Illustration Karen Klassen BFA Print Media, 2005 To view more of Karen’s work go to www. karenklassen.com 100, 1900 – 11th Street SE Alberta College of Art + Design Calgary, Alberta T2G 3G2 1407 – 14th Avenue NW Phone: 403.240.9055 Calgary, Alberta T2N 4R3 Media & Marketing Solutions redpointmedia.ca Phone: 403.284.7600 TRAVEL TO THE ANCIENT STONE VILLAGE OF LARAOS, PERU AND ITS SPECTACULAR STONE TERRACES. 14 DAYS OF ESCORTED DAY TRIPS INTO THE SURROUNDING NATIONAL PARK WILL CONCLUDE OVERNIGHT AT A HISTORIC PLANTATION, NOW RENOWNED AS A FINE DINING DESTINATION. -
Canadian Prairie Watercolour Landscapes
This material may be copied for personal use. Photocopying or reproduction by any means for classroom or commercial use is subject to approval by the author, phone 306 242-4350, e-mail [email protected] All copies must contain this heading. (c) 1997 Terry Fenton CANADIAN PRAIRIE WATERCOLOUR LANDSCAPES I VISITORS WEST FOR THE PURPOSES OF watercolour landscape painting in prairie Canada (with the exception of Paul Kane and Lewis Hine who traveled overland earlier in the century and were concerned primarily with documentation) our history begins in 1887 when William Van Horne, then general manager and subsequently president of the Canadian Pacific Railway. Van Horne issued railroad passes to artists, encouraging them to paint scenery from the interior of the new country — especially what were to become the mountain parks. He shrewdly judged that the images would attract both tourists and settlers both of whom would be obliged to use the railway. In a sense, this use repeated the conditions of the Grand Tour as well as Turner’s visits to the Alps and Italy in search of the picturesque and the sublime: both the purpose and character of the trip and the scenery pursued were English in spirit — one can imagine the artists perusing and applying the principles of Ruskin’s Modern Painters throughout the journey. Equally English were the means chosen — the artists worked from nature in watercolour as often as not, and produced large “exhibition watercolours” based upon them. They also painted oils, but like so many of their British counterparts of the day, their oils tended to be still and pedestrian. -
Une Bibliographie Commentée En Temps Réel : L'art De La Performance
Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4. -
DAVEANDJENN Whenever It Hurts
DAVEANDJENN Whenever It Hurts January 19 - February 23, 2019 Opening: Saturday January 19, 3 - 6 pm artists in attendance detail: “Play Bow” In association with TrépanierBaer Gallery, photos by: M.N. Hutchinson GENERAL HARDWARE CONTEMPORARY 1520 Queen Street West, Toronto, M6R 1A4 www.generalhardware.ca Hours: Wed. - Sat., 12 - 6 pm email: [email protected] 416-821-3060 DaveandJenn (David Foy and Jennifer Saleik) have collaborated since 2004. Foy was born in Edmonton, Alberta in 1982; Saleik in Velbert, Germany, in 1983. They graduated with distinction from the Alberta College of Art + Design in 2006, making their first appearance as DaveandJenn in the graduating exhibition. Experimenting with form and materials is an important aspect of their work, which includes painting, sculpture, installation, animation and digital video. Over the years they have developed a method of painting dense, rich worlds in between multiple layers of resin, slowly building up their final image in a manner that is reminiscent of celluloid animation, collage and Victorian shadow boxes. DaveandJenn are two times RBC Canadian Painting Competition finalists (2006, 2009), awarded the Lieutenant Governor of Alberta’s Biennial Emerging Artist Award (2010) and longlisted for the Sobey Art Award (2011). DaveandJenn’s work was included in the acclaimed “Oh Canada” exhibition curated by Denise Markonish at MASS MoCA – the largest survey of contemporary Canadian art ever produced outside of Canada. Their work can be found in both private and public collections throughout North America, including the Royal Bank of Canada, the Alberta Foundation for the Arts, the Calgary Municipal Collection and the Art Gallery of Hamilton. -
Macaulay & Co Fine
