Artists That Matter
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Artists That Matter FINA450A Artist's Name: Stephanie Dinkins Medium(s): lens-based practices, emerging technologies, and community engagement Short 250-word bio (with citation or link to source); Stephanie creates platforms for dialog about artificial intelligence (AI) as it intersects race, gender, aging, and our future histories. She confronts questions of bias in AI, data sovereignty and social equity. She investigates into the contradictory histories, traditions, knowledge bases, and philosophies that form/in-form society at large underpin her thought and art production. Dinkins also works with communities of color to co-create more equitable,values grounded artificial intelligent ecosystems. https://www.stephaniedinkins.com/about.html Dinkins, Stephanie. “The Black Female Body: A Photographic History.” 1 May 2002: 19–. Print. http://magazine.art21.org/2017/11/07/robots-race-and-algorithms-stephanie-dinkins-at-recess- assembly/#.X2jtIJNKgW8 Compiled by Bomi Yook Artist's Name: Ernesto Neto Medium(s): Installation and sculpture Ernesto Neto is a Brazilian sculptor and installation artist. He was born in 1964 in Rio de Janeiro, Brazil. He studied sculpture at the Escola de Artes Visuais do Parque Lage in 1994-1997, and also attended the Sao Paulo Museum of Modern Art from 1994-1996. Neto named the Russian Constructivist and American Minimalist art movements and considered the 1960s Brazilian Neo-concretist movement as the most influential for his artistry pattern. Drawing from Neo-concretism, Biomorphism and minimalist sculpture, along with other Brazilian vanguard movements of the 1960s & 70s, the he both references and incorporates organic shapes and materials – spices, sand and shells among them—that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds. The use of nylon as a sculptural medium has remained a constant in his work, with subsequent installations growing large enough to accommodate tunnels, discrete rooms, and beds made of Styrofoam pellets. He has become well known for these large, immersive environments, which take the form of organic worlds that solicit viewer interaction. Inspired by the Brazilian Conceptualists Lygia Clark and Hélio Oiticica, as well as Minimalism and Arte Povera, Neto brings a delicate and meditative sensuality to his sculptural landscapes, claiming the human body as an artistic site by encouraging participatory engagement. With the same impact in mind, Neto also stages intimate encounters that powerfully engaged the visitor’s own physical presence, while the juxtaposition through using hard and soft materials reawakens the visitor to the simultaneous strength and fragility of the world. Ernesto continues to live and work in his birth home, Rio de Janeiro, Brazil. [280] Artist website link or site that features their work; http://www.tanyabonakdargallery.com/artists/ernesto-neto/series 1. Arning, Bill, and Ernesto Neto. “Ernesto Neto.” BOMB, no. 70, 2000, pp. 78–84. JSTOR, www.jstor.org/stable/40426241. Accessed 21 Sept. 2020. 2. M. E. R. “Neto, Ernesto.” Current Biography, vol. 70, no. 10, Oct. 2009, pp. 30–36. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=44818567&site=ehost-live. Artist's Name: Kenojuak Ashevak Medium(s): Printmaking Short 250-word bio (with citation or link to source); Kenojuak Ashevak was one of Canada’s most acclaimed graphic artists. Her long list of achievements and honours is surpassed only by her stamina and good humour. Born on south Baffin Island at a camp area known as Ikirisaq, Kenojuak grew up traveling from camp to camp on south Baffin and in Arctic Quebec (Nunavik). As a young woman, she was married to Johnniebo and lived with him in various camps including Keakto, a scenic area seven miles from Cape Dorset. While still living at Keakto in the late 1950's, both Kenojuak and Johnniebo first experimented with carving and drawing. They moved to Cape Dorset in 1966 in order for their children to attend school, and continued to work closely together until Johnniebo's death. Kenojuak’s drawings were immediately captivating, and she was represented in almost every annual print collection since 1959. Her work has also been included in numerous special projects and commissions. In 1961 she was the subject of a film produced by the National Film Board about her traditional life and art. The film is still shown today, and was instrumental in introducing her to the world beyond Cape Dorset. In 1970 her print, Enchanted Owl (1960) was reproduced on a stamp commemorating the centennial of the Northwest Territories, and again in 1993 Canada Post selected her drawing entitled The Owl to be reproduced on their .86 cent stamp. Special commissions included the World Wildlife Print Portfolio released in 1978. In the same year, the Commonwealth Print Portfolio featured one of her works. http://www.dorsetfinearts.com/kenojuak-askhevak Artist website link or site that features their work; http://www.dorsetfinearts.com/printmaking 1 publication reference on their work; Newhouse, David R., Cora J. Voyageur, and Dan. Beavon. Hidden in Plain Sight : Contributions of Aboriginal Peoples to Canadian Identity and Culture . Toronto: University of Toronto Press, 2005. Print. 