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1 Christina Battle ( Education
CHRISTINA BATTLE (www.cbattle.com) EDUCATION 2016/20 PhD, Art & Visual Culture – in progress - University of Western Ontario (London) 2005 Master of Fine Arts - San Francisco Art Institute (San Francisco) 2001 Certificate in Film Studies - Ryerson University (Toronto) 1996 Bachelor of Science degree with Specialization in Environmental Biology - University of Alberta (Edmonton, Alberta) SELECTED AWARDS, GRANTS & COMMISSIONS 2017 Ontario Graduate Scholarship 2017 Nuit Blanche Toronto, public art exhibition 2015 Yes Ma’am Projects Colorado Artist Grant (Denver) 2013 Best Canadian Work Jury Prize – for “The Twelve Devil’s Graveyards Around the World” – WNDX Festival of Moving Images (Winnipeg) 2013 TUFF Film Festival – Commission (Toronto) 2011 LIFT’s 30th Anniversary Project – Commission (Toronto) 2010/12 Ryerson Gallery and Research Centre - “Archival Dialogues: Reading the Black Star Collection” – Commission (Toronto) 2010 The University of Colorado, Boulder - Visual Arts/Visual Science Seminar – “Visualizing & Communicating Disaster” Research Seminar – Center for Humanities and the Arts 2008 The Images Festival & Continuum Contemporary Music – “Behind the Shadows” - Commission (Toronto) 2008 Images Festival Steam Whistle Home Brew Award For “excellence and promise in a local artist” Uncharted Histories: Pirates (Toronto) 2007 The Images Festival Steamwhistle Homebrew Award For “excellence and promise in a local artist” three hours, fifteen minutes before the hurricane struck (Toronto) SELECTED SOLO SCREENINGS & EXHIBITIONS 2015 Le Mois -
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. -
Ron Shuebrook
RON SHUEBROOK Home Address: 95 Nottingham Street Guelph, ON N1H 3M9 Home Telephone: Telephone: (519) 766-4744 E-mail Address: [email protected] Canadian Citizen since 1987 I. GENERAL INFORMATION A. Education Dates Attended Degree Certificate Date Granted Institution Kent State University, Ohio 1970-72 MFA with major in painting, and June, 1972 additional studies in printmaking, sculpture, philosophy, and art history Blossom-Kent Summer Program, 1971 (Summer) Graduate coursework in painting Kent State University with visiting artists R. B. Kitaj, Leon Golub, and others Fine Arts Work Center, 1969-70 Fellowship in painting Provincetown, Massachusetts with Myron Stout, Fritz Bultman, Phillip Malicoat, Robert Motherwell, and others Kutztown University, Pennsylvania 1968-69 MEd in Art Education 1969 Haystack Mountain School of 1965 & 1967 Graduate coursework in Crafts, Deer Isle, Maine (Summers) printmaking and painting Kutztown University, Pennsylvania 1961-65 BSc in Art Education 1965 Pennsylvania Art Teaching Certification, K - 12 B. Recent Academic Appointments July 2008 to Present Professor Emeritus, OCAD University, Toronto, Ontario. May- June 2011 Visiting Instructor, Drawing and Painting Workshop, Haystack Mountain, School of Crafts, Deer Isle, Maine January 19- 29, 2010 Visiting Instructor, Drawing Marathon, New York Studio School of Drawing, Painting & Sculpture, New York City, New York Ron Shuebrook Curriculum Vitae Page 2 of 41 July 1, 2005 – June 30, 2008 Professor, Faculty of Art, Ontario College of Art & Design (now OCAD University), Toronto, Ontario Coordinator and Professor, OCAD Florence Program, Italy, January through May 2007. 2000 to June 30, 2005 President and Chief Executive Officer, Ontario College of Art & Design, Toronto, Ontario. Represented OCAD with the Ministry of Training, Colleges, and Universities, Council of Ontario Universities, Association of Independent Colleges of Art and Design, Canadian Association of Institutes of Art and Design, and other external organizations. -
Christina Battle: Notes to Self October 8 – October 25, 2020
