The Georgian
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Venice's Giardini Della Biennale and the Geopolitics of Architecture
FOLKLORIC MODERNISM: VENICE’S GIARDINI DELLA BIENNALE AND THE GEOPOLITICS OF ARCHITECTURE Joel Robinson This paper considers the national pavilions of the Venice Biennale, the largest and longest running exposition of contemporary art. It begins with an investigation of the post-fascist landscape of Venice’s Giardini della Biennale, whose built environment continued to evolve in the decades after 1945 with the construction of several new pavilions. With a view to exploring the architectural infrastructure of an event that has always billed itself as ‘international’, the paper asks how the mapping of national pavilions in this context might have changed to reflect the supposedly post-colonial and democratic aspirations of the West after the Second World War. Homing in on the nations that gained representation here in the 1950s and 60s, it looks at three of the more interesting architectural additions to the gardens: the pavilions for Israel, Canada and Brazil. These raise questions about how national pavilions are mobilised ideologically, and form/provide the basis for a broader exploration of the geopolitical superstructure of the Biennale as an institution. Keywords: pavilion, Venice Biennale, modernism, nationalism, geopolitics, postcolonialist. Joel Robinson, The Open University Joel Robinson is a Research Affiliate in the Department of Art History at the Open University and an Associate Lecturer for the Open University in the East of England. His main interests are modern and contemporary art, architecture and landscape studies. He is the author of Life in Ruins: Architectural Culture and the Question of Death in the Twentieth Century (2007), which stemmed from his doctoral work in art history at the University of Essex, and he is co-editor of a new anthology in art history titled Art and Visual Culture: A Reader (2012). -
Janet Cardiff & George Bures Miller
JANET CARDIFF & G. B. MILLER page 61 JANET CARDIFF & GEORGE BURES MILLER Live & work in Grindrod, Canada Janet Cardiff Born in 1957, Brussels, Canada George Bures Miller Born in 1960, Vegreville, Canada AWARDS 2021 Honorary degrees, NSCAD (Nova ScoOa College of Art & Design) University, Halifax, Canada 2011 Käthe Kollwitz Prize, Akademie der Künste, Berlin, Germany 2004 Kunstpreis der Stadt Jena 2003 Gershon Iskowitz Prize 2001 Benesse Prize, 49th Venice Biennale, Venice, Italy Biennale di Venezia Special Award, 49th Venice Biennale, Venice, Italy 2000 DAAD Grant & Residency, Berlin, Germany SELECTED INDIVIDUAL EXHIBITIONS 2019 Janet Cardiff & George Bures Miller, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico 2018-2019 Janet Cardiff & Geroge Bures Miller: The Instrument of Troubled Dreams, Oude Kerk, Amsterdam, The Netherlands 2018 Janet Cardiff & George Bures Miller: The Poetry Machine and other works, Fraenkel Gallery, FRAENKELGALLERY.COM [email protected] JANET CARDIFF & G. B. MILLER page 62 San Francisco, CA FOREST… for a thousand years, UC Santa Cruz Arboretum and Botanic Garden, Santa Cruz, CA Janet Cardiff & George Bures Miller: Two Works, SCAD Art Museum, Savannah, GA 2017-18 Janet Cardiff & George Bures Miller, 21st Century Museum of Contemporary Art, Kanazawa, Japan 2017 Janet Cardiff: The Forty Part Motet, Switch House at Tate Modern, London, England; Nelson Atkins Museum of Art, Kansas City, MO; Mobile Museum of Art, Mobile, AL; Auckland Castle, Durham, England; TRAFO Center for Contemporary Art, Szczecin, Poland -
Post-War & Contemporary
post-wAr & contemporAry Art Sale Wednesday, november 21, 2018 · 4 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, November 21, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Calgary 888 4th Avenue SW, Unit 609 Friday, October 19 through Saturday, October 20, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 27 through Tuesday, October 30, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, November 8 through Saturday, November 10, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, November 17 through Tuesday, November 20, 10 am to 6 pm Wednesday, November 21, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-8884 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. -
THE ARTERY News from the Britannia Art Gallery December 1, 2016 Vol