1 other web resource; Gillmor, Alison. “Sketches of a Small Town.” Canadian Geographic, vol. 129, no. 1, Jan. 2009, pp. 17–19. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=rch&AN=36122123&site=ehost-live. Compiled by Ari Clement Artist's Name Rebecca Belmore Medium(s) Multidisplinary artist Rebecca Belmore is an Anishinaabe artist who works with many different mediums, She explores many indigenous topics who works with these political and social ideas to create their work. Her works range from Performance, paint, sculpture to create within her practise Her work has traveled the world to showcase indigenous issues in places like Canada, Germany, and greece. Through her time of creating she was given three honorary doctorates from OCAD University (2005), Emily Carr University of Art + Design (2018), and NSCAD University (2019). She advocates for lost voices within the indigenous community. In the Named and the Unnamed speak for the Missing and Murdered Indigenous women. Ayum-ee-aawach Oomama-mowan: Speaking to their Mother brings voices to those affected by the Oka Crisis in 1990. Throughout her practise she has received many awards Jack and Doris Shadbolt Foundation's VIVA Award (2004), The Hnatyshyn visual awards (2009), the Governor General's Award in Visual and Media Arts (2013) and the Gershon Iskowitz Prize (2016) Her works allows silenced voices begin to speak even if it's just a whisper she is giving voices back to specifically indigenous peoples. Artist website link or site that features their work; https://www.rebeccabelmore.com/ 1 publication reference on their work (article, book, etc., cited in MLA style) Bryan-Wilson, Julia. “Rebecca Belmore: Material Relations.”Afterall: A Journal of Art, Context, & Enquiry, vol. 45, Spring/Summer2018 2018, pp. 40–49. 1 other web resource; https://canadianart.ca/features/i-am-the-artist-amongst-my-people/ Compiled by Larissa Serson Artist's Name: Elena Bushan Medium(s): Painting, Drawing and Digital Short 250-word bio: Elena Bushan is a Calgarian Artist that is becoming well Known for her incredibly vibrant paintings. Originally from Moldova, she Immigrated to Calgary where Calgary itself has been taken in by her works. She best describes the theme of her work as an "Imaginative Realism" and Works with various mediums such as oil, acyclic, pastel, charcoal, alcohol ink, Water-color, clay felting and digital. Elena's interest in the arts began at a very Early age and she was accepted into art school when she was eight and Proceeded to study fine arts for fifteen years. Her work has been featured in Shows in both Canada and Europe, has received over seventy commissions, and Has sold her artwork to private collections. In 2017, Elena won an award under The category for "Arts and Culture" at "The Immigrants of Distinction" gala. Elena Bushan is always trying to find new ways to further her artistic expression and only aged thirty-one years old, she shows no sign of stopping. http://www.elenabushan.ca/index.html Brooks, Bill. "Bill Brooks' Calgary; Immigrants Honoured at Awards Gala." Calgary Herald, Mar 25, 2017. ProQuest, https://search-proquest- com.ezproxy.acsaa.talonline.ca/docview/1880857973?accountid=8153. https://www.artspaceanddesign.com/elenabushan Compiled by Kimberly Jones. Artist's Name: Tetsuya Ishida Medium(s): Acrylic paint, canvas Tetsuya Ishida came of age as a painter during Japan’s “lost decade”—a time of nationwide economic recession that lasted through the 1990s. In his afflictive paintings, he captured the feelings of hopelessness, claustrophobia, and emotional isolation that burdened him and dominated Japanese society. From his early career until his untimely death in 2005, Ishida provided vivid allegories of the challenges to Japanese life and morale in paintings and graphic works charged with dark Orwellian https://gagosian.com/artists/tetsuya-ishida/ absurdity. Ishida was born in 1973 in Yaizu, Japan, and died in Ishida, Tetsuya, Manuel Borja-Villel, and 2005 in Tokyo. He graduated in 1996 from Musashino Teresa Velazquez. Ishida : Self-Portrait of Other . Madrid: Museo Nacional Centro Art University, Tokyo. Solo exhibitions include The de Arte Reina Sofía, 2019. Print. person who was not able to fly, Sunpu Museum, Shizuoka, Japan (2006); Shizuoka Prefectural Museum https://www.artsy.net/artist/tetsuya-ishida of Art, Japan (2007); Yaizu City Culture Center, Japan (2007); Nerima Art Museum, Tokyo (2008); Note of Compiled by Agata Wojtowicz. Tetsuya Ishida, Ashikaga Museum of Art, Japan (2013, traveled to Hiratsuka Museum of Art, Japan; Tonami Art Museum, Japan; and Shizuoka Prefectural Museum of Art, Japan, through 2015); Notes, Evidence of Dreams, Tonami Art Museum, Japan (2014); and Saving the World with a Brushstroke, Asian Art Museum, San Francisco (2014).