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2 Step Competition, 2 Stages, 2 Prizes |
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YBCA presents OPENING NIGHT PARTY: Thursday, Apr 23, 2009, 5-8pm Six teens from YBCA's Young Artists at Work (YAAW) program curated a dynamic exhibition of work from eleven renowned local and international artists. From the boldly iconic graphic art of Shepard Fairey to the haunting video art of Melissa Day, and the politically charged posters and silkscreens of Juan R. Fuentes to Claudia Bernardi's "frescoes on paper", Through Future Eyes explores the universal and transcendental experience of endurance. The curators are part of YAAW, YBCA's innovative education program offering youth a hands-on experience in curating, art-making and art criticism. Their stories collectively represent the multi-cultural, technologically savvy and often confusing world of teenage life growing up in San Francisco. The YAAW curatorial team recognizes that endurance is a universal truth that affects all people, regardless of age, race, gender, nationality or economic circumstances. Artists: Eric Araujo, Claudia Bernardi, Caleb Duarte, Jennifer Campbell, Chukes, Melissa Day, Shepard Fairey, Juan R. Fuentes, Michael Namkung, Diego Rivera and Katherine Sherwood. Curators: Scarlett Giesbrecht, Rosa Gomez, Marisol Gonzalez, Monica Guerra, Alexa Gutierrez and Khristine Manalang. |
"Architecture Parallax : Appear - Disappear", a series of lectures where 8 mixed discipline groups developing 8 themes articulate the appearance and disappearance of the biennial. Start this saturday and ends Dec. 6th with a final presentation. |
Fundação Bienal de São Paulo announces the list of participating artists for the 28th Bienal de São Paulo “in living contact”. The curators Ivo Mesquita and Ana Paula Cohen have invited 40 artists from 20 different nationalities for the exhibition that will take place from October 26th to December 06th, 2008.
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Espace - Sculpture, Fall #85. Blue Republic Interview, Esse Art + Opinions, Waste, #64.
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Guangzhou Triennial presents Farewell to Post-Colonialism Peak Gallery is pleased to announce that Lyn Carter has been invited to develop a new site specific installation for the Third Guangzhou Triennial in China September 6, 2008 to November 16, 2008 Opening preview: September 6th, 2008 (Saturday) |
Lyn Carter moquette for “Columna” |
Curators: CHANG Tsong-Zung, curator, co-founder of the Asia Art Archive in Hong Kong, co-founder of the Hong Kong chapter of AICA, guest Professor of Visual Culture Institute, China Art Academy. GAO Shiming, art historan, author and theorist, Deputy Director of the Advanced School of Art and Humanities, China Academy of Art. Research Curators: Dorothee Albrecht, Sopawan Boonnimitra, Stina Edblom, Tamar Guimaraes, Guo Xiaoyan, Steven Lam, Khaled D. Ramadan Organizer: Guangdong Museum of Art |
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Mike Grace, Able Seaman, Cook. 11 x 17 inches, |
ANDREW WRIGHT SURVEYS THE ART OF WAR (Toronto) – In celebration of summer, Prefix Institute of Contemporary Art is pleased to present the world premiere of Survey by Canadian multi-media artist Andrew Wright. Curated by Chantal Rousseau, this exhibition consists of photographs and videos documenting Wright’s experience with the Canadian Forces Artists Program (CFAP) presented alongside a recent video made using homemade rockets Review at Now Magazine |
Andrew Wright’s videos and photographs that document his time in the CFAP look to traditions in Canadian war art while seeking out contemporary truths about the military. Wright presents the daily events, people and sites aboard the HMCS Toronto in an attempt to expose human elements and banal details, as well as real-time military drills eerily reminiscent of jarring news footage, Hollywood dramaturgy and constructed environments found in video games. The imagery incites provocative questioning and exchange about civilian understanding of reality and representation concerning the military, including tacit references to the propagandist undertones of traditional Canadian war art.
Chantal Rousseau is an artist and arts administrator. Her practice includes painting, drawing, video and animation. She has exhibited in various artist-run centres and galleries and was a board member of YYZ Artists' Outlet from 1999–2003, where she curated the exhibitions Trophy (2001). |
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Collision #1 |
Hopeless and Otherwise: Curated by Valerie Imus BLW, The Renaming Bush Street Project ,Visible Collective, Siemon Allen, April Banks, Mary Walling Blackburn, Melissa Day, Michael Light, Nathan Lynch, Alison Pebworth, Jonathan Santos, Mark Tribe |
Miriam Dym & Melissa Day: Collision #1 Miriam Dym & Melissa Day: Collision #2 |
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Carl Taçon’s Sculpture
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Throughout the month of April Carl Taçon will be installing his publicly commissioned sculpture "Shift" at the corner of Charles St. West and St. Thomas Street, near Bay and Bloor. The sculpture will be composed of 20 sections of hand carved white marble, with each section weighing from 3000 lbs to 7000 lbs. The sections are to be placed end to end to form a 136 foot long wall. Each hand carved section depicts a distinct image of drapery. The image of drapery has been chosen as a poetic contrast of weightlessness against the actual weightiness of stone. Rather than rendering one long image of draped cloth in stone, the cloth imagery has been fragmented, moving it away from a literal reading to a sequenced sampling of cloth images, producing a cinematic effect. This approach balances classical imagery with contemporary experience.