Fall 2020 Present Box Christina Battle: Notes to Self October 8 – October 25, 2020 Guest curated by Rose van Mierlo Christina Battle: Notes to Self Christina Battle’s practice looks at the role of the micro-gesture in order to consider how small, intimate actions might collectively foster change on a societal level. In light of the US 2020 centennial celebration of the passage of the 19th Amendment, as well as the 2020 presidential election, this exhibition questions why and how our contemporary framing of elections manifest in a sense of political disengagement. Once we cast our votes, our consideration of how personal responsibility affects the greater collective often ends. Instead, Battle explores what political responsibility means by expanding our awareness of the micro-gesture. Her project seeks to slow down time; to think about conversation as a two-directional responsibility; and to ask how small actions have power to influence change on a larger scale. In doing so, Battle asks us to collectively imagine different futures: futures that are more diverse, more just, and more progressive. In Notes to Self, a longstanding project that engages with the online poetics of Twitter, Battle asks for an offline engagement with how we sense, feel, and understand proximity, encouraging a collective visualization of how “the view from here” might one day be different. In Exercises in Trust, an online project commissioned especially for the exhibition, Battle explores participation, performance and the power of repetitive action in the form of prompts that can be acted out at home. These simple instructions help us engage with the intimate and the personal in ways that transform the notion of responsibility, challenge individual experience, and consider how small micro-gestures might in turn inform collective action. -
SOLO EXHIBITIONS (Selected)
ANDREW Represented by: Ottawa, ON, Canada WRIGHT PATRICK MIKHAIL GALLERY,OTTAWA www.andrewwright.ca e-mail | [email protected] SOLO EXHIBITIONS (selected) 2015 Andrew Wright: Ontario Scene | Ottawa Art Gallery, Canada 2014 Andrew Wright: Selected Diptychs & Multiples | Thames Art Gallery, Canada Andrew Wright: PMG Montréal 2013 Andrew Wright: Penumbra | University of Toronto Art Centre, a Scotiabank CONTACT Photography Festival Primary Exhibition. Curated by Bonnie Rubenstein, text by Mark A. Cheetham Andrew Wright: Cloud Images | Winchester Galleries, Victoria B.C., Canada 2011 Coronae | Patrick Mikhail Gallery, Ottawa Coronae | Peak Gallery, Toronto (CONTACT feature exhibition. Winner BMW Prize) Still Water | Patrick Mikhail Gallery 2009 Still Water | Peak Gallery, Toronto (CONTACT feature exhibition) 2008 Survey | Prefix Institute for Contemporary Art. Curated and text by Chantal Rousseau. 2007 Falling Water | Prefix Photo 16 (Commissioned series for Prefix Photo Magazine) Water’s Edge | Peak Gallery, Toronto (CONTACT feature exhibition) Passages | Cambridge Galleries, Andrew Wright & Lisa Klapstock (two person exhibition), Cambridge, Canada. Curated by Ivan Jurakic.x x` Blind Man's Bluff | Robert McLaughlin Gallery, Oshawa, Canada 2005 Photographs | Peak Gallery, Toronto 2004 Blind Man's Bluff | Art Gallery of Calgary, Canada University of California, Berkeley | Worth Ryder Gallery, San Francisco, CA Skies | Presentation House, Vancouver, Canada. Curated by Helga Pakesaar. Blind Man's Bluff | Art Gallery of Southwestern Manitoba, Canada Branching Out: Sylvia Safdie and Andrew Wright (two person show) | Roam Contemporary, New York Blind Man's Bluff | Kitchener-Waterloo Art Gallery, Canada. Organized by and circulated by KW|AG. Curated by Allan Mackay. Catalogue essay by Robert Enright. 2003 Blind Man's Bluff and Other Fictions | Peak Gallery, 23 Morrow Ave. -
Christof Migone Cv February 2020