THE ARTERY News from the Britannia Art Gallery December 1, 2016 Vol. 43 Issue 95 While the Artery is providing this newsletter as a courtesy service, every effort is made to ensure that information listed below is timely and accurate. However we are unable to guarantee the accuracy of information and functioning of all links. INDEX # ON AT THE GALLERY: Exhibition Dec 7 - 29 1 Opening Reception: Wednesday, December 7, 6:30 pm Handmade Books by Suzan Lee Tides and Trails , printmaking by Christina Wightman Workshops: Japanese Bookbinding Sunday, December 11, 1-4pm 2 Lean Linocut: Intro to Block Printing Sunday, December 4, 1-4pm EVENTS AROUND TOWN EVENTS 3-10 EXHIBITIONS 11-22 THEATRE 23-26 WORKSHOPS 27-29 CALLS FOR SUBMISSIONS LOCAL EXHIBITIONS & MINI WORKSHOPS 30 EXHIBITIONS 31 GRANTS 32 JOB CALL 33-37 MISCELLANEOUS 38 RESIDENCY 39/40 CALLS FOR SUBMISSIONS NATIONAL AWARDS 41 COMPETITION 42/43 EXHIBITIONS 44-58 FESTIVAL 59-61 GRANT 62 JOB CALL 63-68 CALL FOR PAPERS 69 PROPOSALS 70 PUBLICATION 71 PUBLIC ART 72/73 RESIDENCY 74-79 CALLS FOR SUBMISSIONS INTERNATIONAL WEBSITE 80 BY COUNTRY BELGIUM FESTIVAL 81 CANADA RESIDENCY 82 CHINA COMMISSION 83 GERMANY RESIDENCY 84 HONG KONG COMMISSION 85 INDIA RESIDENCY 86/87 ITALY COMPETITION 88 MEXICO RESIDENCY 89 SWEDEN RESIDENCY 90 UK RESIDENCY 91 USA COMPETITION 92/93 EXHIBITION 94 PUBLICATION 95 RESIDENCY 96/97 BRITANNIA ART GALLERY: SUBMISSIONS TO THE ARTERY E-NEWSLETTER 98 VOLUNTEER RECOGNITION 99 GALLERY CONTACT INFORMATION 100 ON AT BRITANNIA ART GALLERY 1 EXHIBITIONS: December 7 - 29 HANDMADE BOOKS by Suzan Lee TIDES & TRAILS Printmaking by Christina Wightman Opening Reception: Wed. -
Exhibiting a Nation: Canada at the British Empire Exhibition, 1924–1925
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Histoire sociale / Social History (E-Journal, York University) Exhibiting a Nation: Canada at the British Empire Exhibition, 1924–1925 ANNE CLENDINNING* The British Empire Exhibition held in 1924 and 1925 presented a chance for Canada to assert a national identity and a prominent place, as a self-governing, “white” dominion, within the British imperial family of nations. Those responsible for the gov- ernment pavilion consciously sought to understate regional differences and to con- struct and project a unified, homogeneous image of the nation, despite its vast geographic distances and obvious differences of language and race. While their inten- tions were to attract investment and improve export markets for Canadian goods, the exhibition commissioners assembled a set of images intended to sum up the idea of Canada. The resulting national representation proved to be contested, fragmented, and sometimes controversial. But for Canadians who visited the exhibit, the pavilion seemed to speak on an emotional level, inspiring national identification and pride. L’Exposition de l’empire britannique de 1924 et de 1925 a permis au Canada d’affirmer son identité nationale et de se hisser au palmarès des dominions « blancs » du giron de l’Empire britannique. Les responsables du pavillon gouvernemental ont consciemment cherché à minimiser les différences régionales de même qu’à dépein- dre le Canada comme un pays homogène en dépit de son immensité géographique et de ses différences évidentes de langue et de race. Bien qu’ils cherchaient à séduire les investisseurs et à trouver des débouchés pour les produits canadiens à l’exportation, les commissaires à l’exposition ont assemblé un panorama d’images visant à résumer l’idée du Canada. -
GENERAL IDEA: P Is for Poodle Open by Appointment Only Starting August 4, 2020 534 West 26Th Street, New York
GENERAL IDEA: P is for Poodle Open by appointment only starting August 4, 2020 534 West 26th Street, New York New York, August 3, 2020 — Mitchell-Innes & Nash is pleased to present General Idea: P is for Poodle, an exhibition of works by General Idea (1969-1994) focusing on one of the central motifs in the artist group’s oeuvre: the poodle. Originally scheduled to open in April 2020, this show was postponed due to the COVID-19 health crisis. With the re-opening of New York, P is for Poodle is now open to visitors by appointment only. Please see below to schedule a time to visit. This exhibition brings together two major installations dating from the early- to mid-1980s. Previously exhibited at the Musée d’art moderne de la Ville de Paris as part of General Idea’s retrospective in 2012, these works will be on view in the United States for the first time, along with a selection of paintings, drawings and sculptural wall works. A fully illustrated catalogue will accompany this exhibition, which is available to purchase online. Founded in Toronto in 1969 by AA Bronson, Felix Partz and Jorge Zontal, General Idea were among the first artists to implement media critique and queer theory in their work. For twenty-five years, they created a pioneering and singular practice that addressed the intersection of art and commerce, the role of the artist and the museum, body politics and, later, the AIDS crisis. Using strategies of appropriation, audience participation, humor and irony, they staged performances and created paintings, posters, photographs, installations, videos, magazines and other multiples that together form a kind of meta-spectacle as much as a formal artistic oeuvre. -
By Jennifer Nicola Wilson, BA (Hons.)
