An evening lecture presented by Kodak Lecture Series and
The Ryerson School of Image Arts Student Lecture Series

Noted Dutch curator, critic and educator, Bas Vroege, will speak on the postwar evolution of documentary photographic practice in Holland with a stress on recent cross-disciplinary and inter-media developments. 

Speaker Biography:

Bas Vroege (b 1958) studied Economics at Erasmus University Rotterdam and photography at Academie St. Joost in Breda (NL). He co-founded and directed Perspektief, centre for photography in Rotterdam, and the Fotografie Biennale Rotterdam from 1980-1992. He acted as the director in chief of Perspektief Magazine from 1980-1995.

Vroege founded Paradox in 1993 and has been the organisation’s director since. Paradox produces photography-related multiplatform projects (exhibitions, books, films, websites) driven by a social agenda such as Go No Go (on migration in Europe with photographer Ad van Denderen and filmmaker Marjoleine Boonstra, 2003), The Last Days of Shishmaref (on global warming, with photographer Dana Lixenberg and filmmaker Jan Louter, 2009) and ANGRY (group show on radicalisation, 2011). As an independent curator, he has been responsible for a number of cross-media festivals and exhibitions. For the 2009 Noorderlicht International Photo Festival, he curated the exhibition, Multivocal Histories.

Vroege has lectured since 2003 in editorial and curatorial practice at the Masters in Film and Photographic Studies (MaFPS) at the University Leiden. He is member of the International Board of Advisors of the Three Shadows Photography Art Centre (Beijing, China) and of the Supervisory Board of World Press Photo (Amsterdam).

Paradox recently launched its first iApp, Via PanAm with Noor photographer Kadir van Lohuizen (on migration in the Americas) and is working on a number of new tablet apps as well as projects with e.g. portrait photographer Koos Breukel (Me We), journalists Robert Knoth, and Antoinette de Jong (Poppy – The Trail of Afghan Heroin) and photographer/filmmaker Hans van fer Meer (The Netherlands – Off-the-shelf).

In collaboration with industry partners Paradox will launch Y, a new platform for documentary in 2012.

When: Saturday, February 4, 2012, 1:00pm until 5:00pm
Where: XPACE Cultural Centre, 58 Ossington Ave, Toronto.

According to Wikipdia, an Artist Statement is…
‘a text composed by an artist and intended to explain, justify, extend, and/or contextualize his or her body of work.’

But WHAT exactly makes a good or bad artist statement? And how does one write an artist statement in such a way that ANYONE, yes, even your mother, can understand what your work is about?

XPACE intends to show you exactly how to do this. We will have both good and bad statements, written by artists we have worked with, to give specific examples of common mistakes and pitfalls almost all artists make. Remember, writing an artist statement doesn’t have to be an awful experience of watching a blinking cursor in an empty document. Writing about your work in an appropriate and concise way is an invaluable skill to have!

In her illustrated lecture, Phillips will discuss the peripatetic, restless scope and range of art in public spaces, and how this makes critical work on the topic an engaging and bracing, yet somewhat speculative activity.

Date: Wednesday, February 1 at 5pm
Location: Room 004 Accolade West Building, York University, 4700 Keele St.   

“The variables and vagaries of art in the public realm are different, and potentially more complex, than art encountered in the more rarified environments of museums and galleries,” Phillips says. “Public art invokes the idea of ‘accidental’ publics, spontaneous affiliations and unpredictable temporalities.”

Dr. Phillips’ research and critical writing involve contemporary art, public art, architecture, landscape and the intersection of these areas. Her essays and reviews have been featured in Artforum, Art in America, Flash Art, Sculpture and Public Art Review, as well as in books and essay collections published by Rizzoli International Publications, Princeton Architectural Press, M.I.T. Press, Routledge and other leading publishers. She is the author of Ursula von Rydingsvard: Working (New York: Prestel, 2011) and It is Difficult, a survey of the work of Alfredo Jaar (Barcelona: Actar Press, 1998).

From 2002 to 2007, Phillips served as editor-in-chief of the Art Journal, a quarterly publication on contemporary art published by the College Art Association. She was Dean of Graduate Studies and currently serves as Interim Associate Provost for Academic Affairs at the Rhode Island School of Design.