CHRISTOF MIGONE CURRICULUM VITAE FEBRUARY 2020 Exhibitions (solo) (selected) 2021 "Record Release", Oboro, Montréal (upcoming) 2020 "Swan Song" and "Sampler", Christie Contemporary, Toronto (with Marla Hlady) (upcoming) 2017 "S.U.M. (Standing Under Mis)", Katzman Contemporary, Toronto (four person residency and exhibition project) 2016 "Press Play", Zalucky Contemporary, Toronto 2015 "Count and Strike and Spin", Errant Bodies Sound Art Space, Berlin (with Marla Hlady) 2010 "Disco Sec", Optica, Montréal 2009 "Fixation", CCS Bard Galleries and Hessel Museum of Art at Bard College (curator Mireille Bourgeois) "Disco Sec", Axe-Néo 7, Gatineau 2008 "Disco Sec", Mercer Union, Toronto "Sale Sono", La Galerie d'art contemporain de Besançon, Besançon, France 2006 "Trou", retrospective, Galerie de l’UQAM, Montréal (curator Nicole Gingras) "Interval", Media+Space, Yonsei University, Seoul (curator Baruch Gottlieb) 2005 "Interval" for Sound Bytes, Anna Leonowens Gallery, NSCAD, Halifax (curator Robert Bean & Peter Dykhuis) 2000 "Crackers", Studio Five Beekman, New York City 1998 "Blisters in the Sun", Eye Level Gallery, Halifax "Blisters in the Sun", Forest City Gallery, London, Ontario Exhibitions (group) (selected) 2019 "Swan Song" (with Marla Hlady), Glenfiddich Artist in Residence Exhibition, Dufftown, Scotland "Record Release 12-inch" for Feedback 4: Marshall McLuhan and the Arts, The Valade Family Gallery, College for Creative Studies (CCS), Detroit, Michigan (curators Baruch Gottlieb & Marie-José Sondeijker) 2018 "Single" for Record Shop, MKG127, -
Proquest Dissertations
Mapping the Post-Colonial Landscape Project: A Critical Analysis Michael Frederick Rattray A Thesis In The Department Of Art History Presented in Partial Fulfillment of the Requirements For the Degree of Master of Arts at Concordia University Montreal, Quebec, Canada September 2008 © Michael Frederick Rattray, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-45711-5 Our file Notre reference ISBN: 978-0-494-45711-5 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, prefer, 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. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
2019-2020-Annual-Report-WEB.Pdf
2019–2020 Annual Report Contents President’s Report 4 Executive Director’s Report 5 Vision, Mission, Values 6 Board of Directors 7 Staff 10 Exhibitions 14 The Garage 24 Residencies 32 Collaborative Programming 34 Events 40 Bookshop 42 Publications 44 Schmoozy 46 Volunteers 48 Supporters 49 Jury for Garage Projects 51 Karen Kraven: Lull (2020), photo courtesy of Blaine Campbell. Cover: Christina Battle, BAD STARS, (2018), courtesy of the artist. Noor Bhangu, even the birds are walking, (2020). 2020 ANNUAL REPORT 2 2020 ANNUAL REPORT 3 President’s Report Executive Director’s Report Needless to say, it’s been an unusual year for Latitude So much has changed since I joined the board six years At this time last year, Latitude 53 was focused on a vision time of crisis. We worked to move as much money as 53. And while the COVID pandemic has caused so much ago. It’s been challenging, but also incredibly rewarding to for a new direction as an arts institution. Rather than we could into the hands of artists by commissioning heartache, chaos and disruption around the world, my see Latitude 53’s board and staff initiate so much positive, racing to be the biggest or the best, we would strive to be new projects, many in partnership with our friends general feeling is one of gratitude. I’m thankful that our much needed change. I can only claim a very small the most generous to artists. The latter half of 2019 and and colleagues at arts organizations throughout the organization was able to adapt and adjust to our new portion of the credit, but I can’t deny it’s comforting to beginning of 2020 included arguably the most important city, including The Mitchell Art Gallery, Ociciwan reality, finding new ways to work and engage with artists wrap up my final year as President knowing that Latitude work we have done as an institution this decade - we Contemporary Art Collective & SNAP Gallery. -