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twenty+3 projects Excision |
twenty+3 projects is pleased to present Excision, an exhibition of text-inspired works by three visual artists from Canada - Michelle Bellemare, Robert Bean and Michael Maranda. This exhibition has been guest curated by Toronto artist/curator, Cheryl Sourkes. One may see Excision as a response to an era where words have become manipulative tools, a cynical era whose values are dominated by commercialism and fundamentalism. These artists have responded with language that dithers or else with blank spaces that mark the place where text once stood. Michelle Bellemare's Edit is a time-based work. It shows an email in the process of composition. This message seems to be in response to a previous one, possibly of an intimate nature. Bellemare writes, "Every word is measured, tentative - attempting some form of guarded warmth. Phrases are typed then deleted, only to be replaced with another phrase which reveals less." Robert Bean's Verbatim is in two parts, an eight-foot long image of a typewriter ribbon and a series of crumpled up typewriter études. These photographs are actually scans of found objects. Bean writes, "The prints are 'contact images' that remember and forget the earlier technological processes of photography and typewriting. As the unintended graffiti of a prior vocation, these marks register a presence and an absence." Michael Maranda's bookwork Un coup de dés jamais n'abolira le hasard: Livre takes erasure a step further. In this piece it's the negative space that has been inked, while the place where text once stood now lies empty. Maranda writes, "In 1914, Mallarmé's poem, Un coup de dés jamais n'abolira le hasard: Poème, was published by the Nouvelle Revue Français. The poem 'works' only as a typographical object. Then in 1969, Marcel Broodthaers re-published a version of the poem as Un coup de dés jamais n'abolira le hasard: Image. Here solid black bands stand in for the text of the poem." In Maranda's iteration language moves into complete oblivion. The spaces once occupied by Mallarmé's text and later by Broodthaer's black bands are now blank areas set off by blocks of cream-coloured ink. There will be a series of events connected with the exhibition. Please see website for details. twenty+3 projects is a contemporary art space, run by artist Heidi Schaefer, located in the converted front room of a terraced house in Manchester. It can be found at 23 Bury Avenue, Manchester, UK M16 0AT. |
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Toronto Star Feb 12, 2008 |
Capturing Toronto's grimy past One chronicler's portraits of lakeside structures makes icons of eyesores, forming record of a smokestack city largely unaware of itself and its history Peter MacCallum doesn't claim to be the conscience of the city, but he might well be its memory. |
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Prefix Photo: Issue 16 Addressing the theme of "walking and consciousness," contributor Imre Szeman writes: "To champion walking today is to do what art has long sought to do: critique the imaginative and experiential vacuity of the existing state of things in the hope of bringing forth something different. Art and walking form a pair endowed with genuine critical power." The issue also features other contributors addressing a host of photo, media and installation artists, as follows: Warren Crichlow offers his perspective on Documenta 12. He discusses the potential of contemporary art for generating critical reflection on the exhibition as a medium and touches upon the work of artists Graciela Carnevale, Lotty Rosenfeld, Martha Rosler and others. Deborah Root writes about the paseos of Mexico-based artist Francis Alÿs. She explores the concepts of itinerancy, public space and social allegory that wend their way through his work. Lorraine Field, in her literary feature "Syrian Desert," relays a magical account of her Middle Eastern experience. Other contributors include Ai Weiwei, Francis Alÿs, Lorraine Field, Andrea Geyer/Sharon Hayes/Ashley Hunt/Katya Sander/David Thorne, Luis Jacob, Sanja Ivekovic, Amar Kanwar, M. Simon Levin & Laurie Long, Virginia Mak, Iñigo Manglano-Ovalle, Hugh Martin, Helen Verbanz, Andrew Wright and more. |
| THE ALBRIGHT-KNOX ART GALLERY ACQUIRES LYN CARTER’S INSTALLATION |
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Peak Gallery is proud to announce the major purchase of Lyn Carter’s installation entitled, Courting Entasis, by the Albright-Knox Art Gallery in Buffalo, New York. Courting Entasis, is a large site-specific work that plays off the classical columns of
the Albright-Knox’s architecture. The piece consists of three 14 foot high fabric structures, held under tension between the floor and the ceiling. In each structure the form collapses and swells thereby animating the entasis feature of the surrounding marble columns, with the striped fabric chosen to reflect the verticals of the carved fluting. The work was created, at the request of Albright-Knox Curatorial Assistant Anna Kaplan, for the recent exhibition Beyond/ In Western New York 2007, held throughout Buffalo from August through October. Due to the unprecedented enthusiasm for the work by the curators and museum visitors alike, it was decided by the acquisitions committee, on O! ctober 30th, that the work should become part of the gallery’s collection. |
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