The deadline for applications is postmarked March 30, 2012.

Generously supported by TD Bank Group (TD), these competitive, paid internships offer study and training opportunities and work experience in the fields of:

Mobile Art Museum Education

Art Librarianship and Archive Practice

Collections Management

Areas of Study

1

TD Internship in Mobile Art Museum Education

Specific Educational Requirements
 
Candidates must have completed the first year of college or university studies in museum education, art education, museum studies, web and new media, art history, education or visual arts; and they must have a particular interest in mobile approaches to art museum education.

Study and Training Opportunities

The intern will be given the opportunity to acquire valuable work experience in an art museum environment.

Candidates should submit a proposal for a specific mobile project to be undertaken by the candidate. The candidate should state the relationship of the project to his/her course of study, career aspirations, and professional development.

The objectives and duties of the internship will be determined by the Gallery and the intern, based on the proposed project and recognizing the intern’s academic background, interests and career plan.

The intern will work under the supervision of an Education and Public Programs staff member who specializes in mobile approaches to art museum education.

2

TD Internships in Art Librarianship and Archive Practice (2 positions)

Specific Educational Requirements
 
Candidates must have an undergraduate degree in art history or studio, and must have completed the first year of a community college diploma in library or archive technology, or the first year of the master’s degree in archives, library, and information management.

Study and Training Opportunities
 
The Library and Archives welcomes applications from candidates interested in working in the following two areas:

Library: under the supervision of the Bibliographer and the Head of Cataloguing, the intern will participate in two projects. The first will focus on materials donated to the Library after the closure of the Dominion Gallery in Montreal, and will involve checking and adding copies to the collection in the Library catalogue database. The second will involve working on contributions to the International Bibliography of Art (IBA), the successor to the Bibliography of the History of Art (BHA), by selecting publications and preparing abstracts for current Canadian scholarly literature on western art.

Archives: under the supervision of the Head of Archives, Documentation and Visual Resources, the intern will participate in the project to inventory, analyze, arrange, and describe National Canada of Gallery records for past exhibitions.

Full training will be provided for the specific project work. In addition, interns will receive a general overview of the activities of the Library and Archives, including introductions to programs in collections development, collections management, reader services, and archives management.

3
 
TD Internships in Museum Collections Management

Specific Educational Requirements

Open to second-year university and college students in art history, museum studies, visual arts, or museum technology, or to students who have completed the first year of an accelerated museum technology program.

Study and Training Opportunities

Interns will gain experience using a sophisticated automated collections management system (Mimsy XG) and will also be provided with an overall understanding of the varied operations of an active collections management department in a large art museum (art documentation, art storage, art loans management, art insurance and indemnification).

One successful candidate will provide collections documentation assistance for the following project in Art Documentation (under the supervision of the Documentation Manager, Collections Management):

Working with both the Photographs and the Prints and Drawings collections, the candidate will work on the following projects related to documentation and storage of these collections:

Prints & Drawings Collection:
This project entails the review of over 50 boxes of artwork categorized as Study or Deposit to identify, organize and document their contents.  The work will involve researching and working with the database, photographing the works for identification purposes and fully documenting any works not accessioned.

Photographs Collection:
This project entails the creation of curatorial files for a large donation and assisting with the permanent storage of this collection.

General conditions (apply to all Areas of Study)

A

Eligibility

Candidates must be Canadian citizens or permanent residents legally entitled to work in Canada who are enrolled in, or a graduate within the last two years of, a diploma- or degree-granting program in one of the two Areas of Study.

Please note any specific educational requirements required by the particular Area of Study, as outlined above.

The TD Internship Program is designed to provide entrance-level professional development opportunities for students contemplating careers in the museum, library, or archives fields.

B

Tenure and Remuneration

Internships normally will be for a term of twelve weeks, although the period can vary depending upon the requirements of both the candidate and the museum program involved.

Residency must be completed during the period 1 May 2012 through 30 April 2013.

Internships are valued at $7,000 for the twelve-week term, and will be pro-rated in the case of approved shorter or longer periods of internship. Interns may be eligible for a discretionary $500 relocation allowance.

