How might we understand the possibilities and challenges of thinking the practices of interdisciplinary research through the matrix of craft?
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Monteiro and Renzi whose abstracts and bios are below , which will open into questions and discussion of the craft and, perhaps, craftiness of scholarship in the present moment. Media design may aspire to fluidity, but fragmentation remains a dynamic component of everyday media practice.
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This talk considers the fundamental role fragmentation plays in contemporary participatory media and explores its ties to handicraft culture. This study traces the transformation of media activism from the peak of Indymedia to the present, detailing a shift in activist practices from producing counter-information to the use of collaborative media production as a catalyst to forge and strengthen ties among a variety of local and transnational communities.
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Indeed, in addition to discussing these very important issues, it is important that scholars and activists critically examine the modes of social connection, forms of self-awareness and political agency that are aided or made possible by emergent technologies. Her research interests led her to study pirate television networks in Italy and the surveillance of social movements in Canada.
As part of her past research on surveillance, she co-produced the crowdsourced documentary Preempting Dissent: Policing the Crisis Her current research examines the design and socio-cultural impact of participatory platforms for collaboration and activism. A master class with Prof. A long career as an educator was punctuated by several high-profile and contentious interventions into debates about architecture and urban life in Montreal.
In spite of his renown, few realize that his legacy is also that of a prolific architectural critic. Beginning in , Charney published essays assessing the state of contemporary architecture. Assembled here for the first time, these texts place Charney among the most original architectural critics of his generation. Broaching topics as diverse as the Trulli houses of Italy, grain elevators, low income housing, and "The Montrealness of Montreal," they show Charney working through a constantly changing set of preoccupations: the value of everyday and vernacular architecture, the liberatory potential of innovations in building materials and technologies, the dangers of elitist and repressive understandings of formalism and architectural monumentality, the necessarily political nature of architecture, the creation of a built environment by and for people, and a socio-cultural understanding of urban architecture.
This volume includes an astonishing visual archive of over three hundred illustrations, many of which served as source material and inspiration for Charney's intellectual and artistic work, and set up a dialogue between his criticism and his landmark projects. Sign in via your Institution Sign in. Purchase Subscription prices and ordering Short-term Access To purchase short term access, please sign in to your Oxford Academic account above.
In their most recent sale on May 26, , they offered a total of nineteen paintings by the Group, quite a feat given the scarcity of works. Sotheby's is to be congratulated on their experise in locating works, bringing them to auction, and obtaining top prices for them. April 19 to September 28, This exhibition places Emily Carr within the context of modernism as practised by women in this country and illustrates how they were both influenced by and reacted against her work.
Included are paintings, sculptures and works on paper, covering approximately to Curated by Ian Thom. A teacher's guide to the exhibition is posted online. A sampling of Southam's European collection reveals not only how his early aesthetic interest shaped his later Canadian choices, but also how international movements inspired Canadian art. At last someone dares to speak for the ordinary folk. Barbara Kay decries the degenerate state of contemporary art, but equally obscene is the price paid for these works.
Having worked for a while in a Yorkville art gallery, I've seen first hand how intimidating the art world can be. It's time to realize that we are being manipulated by a few critics and dealers, not to mention buyers with too much money.
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How refreshing to have the views of ordinary people who want to enjoy art validated. Evelyn Walters, Toronto. Esther Trepanier, newly appointed Executive Director, has selected works from the museum's over works by women. Lilias Torrance Newton often spent time in the area and lived out her last days in a local nursing home. Prudence Heward had a connection to nearby Knowlton through her sister Honour who had a country house there. It traces the nude's history through the s, 30s and 40s, as images of the naked body gradually broke with classical tradition for more liberal, humanist, intimate and socially progressive forms.
See review by Alison Gillmor Tomkins reports that Dunn has unexpectedly left over ten and a half million dollars to New York's Museum of Modern Art. Esther Trepannier in her book Marian Dale Scott: Pioneer of Modern Art notes that Scott "made numerous drawings after the works of contemporary artists to fully grasp their approach. It seems, however, that the drawings often found their way into her final product. Nevertheless, this show serves as a nice little addendum to the outstanding Victoria and Albert Museum exhibition held in London, Modernism: Designing a New World American Modernism 's to 's Kresge Art Museum, Michigan State University, East Lansing, Michigan January 11 - March 15, An exhibition of over paintings, photographs, prints, sculpture and drawings from the Kresge Art Museum collection which focuses on a time when American artists were searching for a disctinctly modernist style, approaches that were in tune with the changing world.