MACAULAY & CO. FINE ART WWW.MFINEART.CA 293 EAST 2nd AVENUE [email protected] VANCOUVER BC CANADA 604 764 6706 V5T 1B8 ATTILA RICHARD LUKACS EDUCATION 1985 Graduated (Honours) Emily Carr College of Art and Design, Vancouver, British Columbia SELECTED EXHIBITIONS 2017 HOBBS: Attila Richard Lukacs, Macaulay & Co Fine Art, Vancouver, British Columbia 2016 Attila Richard Lukacs, Samuel Jeffery, Darri Lorenzen, MAVRA Gallery, Berlin, Germany 2016 Becoming Animal/ Becoming Landscape, Belkin Art Gallery, Vancouver, British Columbia Drama Queer: Seducing Social Change, Roundhouse Gallery, Vancouver, British Columbia 2015 Attila Richard Lukacs & Lawrence Paul Yuxweluptun, Macaulay & Co. Fine Art, Vancouver, British Columbia Gordon Smith’s Personal Collection, West Vancouver Museum, West Vancouver, British Columbia 2014 Over the Rainbow, Museum of Contemporary Canadian Art, Toronto, Ontario Attila Richard Lukacs, Macaulay & Co. Fine Art, Vancouver, British Columbia (solo) 2013 Full Frontal, Belkin Satellite, Vancouver, British Columbia Attila Richard Lukacs, Winsor Gallery, Vancouver, British Columbia (solo) 2011 Shore, Forest and Beyond Art from the Audain Collection, Vancouver Art Gallery, Vancouver, British Columbia Toronto International Art Fair, Toronto, Ontario, Winsor Gallery Attila Richard Lukacs from the Collection of Salah J. Bachir, Art Gallery of Hamilton, Hamilton, Ontario (solo) from the collection: Unreal, Vancouver Art Gallery, Vancouver, British Columbia Attila Richard Lukacs, Winsor Gallery, Vancouver, British Columbia (solo) Attila -
Programme Book Programme Science for Sight October 10-13
EVER 2012 NICE PROGRAMME BOOK PROGRAMME www.ever.be SCIENCE FOR SIGHT OCTOBER 10-13 21 CME credits EUROPEAN ASSOCIATION FOR VISION AND EYE RESEARCH Innovative. Dedicated. Worldwide. For more than 30 years URSAPHARM has been developing innovative phar- maceutical concepts, converting these into successful pharmaceutical and medicinal products for the ophthalmology and general medicine sectors – for the well-being of patients throughout the world. www.ursapharm.de URSAPHARM Arzneimittel GmbH, Industriestraße 35, 66129 Saarbrücken, Germany, www.ursapharm.de WORD FROM THE PRESIDENT 1 Leopold SCHMETTERER EVER President 2012 Dear EVER members, As EVER President it is my great pleasure to welcome you As other societies, EVER is faced with the problems of the to the 2012 EVER meeting in Nice, France. The 21st century fi nancial and economic crisis. This makes it more diffi cult brought signifi cant advances in many areas of Medicine. This for the organizers but also more diffi cult for the scientists is particularly true for Ophthalmology and Visual Science and to join the meeting because of budget restrictions at our the insight into basic mechanisms of ocular disease as well Universities. With all this we must not forget that Research as the improvement in diagnosis and treatment will translate and Development in Biomedical Science is one of the ways into reduced blindness and vision loss. out of the crisis. We should not forget to communicate this and increase our efforts to get our work funded. To form European Consortia is undoubtedly a promising way to The EVER congress in Nice will provide a platform to discuss obtain research money and EVER is a good starting point for future developments in eye research based on the success such efforts. -
Technical Program Sessions | ACM Multimedia 2010
Technical Program Sessions | ACM Multimedia 2010 http://www.acmmm10.org/program/technical-program/technical-program-... Technical Program Sessions Tuesday, October 26 morning PLENARY PL1 Chairs: Alberto Del Bimbo, University of Firenze, I Shih-Fu Chang, Columbia University, USA Arnold Smeulders, University of Amsterdam, NL Using the Web to do Social Science Duncan Watts, Yahoo! Research Chair: Shih-Fu Chang, Columbia University, USA ORAL SESSION FULL F1 Content Automatic image tagging Chair: Yong Rui, Microsoft Research, USA Leveraging Loosely-Tagged Images and Inter-Object Correlations for Tag Recommendation Yi Shen, University of North Carolina at Charlotte Jianping Fan, University