JEFF THOMAS 5 Elm Street Ottawa, Ontario K1R 6M9 TEL 613.236
Jeff Thomas CV 2020 JEFF THOMAS 5 Elm Street Ottawa, Ontario K1R 6M9 TEL 613.236.5673 [email protected] Websites jeff-thomas.ca, anecessaryfiction.com Represented by Stephen Bulger Gallery I am an urban Iroquois, born in the city of Buffalo, New York in 1956. My parents and grandparents were born at the Six Nations reserve, near Brantford, Ontario and left the reserve to find work in the city. You won’t find a definition for the ‘urban Iroquois’ in any dictionary or anthropological publication -- it is this absence that informs my work as a photo-based artist, researcher, independent curator, cultural analyst and public speaker. My study of Indian-ness seeks to create an image bank of my urban Iroquois experience, as well as re-contextualize historical images of First Nations people for a contemporary audience. Ultimately, I want to dismantle long entrenched stereotypes and inappropriate caricatures of Indigenous people. SOLO EXHIBITIONS 2018 ● Bird Man Rising, Edwardsville Art Centre, Edwardsville, Illinois ● Indians on Tour: Exploring Indigenous Experiences Through Jeff Thomas’ Lens, Sheridan Campus Galleries, Mississauga, Ontario 2017 ● A Necessary Fiction: My Conversation with Edward S. Curtis & George Hunter, Art Gallery of Mississauga, Mississauga, Ontario 2016 ● The Dancing Grounds, Wanuskewin Heritage Park, Saskatoon, Saskatchewan ● Metamorphosis, Paved Arts Billboard Space, Saskatoon, Saskatchewan 2015 ● A Necessary Fiction: My Conversation with Nicholas de Grandmaison, University of Lethbridge Art Gallery, Lethbridge, Alberta 2012 ● Mapping Iroquoia: Cold City Frieze, McMaster Museum of Art, Hamilton, Ontario ● Resistance Is NOT Futile, Stephen Bulger Gallery, Toronto, Ontario ● Father’s Day, Urban Shaman, Winnipeg, Manitoba ● The First Spike, The Aboriginal Centre of Winnipeg, Winnipeg, Manitoba ● The Bear Portraits, Studio 393, Portage Place Mall, Winnipeg, Manitoba 2011 ● Resistance Is [Not] Futile, Paved Arts, Saskatoon, Saskatchewan 2010 ● My Conversation with Edward S. -
1 JEFF THOMAS 5 Elm Street Ottawa, Ontario K1R 6M9 TEL 613.236
Jeff Thomas CV 2019 JEFF THOMAS 5 Elm Street Ottawa, Ontario K1R 6M9 TEL 613.236.5673 [email protected] Websites jeff-thomas.ca, anecessaryfiction.com Represented by Stephen Bulger Gallery I am an urban Iroquois, born in the city of Buffalo, New York in 1956. My parents and grandparents were born at the Six Nations reserve, near Brantford, Ontario and left the reserve to find work in the city. You won’t find a definition for the ‘urban Iroquois’ in any dictionary or anthropological publication -- it is this absence that informs my work as a photo-based artist, researcher, independent curator, cultural analyst and public speaker. My study of Indian-ness seeks to create an image bank of my urban Iroquois experience, as well as re-contextualize historical images of First Nations people for a contemporary audience. Ultimately, I want to dismantle long entrenched stereotypes and inappropriate caricatures of Indigenous people. SOLO EXHIBITIONS 2018 • Bird Man Rising, Edwardsville Art Centre, Edwardsville, Illinois • Indians on Tour: Exploring Indigenous Experiences Through Jeff Thomas’ Lens, Sheridan Campus Galleries, Mississauga, Ontario 2017 • A Necessary Fiction: My Conversation with Edward S. Curtis & George Hunter, Art Gallery of Mississauga, Mississauga, Ontario 2016 • The Dancing Grounds, Wanuskewin Heritage Park, Saskatoon, Saskatchewan • Metamorphosis, Paved Arts Billboard Space, Saskatoon, Saskatchewan 