C

Applications

Applications must state clearly which of the three areas of study the candidate is interested in, and must include the following:

The proposed dates of the internship;

A full curriculum vitae, including education, employment, awards and honours;

Candidates in the area of Mobile Art Museum Education: project proposal (see above);

Two letters of recommendation from previous or current employers and/or educational institutions, to be sent under separate cover to the National Gallery. These letters must address the candidate’s aptitudes and achievements, and assess the relevance of the internship to the candidate’s career development.

D

Assessment

Applications will be reviewed by internal committees representing the three Areas of Study and the National Gallery Human Resources department. Consideration will be given to the relationship of the internship to the candidate’s professional development, the candidate’s academic standing, and the strength of the letters of recommendation.

Candidates in the area of Art Museum Education: the project proposal submitted will be judged on its intrinsic merit and on the degree to which the proposed project coincides with Gallery projects.

E

Evaluation

A performance/progress evaluation will be provided twice during the internship: an informal exchange at the fourth week to ensure that learning and project objectives are being met and to evaluate the satisfaction of both parties; the second evaluation will be more formal and will be conducted at the end of the internship – a written evaluation of the work done and the intern’s performance will be completed by the supervisor of the internship, the intern will prepare a report to assess the success of the internship for both the National Gallery and TD.

F

Deadline
 
Letters of recommendation must be postmarked no later than 30 March 2012, and sent to:

Sandii Paquette
Human Resources Advisor
National Gallery of Canada
380 Sussex Drive
P.O. Box 427, Station A
Ottawa, Ontario
K1N 9N4

Applications will be reviewed during April 2012.

Notification of applicants will take place shortly thereafter.

Seeking proposals from artists working in (but not limited to) video, film, interactive art, net art, performance or installation. Artists are asked to propose a layered work that involves an “original” gesture, and documentation of or through that gesture. Original gestures may take place anywhere outside of the gallery (ex: site-specific installation, distant geographic location, private performance) and should take place within the dates of the exhibition. Documentation of this gesture will be produced by the artist and mounted in the gallery before the closing of the exhibition. Proposed projects should consider the exhibition format. The use of documentation should be a central aspect of the work. Questions or clarifications are welcome at the contact address below.

Proposals should include:
- CV
- Artist statement (1 paragraph)
- Description of the proposed project (1 page max: Include technical/materials information. Describe site and contexte of the original gesture, the process of documentation.)
- Support material (5 -10 images, links or video/audio of past work)
- Support material list (include context, duration, date)

It’s natural for artists to want to make history – for their work to be known and recorded. It’s a very different goal for artists to participate in the recording… of history in general. The production of documentation (of art and as art) is a practice that intertwines and dialogues with the reportage of current events. When artists use documentation in their practice, they construct an interpretation of their artwork or subject. The choice of medium and distribution method of art documentation then determines its trajectory into the world and into the future. The relation between documentation and its subject is more complicated than ever: an installation is livestreamed, net art leaves a constant digital trace, everyday activities are documented as a performance for video. How might the methods of the documentation and distribution of art affect the recording and framing of history made today? How will today’s history be read tomorrow?

This exhibition is curated by Maggie Flynn for Le Labo’s curatorial mentorship program under the guidance of Alissa Firth-Eagland. Le Labo (www.lelabo.ca) is an artist-run centre with a mandate to produce and promote francophone media art and interdisciplinary projects. This project will accept proposals from both francophone and non-francophone artists. The exhibition will take place in April 2012. Artist fees will be paid and modest travel costs may be accommodated.

Please send submissions to: contact@maggieflynn.ca
Deadline: Friday February 24, 2012

Appel à projets:

Nous cherchons des propositions d’artistes utilisant les médiums (mais pas seulement) tel la vidéo, le film, l’art interactif, l’art en ligne, la performance et/ou l’installation. Nous demandons aux artistes de proposer une œuvre à plusieurs niveaux incluant un geste « original », et la documentation de ou par ce geste. Le lieu d’exécution du geste original importe peu, celui-ci peut être exécuté hors de l’espace de création du labo (ex: une installation à site spécifique, une performance privée, un endroit géographique éloigné) ; ils doivent toutefois être exécutés durant le temps d’exposition. La documentation de ce geste sera produite par l’artiste montée dans la galerie avant le terme de l’exposition. Les projets proposés doivent considérer le format de l’exposition. L’usage de la documentation devrait être un aspect central du travail. Pour plus d’information, vous pouvez vous adresser au contact indiqué ci-dessous.