EXHIBITING FRANCE IN AMERICA: THE FRENCH PAVILION AT THE NEW YORK WORLD’S FAIR OF 1939 by Jennifer Nicola Wilson, B.A. (Hons.) A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of History Carleton University Ottawa, Ontario June 16, 2006 © copyright 2006 Jennifer Wilson Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-18307-6 Our file Notre reference ISBN: 978-0-494-18307-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. -
58TH VENICE ART BIENNALE By
73 / JULY / AUGUST / SEPTEMBER 2019 1 JULY — AUGUST — SEPTEMBER 2019 / OFFICE OF DISPOSAL 9000 GENT X - P509314 - X GENT 9000 DISPOSAL OF OFFICE / 2019 SEPTEMBER — AUGUST — JULY 20 58TH VENICE ART BIENNALE by DOMINIQUE MOULIN CULTURAL COMMENTS COMMENTS CULTURAL Too real to be surreal 2019 Deep See Blue Surrounding You, , s Laure Prouvo 20 21 58TH VENICE ART BIENNALE Dominique Moulin It goes without saying that the Venice COMMENTS CULTURAL Art Biennale divides opinion, for that is the very nature of the sometimes-beautiful beast. The 58th edition was entrusted to the American curator Ralph Rugoff and his headline theme, May You Live In Interesting Times, appears a warning to appreciate the world as it is by observing it. And given Rugoff’s decision to only feature living artists, what we end up with are observers of our time. Jumping around the locations, DAMN°’s man on the ground gives his own point of view on the points of view on show. To live in the present time, as Ralph spectra III in the Central Pavilion. It put on a VR headset. For the next Rugoff – whose day job is director is a corridor whose white light daz- eight minutes we are immersed in of London’s Hayward Gallery – en- zles us so much that we protect our- a universe in a gaseous state, with- courages us to do, is also to accept selves with our hands, as though not out any gravity or apparent limits, extreme complexity. And that may to observe the unobservable. This until we realise that we can act on be the reason why he asked Lara excess might suggest the mass of its form with movement – uncon- Favaretto to plunge the Central Pa- information that daily overwhelms scious at first – of the head. -
8082 AUS VB07 ENG Edu Kit FA.Indd
Venice Biennale 2007 Australia 10 June – 21 November 2007 Education Resource Kit Susan Norrie HAVOC 2007 Daniel von Sturmer The Object of Things 2007 Callum Morton Valhalla 2007 Contents Education resource kit outline Australians at the Venice Biennale Acknowledgements Why is the Venice Biennale important for Australian arts? Australia’s past participation in the Venice Biennale PART A The Venice Biennale and the Australian presentation Introduction Timeline: The Venice Biennale, a not so short history The Venice Biennale:La Biennale di Venezia Selected Resources Who what where when and why The Venice Biennale 2007 PART B Au3: 3 artists, 3 projects, 3 sites The exhibition Artists in profile National presentations Susan Norrie Collateral events Daniel von Sturmer Robert Storr, Director, Venice Biennale Callum Morton 2007 Map: Au3 Australian artists locations Curators statement: Thoughts on the at the Venice Biennale 2007 52nd International Art Exhibition Colour images Introducing the artist Au3: the Australian presentation 2007 Biography Foreword Representation Au3: 3 artists, 3 projects, 3 sites Collections Susan Norrie Quotes Daniel von Sturmer Commentary Callum Morton Years 9-12 Activities Other Participating Australian Artists Key words Rosemary Laing Shaun Gladwell Christian Capurro Curatorial Commentary: Au3 participating artists AU3 Venice Biennale 2007 Education Kit Australia Council for the Arts 3 Education Resource Kit outline This education resource kit highlights key artworks, ideas and themes of Au3: the 3 artists, their 3 projects which are presented for the first time at 3 different sites that make up the exhibition of Australian artists at the Venice Biennale 10 June to 21 November 2007. It aims to provide a entry point and context for using the Venice Biennale and the Au3 exhibition and artworks as a resource for Years 9-12 education audiences, studying Visual Arts within Australian High Schools. -
Venice Biennale and the Canada Pavilion: Politics of Representation in the Gardens of Art