2015 • A Necessary Fiction: My Conversation with Nicholas de Grandmaison, University of Lethbridge Art Gallery, Lethbridge, Alberta 2012 • Mapping Iroquoia: Cold City Frieze, McMaster Museum of Art, Hamilton, Ontario • Resistance Is NOT Futile, Stephen Bulger Gallery, Toronto, Ontario • Father’s Day, Urban Shaman, Winnipeg, Manitoba • The First Spike, The Aboriginal Centre of Winnipeg, Winnipeg, Manitoba • The Bear Portraits, Studio 393, Portage Place Mall, Winnipeg, Manitoba 2011 • Resistance Is [Not] Futile, Paved Arts, Saskatoon, Saskatchewan 2010 • My Conversation with Edward S. -
1 CHRISTINA BATTLE ( / Cbattle@Cbattle
CHRISTINA BATTLE (www.cbattle.com / [email protected]) EDUCATION 2005 Master of Fine Arts - San Francisco Art Institute (San Francisco) 2000 Certificate in Film Studies - Ryerson University (Toronto) 1996 Bachelor of Science degree with Specialization in Environmental Biology - University of Alberta (Edmonton, Alberta) AWARDS, GRANTS & COMMISSIONS 2015 Yes Ma’am Projects Colorado Artist Grant (Denver) 2013 Best Canadian Work Jury Prize – for “The Twelve Devil’s Graveyards Around the World” – WNDX Festival of Moving Images – Winnipeg, MB 2013 TUFF Film Festival – Commission (Toronto) 2012 The Canada Council for the Arts - Production Grant for Film & Video Artists 2011 LIFT’s 30th Anniversary Project – Commission (Toronto) 2010/12 Ryerson Gallery and Research Centre - “Archival Dialogues: Reading the Black Star Collection” – Commission (Toronto) 2010 The University of Colorado, Boulder - Dean’s Fund for Excellence – Research/Creative Grant - The College of Arts & Sciences 2010 The University of Colorado, Boulder - Visual Arts/Visual Science Seminar “Visualizing & Communicating Disaster” Research Seminar – Center for Humanities and the Arts 2009 Ontario College of Art and Design - Non-Tenured Faculty Teaching Award (Toronto) 2008 The Images Festival & Continuum Contemporary Music – “Behind the Shadows” - Commission (Toronto) 2008 Images Festival Steam Whistle Home Brew Award For “excellence and promise in a local artist” Uncharted Histories: Pirates (Toronto) 2008 Ontario Arts Council – Exhibitions Assistance Grant 2007 Ontario Arts Council -
Echoes in a Stranger Land
End Transmission Christina Battle What if, instead of building more monuments to mark the “Echoes in a Stranger Land” 1 land, we listened to the land more closely? What if we paid more attention to the land’s transformations as living testimonials of culture and human relationships? Would we still think of particular sites as monuments as they transform If no one listens and cries over time? If the redwood forests of California burned down is it still poetry one day, would people still go there to visit the places where if no one sings the note the trees once stood? between the silence As I write from land that is both Indigenous and colonized if the voice doesn’t founder in Toronto, Ontario, on the same day when thousands of on the edge of the air Canadians gather to march for environmental justice, I am is it still music moved by the interconnectedness that land inherently offers if there is no one to hear people as a space/place of meaningful relationships. Land is is it love the physical meeting place of diverse peoples, perspectives, or does the sea always roar and lives, and it is how we choose to meet, live with, and in the shell at the ear? 2 care for each other and the land that continues to be important in a time of intensifying social and environmental unrest. For a “meeting” entails commitment: it is a commitment to live both with each other, and with the land. Taking a cue from M. NourbeSe Philip’s writing on frontiers — in particular, how to work with, work against, or elide racial and cultural ones — I come to Christina Battle’s installations with sensitive eyes.