Les propositions doivent inclure:
- CV
- Une énoncé artistique (1 paragraphe)
- Une description du projet proposé (1 page maximum – incluez l’information technique, des matériaux. Décrivez l’endroit et contexte du geste original et le processus de la documentation)
- Matériel d’appui (5 -10 images, liens, ou jusqu’à 10 minutes d’oeuvres vidéo/audio)
- Liste de matériel d’appui (contexte, durée, date)

Marquer l’histoire est un souhait naturel des artistes dans un soucis de reconnaissance et d’enregistrement de leur travail. En revanche participer à l’écriture de l’Histoire en général est un objectif différent. La production de documentation de l’art, et de documentation comme art, sont des pratiques qui dialoguent et se rapportent au reportage journalistique. Le choix de médium et des méthodes de distribution de la documentation de l’art déterminent sa trajectoire vers le monde et l’avenir. Le rapport entre la documentation et son sujet est plus compliqué que jamais: une installation est diffusée par livestream, l’art en ligne laisse sa trace numérique, les activités quotidiennes sont documentées comme une performance vidéo. Comment est-ce que les méthodes de documentation et distribution de l’art pourraient affecter l’écrit de l’histoire marquée d’aujourd’hui? Comment est-ce que l’histoire d’aujourd’hui sera lue demain?

L’exposition est commissionnée par Maggie Flynn pour le programme de mentorat de Le Labo, sous la tutelle d’Alissa Firth-Eagland. Le Labo (www.lelabo.ca) a pour mission de produire et diffuser des projets francophones en arts médiatiques et pratiques interdisciplinaires. Ce projet acceptera des propositions d’artistes francophones et non-francophones. L’exposition se tiendra en avril 2012. Les frais d’artistes et les coûts raisonnables de transport seront payés.

SVP envoyez votre candidature à : contact@maggieflynn.ca
Date limite du dépôt de candidature : vendredi le 24 février 2012

Artist talk and screening with Jayson Musson

Tuesday January 31st, 2012
7:30 – 9:30 pm, doors open at 7:00 pm
Admission: $8 / $5 students at the door

The Drake Hotel, Underground
1150 Queen Street W.,416.531.5042

Click Here to watch some of my favorite Art Thoughts videos:

Relational Aesthetics
Beuys-Z

New York-based artist Jayson Musson (aka Hennessy Youngman) will talk about why he started his wildly popular video series Art Thoughtz, debut a new episode, and hold a Q&A with the audience.

http://www.jaysonmusson.com/
http://vimeo.com/hennessyyoungman
http://www.youtube.com/user/HennesyYoungman

Co-Presented by

C Magazine CSCHOOL is an initiative aimed at extending C Magazine’s mandate to advance education in contemporary visual art and culture. C School offers study guides and research material in conjunction with each issue theme, as well as an educational copies program where educators can order C Magazine for use in the classroom free of charge. C School also presents public programming and events related to each issue’s theme, taking C Magazine into the classroom and beyond.

Mercer Union PLATFORM is a public program of off-site events, performances, music series, lectures, and international projects that do not fit within the confines of the gallery space. Mercer Union acknowledges the support of the Ontario Arts Council’s Arts Investment Fund for its 2011-2012 PLATFORM Program.
C Magazine is an international art quarterly that publishes critical essays, interviews, artist projects and reviews, providing an essential forum for debate and dialogue from a Canadian perspective. Based in Toronto, with contributors from around the world, C keeps cultural professionals and readers informed of significant ideas and trends in contemporary visual art and culture.