Venice Biennale and the Canada Pavilion: Politics of Representation in the Gardens of Art Valentine Moreno Valentine Moreno was born in Sao Paulo, Brazil, where she obtained a BA in Photography, Art and Culture at Senac University. Moreno has worked as a cultural project manager, organizing contemporary art exhibitions, publications, and cultural events in partnership with museums and cultural centres. She was recently selected as the Venice Apprentice, assisting with the installation of the Canada Pavilion at the Venice Art Biennale. She has received an M.A. in Museum Studies from the University of Toronto. Her research focuses on the relationship between contemporary art practices and the museum institutional space. Moreno currently works at the Art Gallery of Ontario as Campaign Coordinator. Abstract !Founded in 1895, the Venice Biennale is the world’s oldest and arguably most prestigious international art exhibition, gathering artists, curators, and museum and gallery directors from more than one hundred nations to exhibit and discuss contemporary art. Although the Canada pavilion is neither a museum nor a gallery in traditional terms, seminal curatorial and museological practices are in its core. Throughout the years, the Canada pavilion has hosted innumerous exhibitions of several notable Canadian artists under the vision of influential Canadian curators. The pavilion has not only marked the history of Canadian art, but has also functioned as a meaningful encounter point between Canadian and international art - a window through which Canada shows to the world its national artistic and curatorial practices. Considering the significant role of the pavilion in the Canadian art history, this paper examines the pavilion’s impact and relevance to contemporary Canadian art and museology in the international scenery. -
The Visitor As a Commercial Partner: Notes on the 58Th Venice Biennale
Daniel Birnbaum: Seventy-nine artists is a relatively limited number. Ralph Rugoff: How many did you have in yours? Daniel Birnbaum: I can’t remember. – Artforum, May 20191 01/09 The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise. Claire Fontaine – F. Scott Fitzgerald, The Crack-Up, 1936 In his statement inaugurating the 58th Venice The Visitor as a Biennale, Paolo Baratta, its president, felt compelled to address the image of the event. Commercial Entitled “The Visitor as a Partner,” the statement Partner: Notes reads in part: A partial vision of the Exhibition might consider it a high-society inauguration on the 58th followed by a line six months long for “the rest of the world.” Others might consider Venice Biennale the six-month-long Exhibition the main event and the inauguration a by-product. It would be so useful if journalists would e l a come at another moment and not during n n e the “three-day event” of the “society” i B inauguration, which can only give them a e c i 2 n very partial image of the Biennale! e V e h n t i 8 a It would be useful, indeed, but it won’t happen. t 5 n e o ÊÊÊÊÊÊÊÊÊÊ“Our visitors have become our main h F t e n partner,” Baratta candidly adds (meaning r i o a s l “commercial partner”), to such an extent that e C t Ê o during the overcrowded opening days, many 9 N 1 : 0 r artworks were at risk of being damaged, and 2 e r n t e basic health and safety standards weren’t r b a m P followed. -
Canada in Venice an ESSAY by GENEVIEVE FARRELL
Canada In Venice AN ESSAY BY GENEVIEVE FARRELL First held in 1895, La Biennale di Venezia was organized in an effort to of works from its permanent collection by artists who have rebrand the decaying city of Venice. Emphasizing the country’s active represented Canada at the Venice Biennale) the exhibitors have been contemporary art scene, the event aimed to fuel tourism (the city’s predominantly white males hailing from Ontario or Quebec. Of the only remaining industry) while propelling Italian art and artists into the 65 artists who have represented the nation thus far, only 10 have 20th century. Drawing in over 200,000 visitors, the overwhelmingly been women. Rebecca Belmore remains the only female Indigenous popular and commercial success of this exhibition propelled the city artist to represent the nation (2005), and while no woman of color has to establish foreign country pavilions within their “Padiglione Italia” exhibited in the Canadian Pavilion, the choreographer Dana Michel (or “Giardini” / “Central Pavilion”). The Venice Biennale has continued became the first Canadian to win a Silver Lion (life time achievement to grow, to become a much larger event where countries exhibit award) at the Venice Dance Biennale in 2017. While these statistics the best of their nations’ contemporary cultural production. After are not atypical when one looks at the history of Biennale exhibitors surviving two world wars and much political upheaval, the biennale from other participating nations, the information should provoke is now a foundation that not only runs a bi-annual contemporary serious reflection on the historic political and cultural values of art exhibition, but also the Architecture Biennale, the Venice Film western nations.