of North Carolina at Charlotte Multi-label Boosting for Image Annotation by Structural Grouping Sparsity Fei Wu, Zhejiang University Yahong Han, Zhejiang University Qi Tian, University of Texas at San Antonio Yueting Zhuang, Zhejiang University Unified Tag Analysis With Multi-Edge Graph Dong Liu, Harbin Institute of Technology Shuicheng Yan, National University of Singapore Yong Rui, Microsoft China R&D Group Hong-Jiang Zhang, Microsoft Advanced Technology Center Efficient Large-Scale Image Annotation by Probabilistic Collaborative Multi-Label Propagation Xiangyu Chen, National University of Singapore Yadong Mu, National University of Singapore Shuicheng Yan, National University of Singapore Tat-Seng Chua, National University of Singapore ORAL SESSION FULL F2 Applications / Human-centered multimedia User-adapted media access Chair: Ralf Steinmetz, University -
Alberta College of Art + Design
Catalyst FALL 2013 art + design in our community and beyond ALBERTA COLLEGE OF ART + DESIGN art + design in our community and beyond ALBERTA COLLEGE OF ART + DESIGN President’s Message 1 On Campus Academic Update 2 ACADSA Show + Sale 2 Nurturing the Creative Entrepreneur – Centre for Creativity + Entrepreneurship 3 White Walls, Infinite Possibilities – Illingworth Kerr Gallery 4 The Art of Learning – Extended Studies 5 Telling ACAD’s Stories SCHOOL OF CRAFT + EMERGING MEDIA Code + Clay– Katrina Chaytor 6 Andy Nichols Photography EDITORIAL PHOTOGRAPHY Ground Control to Major Tom – Catherine Larose 8 Computer Canvases – Paul Robert 10 Brieanne Biblow Alex Middleton Shifting Gears – Natalie Lauchlan 12 Kara Tersen WRITING SCHOOL OF CRITICAL + CREATIVE STUDIES Natalie Sit Zombies, Dinosaurs, Ghosts, Oh My! – Alex Link 14 EDITING A Wicked Problem – John Calvelli 16 GOOD Company Wordplay – Derek Beaulieu 18 DESIGN Molding Theory – Nicole Burisch 20 McAra Printing PRINTING ACAD at a Glance 22 ALBERTA COLLEGE OF ART + DESIGN Telling ACAD’s Stories (continued) 1407 - 14 AVE NW CALGARY, ALBERTA CANADA SCHOOL OF COMMUNICATION DESIGN T2N 4R3 403.284.6238 WWW.ACAD.CA An Unexpected Journey – Wayne Traudt 28 Back to Basics – Ray Ferraro 30 Make Art for your Friends – Geoff McFetridge 32 A Student of the Medium – Tim Okamura 34 SCHOOL OF VISUAL ART 36 COVER PHOTO: Susan Turcot. Hide and A Life Aquatic – Laurel Johannesson Seek (2012). Charcoal on paper, each 39 Finding Home – Marty Kaufman 38 x 53 cm. Courtesy the artist and Illingworth Kerr Gallery. Critic’s Choice – Don Kottmann 40 Presented as part of the exhibition Susan From Pencil to Lens – Yuqi Kang 42 Turcot, Illingworth Kerr Gallery, September 26 to October 26, 2013. -
Heffel.Com News
News Release Heffel's $22.8-million Fine Art Auction Sets New Bench Mark as Best Canadian Auction May 23, 2007, 11.30pm (PT) The fine art auction season had a grand launch at Vancouver's Sheraton Wall Centre Hotel this evening. Heffel Fine Art Auction House raised the bar to another high standard - selling $22.8-million worth of Canadian art - easily surpassing their conservative presale estimate of a $12 to $16-million sale. This is a new Canadian record and is almost double the value of the previous record $12.5-million sale, also set by Heffel, on November 25, 2005. The top four lots of the evening each exceeded one million dollars; two of them by Group of Seven artist Lawren Harris; two by Tom Thomson. The spectacular 32 x 38 inch cover lot - Pine Tree and Red House, Winter, City Painting II - painted by Lawren Harris, went for an astounding price of $2,875,000 (all prices include a 15% Buyer's Premium). This makes it the second most valuable Canadian painting to ever sell at auction. Paul Kane's Scene from the Northwest - Portrait is the top seller at $5,062,500. An 18 x 20 inch oil on canvas Snow, Algonquin Park by Lawren Harris sold for $1,035,000. Two 12 x 15 inch oil on board paintings by Lawren Harris surpassed their estimates. Lake Superior Sketch X (Pic Island) and Ice Berg, Smith Sound, II sold for $575,000 each. Four rare Tom Thomson sketches, each oil on board image measuring 8-1/2 x 10-1/2 inches were strong in this sale.