C Magazine is an international art quarterly that publishes critical essays, interviews, artist projects and reviews, providing an essential forum for debate and dialogue from a Canadian perspective. Based in Toronto, with contributors from around the world, C keeps cultural professionals and readers informed of significant ideas and trends in contemporary visual art and culture.

Mercer Union, A Centre for Contemporary Art, is an artist-run centre which provides a forum for the production and exhibition of Canadian and international conceptually and aesthetically engaging art and related practices. It pursues critical activities that include exhibitions, lectures, screenings, performances, publications, events and special projects. Since 1979, Mercer Union has maintained ambitious programming, exhibiting national and international artists and presenting cultural professionals both in formative and established stages of their careers.

Mercer Union is located at 1286 Bloor Street West, Toronto ON Canada M6H 1N9 mercerunion.org

C School venue sponsor: The Drake Hotel

C Magazine is published by C The Visual Arts Foundation (charitable no 88643 1162). C The Visual Arts Foundation acknowledges the financial assistance of the Canada Council for the Arts and the Ontario Arts Council. C Magazine acknowledges the financial assistance of the Toronto Arts Council in the presentation of this program.

XPACE WINGDING:
ART SUPPLY SWAP
Saturday January 28 2012, 1pm-5pm

If you are in need of art supplies, and have some kickin’ around that you aren’t using, why not bring them down to XPACE next Saturday to trade in for something you’ll love and USE!!!

Bring:
- new/gently used arts and crafts materials or books
i.e. *markers, pens, paint, brushes, envelopes, paper supplies, staples, sponges, aprons, sculpey/fimo, instructional books, collage materials, canvas, wood, carving tools, nibs, pencils, cases, zippers, fabric, wool, ink, clay, glaze, etc etc etc
- items you never needed
- gifts you got but never opened
- things you purchased for a class but never did use!

Have fun, meet other artists, save money & get some great and useful items for your artist needs!

Opening Reception: Thursday January 19, 2012 from 7-9pm

Gallery TPW is pleased to present a solo exhibition by emerging artist Christine Negus. Negus’ works range from ephemeral objects, including glittery party banners, neon signs and artificially flowered memorial wreaths, to video works steeped in sweet sadness. At the centre of you can’t spell slaughter without laughter is a constellation of short but intense, single channel videos and digital-animations investigating nostalgia and loss through humour and difficult irony. Here children tell terrible stories, pop songs become awkward and painful poetry, night stars are watching us, and small traumas play out within a larger view of the cosmos.

Based in London, Ontario, Christine Negus has an MFA from Northwestern University in Chicago, Illinois. She has exhibited her work internationally, with notable exhibitions and screenings including the Montreal Underground Film Festival, Cambridge Galleries, The Art Gallery of York University, Xpace Cultural Centre and the Images Festival where, in 2008, she won the National Film Board of Canada’s Best Emerging Video/Filmmaker.

Opening Reception: Friday January 20, 2012

When: January 20 – February 11, 2012.
Where: 58 Ossington Avenue, Toronto.

MAIN SPACE: Magnetic Impulses

The artists in Magnetic Impulses focus on creating tactile surfaces in their works.  These paintings and sculptures explore a combination of natural and manufactured forms.  Bone, hair, smoke and rocks coexist with manufactured materials: plastic pipes, children’s toys and styrofoam.  In an endless process, artists Jaime Angelopoulos, Kali Fisher, Ariel Kellett and Derrick Piens display evidence of their on-going material explorations.

XBASE: It Happened In The Woods

Patricia Beattie transforms Xbase into an enchanted coniferous wood using trees and stoneware clay. Viewers will find themselves in a set like environment, engaging with the sounds, smells and mood of the woods. The construction and placement of clay slab silhouettes determines a loose dream narrative, triggering a self-awareness by viewers moving within the space of a staged dream.

WINDOW SPACE: The “RedOne” Project

A commentary on waste culture and decay, Fabian Mosquera’s The “RedOne” Project is a sculpture built from four months of accumulated waste adhered to a dress and placed on a mannequin bust. As the dress spills into its surrounding garbage filled environment, it represents the waste our culture accumulates everyday, mounting in ever larger quantities while consumer culture never subsides. Not only do the things we buy become part of our identity, but the things we throw away as well.