Bruce W. Ferguson will present a public lecture, Not in the Age of Pharoahs, at the Mendel October 30 at 7 p.m. The event is the latest in the Museums 3.0 program series.
In his illustrated talk, Ferguson presents a case for how art can be symptomatic of larger cultural and political issues. He does this by examining the period prior to the Egyptian revolution or Arab Spring, through the works of four artists in Cairo. His lecture will show how art can be read as a series of indices of the conditions that produced change in that tumultuous period. His expertise in this topic relates to his recent tenure as Dean of the School of Humanities and Social Sciences at the American University in Cairo, Egypt.
Ferguson is now Vice Chairman of LB Media, a print and online publishing company in New York. He has served as Dean of the School of Arts at Columbia University, and as President and Executive Director of the New York Academy of Art. He has curated exhibitions for the Mendel Art Gallery, the Louisiana Museum in Copenhagen, and the Institute of Contemporary Art in Boston, among many others. He also organized exhibitions within the international biennales of Sao Paulo, Sydney, Venice, and Istanbul. As founding director and curator of Site Santa Fe in New Mexico, he articulated a vision for an international art biennial that now has a successful 20-year history and is central to the city’s identity.
Ferguson received his B.A. in Art History from the University of Saskatchewan, and his M.A. in Communications from McGill University in Montreal. He has an honorary doctorate from the Kansas City Art Institute.
ABCs of A-R-T fall discussion series at the Mendel
This easy-breezy discussion series introduces art appreciation and teaches viewing skills that can be applied again and again. It is inspired by the Mendel’s 50th anniversary exhibition, Modern Visions. The series features lots of discussion and some hands-on activities. The series is free; you can drop in, and no registration is required. Attend one session or all on Thursday evenings from 7 to 9 p.m.
Thursday, October 23, 7-9 p.m. —Taking Art Apart
Expand your understanding of art by learning how the elements of art and principles of design function within specific artworks in the Modern Visions exhibition. Learn the language of art interpretation through formal analysis, looking at how art is put together. Break down the experience of viewing art through discussion and hands-on exercises, and gain the ability to approach any work of art.
Facilitator Kelly Van Damme has been taking art apart as a Public Programs Assistant and Guide at the Mendel Art Gallery for 10 years. She has a Master’s degree in visual art, and enjoys helping people of all ages understand and make art. As a sessional instructor at the University of Saskatchewan, she has taught introductory to senior-level drawing, painting, art theory and education courses.
Thursday, November 6, 7-9 p.m. — I Know What I Like
Why are we profoundly moved by some works of art, while others leave us cold? Each individual’s response to art is deeply personal and unique. Learn how art “makes us feel” through viewing the exhibition Modern Visions, along with writing, and playful discussion.
Facilitator Carol Wylie, an artist and art educator, has been part of the public programs team at the Mendel Art Gallery for nine years. She has a Master’s degree in studio art and teaches drawing, painting, and portraiture for the University of Saskatchewan’s Certificate of Art and Design program.
Thursday, November 13, 7-9 p.m. — What Were They Thinking?
Ever wonder what prompts artists to make the art they do? Using specific examples in the Modern Visions exhibition we will discuss some of the ideas behind selected artworks. Learn about some of the “isms” or art movements of art on display. Although there are no simple answers and viewers always bring their own perspectives, these art historical insights help provide additional clues.
Facilitator Sandra Fraser has a graduate degree in art history and a certificate in Museum Management and Curatorship. She has taught art history, curated more than 20 exhibitions, contributed essays for exhibition publications, reviews for Canadian Art and BlackFlash magazines. She has a passion for collection development.
A Public Symposium in Calgary and Saskatoon
November 21-22, Alberta College of Art +Design, Calgary
November 23-24, Wanuskewin Heritage Park, Saskatoon
Produced by Alberta College of Art + Design, the University of Saskatchewan and Kenderdine Art Gallery, the Mendel Art Gallery (in conjunction with Museums 3.0), and Wanuskewin Heritage Park.
Stronger than Stone: Re-inventing the Indigenous Monument is a symposium on Indigenous monuments and counter-monuments. It brings together, for the first time, world-renowned artists and thinkers including: Maria Thereza Alves, Rebecca Belmore, Jimmie Durham, Ronald Hawker, Linda Hogan, Geir Tore Holm, Candice Hopkins, James (Sakej) Young Blood Henderson, Ashok Mathur, Neal McLeod, Paul Chaat Smith, Adrian Stimson, Michael Taussig, and Luke Willis Thompson.