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They looked to Europe, specifically France and Germany, to experiment with Cubism, Surrealism and abstraction. The show provides an interesting context for Canadian artists of the time such as the Group of Seven and the Beaver Hall Group. The fourth session, "Painting Friends", should prove to be of special interest to those wishing to learn more about the women of the Beaver Hall group.
Comprised of nearly forty oil paintings, the show also includes works of those Cullen influenced, including his stepson, Robert Pilot, and future member of the Group of Seven, A Y Jackson. During the last decade of the nineteenth century Cullen and his circle were among the many artsts who flocked to Paris and were inspired by Impressionism.
Upon their return to Montreal, Cullen and Brymner directly influenced their students at the Art Association of Montreal, many of whom eventually became members of the Beaver Hall Group. Cullen's outdoor sketching trips to rural Quebec were especially popular among the Beaver Hall women.
Vibrant avante-garde works are set against those of the more traditional artists such as Fred Haines, G. Although Heward and her friends exhibited with the Group of Seven and around the world to favourable reviews, their paintings all but disappeared after their deaths. In an era that placed the greatest value on the art of male artists, their works remained on the walls of family homes or hidden in the vaults of galleries.
According to the blurb, this is the first exhibition on Wyndham Lewis to be presented in Spain and the most comprehensive to be organized since the retrospective by the Tate Gallery in More than works of art and 60 of Lewis's publications offer a complete survey of the artistic and literary output of this multifaceted and controversial man who was one of the key figures within international modernism of the first half of the twentieth century. In , Lewis founded Vorticism, the only British avant-garde movement, and was also a pioneer of abstraction, a war painter, a portraitist whose sitters included contemporary authors such as Ezra Pound, T.
Eliot, James Joyce and Rebecca West. A novelist, essayist, publisher, editor, literary and art critic, Lewis founded journals such as Blast and The Enemy and could be described as a "single-handed avant-garde movement" , as well as "the most fascinating personality of our times", as T. Eliot wrote in The exhibition has been organized by the Fundacion Juan March with the collaboration of Paul Edwards, the invited curator and leading international expert on Wyndham Lewis, and the help of specialists on Lewis including Richard Humphreys, Alan Munton, Yolanda Morato. The works are on loan from museums and galleries in Europe, the USA and Canada, as well as from private collections.
Although we tend to think of Paris, Berlin and New York as the centres of early twentieth century avant-garde activity, London, too, contained a stimulating art environment. During the First World War, two of the Beaver Hall women, Prudence Heward and Lilias Torrance Newton , were volunteering with the Red Cross in London and would have been very interested in what was happening in the contemporary art world. Heward apparently did not have time to paint, but Torrance Newton was taking art classes with Alfred Wolmark, one of the pioneers of the New Movement.
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Her work is now attracting some important attention. Now what about claiming Wyndham Lewis as Canadian? Undoubtedly, he would have rejected the idea. Although born on a yacht near Amherst, Nova Scotia in , he moved with his mother to London in about Returning to Canada during the Second World War, he spent some desperate years in Toronto which he summarily described as a "sanctimonious icebox". Years later in an interview with Charles Hill, Torrance Newton recalled, "Everybody was sore as can be. Fifty artists from the first half of the twentieth century have taken their place among the leaders of the modern art movement in Quebec.
Instructor: Anna Stanisz, MA This continuing education course will explore works from significant twentieth century Canadian women artists. The thirty drawings, paintings, photographs and sculptures by more than twenty artists span the late nineteenth to early twentieth century. Curated by Esther Trepanier This selection of over seventy works celebrates Quebec women artists.
It examines their contribution to defining modern figurative art in Quebec and elsewhere in Canada in the first half of the twentieth century and is followed by an exploration of their role in the early avant-garde abstract movements of the s and s. From early canvases by Paul Cezanne and Alfred Sisley to selected works by Canadian pioneering painters who trained or travelled through Europe at the time, these works demonstrate how artistic practices in Canada evolved at a different pace. Among those who were established and celebrated at home and abroad are James W.
Morrice, Maurice Cullen, M. Blair Bruce, W. Clapp, Clarence A. Rozaire and others. Look for Beaver Hall member Emily Coonan. The series of short twenty-minute tours is given by knowledgeable gallery docents.
Each tour explores one of the McMichael's most romantic encounters: A.