Indigenous cultures have maintained ties to the same lands since time immemorial. Human-made physical markers were not necessary to preserve the history of a place and people. Rather, natural places are regarded as calling forth stories, so that the landscape provides a practical and moral guide to the culture.
What can the contemporary art world, urban planners, geographers and others learn from traditional Indigenous ways of memorializing and place-making? How could a re-invented approach to the memorial help us to better understand history, relationships to the land and human potential?
For further information, contact:
Wayne Baerwaldt, 403-284-7632 (Calgary)
Haema Sivanesan, 306-975-8051 (Saskatoon)
Registration: $60 per day and $20 for students / low-income (includes lunch)
See www.strongerthanstone.org for details.
Watch a time lapse video of Karen Tam’s installation process for 鸕鶿飛 (Flying Cormorant Studio [For Lee Nam]). This video represents seven days compressed into two minutes. Tam’s installation is on view until September 14, 2014, part of Convoluted Beauty: In the Company of Emily Carr.
Karen Tam is a Canadian artist whose research focuses on the various forms of constructions and imaginations of seemingly opposing cultures and communities, expressed through installations in which she recreates spaces such as the Chinese restaurant, karaoke lounge, opium den, and other sites of cultural encounters. For Convoluted Beauty, Tam considers notions of cultural, political, and social exile in her imaginative reconstruction of the studio of Chinese Canadian artist Lee Nam, a friend of Emily Carr.
Saturday, September 13 at 1 p.m.
The program connects two concurrent exhibitions, Sympathetic Magic, curated by Troy Gronsdahl, and Convoluted Beauty: In the Company of Emily Carr, curated by Lisa Baldissera. The curators will introduce the exhibitions followed by presentations from exhibiting artists Marianne Nicolson and Raymond Boisjoly.
Raymond Boisjoly (born in Langley, British Columbia, 1981) is an artist of Haida and Québécois descent, living and working in Vancouver. He completed his undergraduate studies at Emily Carr University of Art and Design and holds an MFA from University of British Columbia. Boisjoly’s practice engages with issues of aboriginality, language as cultural practice, and the experiential aspects of materiality. He has presented work in solo and group exhibitions in Canada and the United States including exhibitions at Simon Fraser University, Catriona Jeffries Gallery, and The Contemporary Art Gallery, all in Vancouver; The Power Plant, Toronto; Carleton University Art Gallery, Ottawa; Platform centre for photographic and digital arts, Winnipeg; and Western Bridge, Seattle. Boisjoly is participating in SITE Santa Fe, and La Biennale de Montréal. This fall, Boisjoly will serve as Lead Faculty for “In Kind” Negotiations, a thematic residency at the Banff Centre.
Marianne Nicolson (‘Tayagila’ogwa) (born in Comox, British Columbia, 1969) is an artist of Scottish and Dzwada’enuxw First Nations descent. The Dzwada’enuxw people are a member tribe of the Kwakwaka’wakw Nation of the Pacific Northwest Coast. Nicolson’s artistic training encompasses traditional Kwakwaka’wakw forms and culture as well as Western European-based art practices. Her work engages with issues of Aboriginal histories, politics, and language, arising from a passionate involvement in cultural revitalization and sustainability. Nicolson completed a BFA from Emily Carr University of Art and Design, Vancouver, in 1996, followed by studies at the University of Victoria, British Columbia, where she received an MFA (1999), a Master’s in Linguistics and Anthropology (2005), and a PhD in Linguistics, Anthropology, and History (2013). Nicolson has exhibited paintings, photographs, and installation works locally, nationally, and internationally. Recent exhibitions include the 17th Biennale of Sydney (2010) and the nationally touring group exhibition Beat Nation, organized by the Vancouver Art Gallery (2012). Her solo shows and installations include The Return of Abundance (Art Gallery of Greater Victoria, 2007) and The House of Ghosts (Vancouver Art Gallery, 2008).
In this episode we hear from Sandra Fraser, co-curator of the major retrospective David Thauberger: Road Trips & Other Diversions. We speak with David Thauberger about the development of his practice that spans four decades and hear from Laura Kinzel about the perennial favourite, School Art. Joi Arcand also reflects on her work in the RBC Artists by Artists mentorship exhibition. Music has been provided by Little Criminals.
Credits (songs in order of appearance)
Nice Windbreaker, Grandma
Popeye & Olive Oil Dancing