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Lorna Mills and Sally McKay
Digital Media Tree this blog's archive OVVLvverk Lorna Mills: Artworks / Persona Volare / contact Sally McKay: GIFS / cv and contact |
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Laurel Woodcock
wish you were hereł 2003 airplane with banner, DVD, mixed media installation
TRIBUTE wall lamp 2004 animated GIF version of 20 free-floating light boxes (12 1/2” x 12 1/2”) display images of the artists’ hand illuminating a variety of Bic lighters.
Unsolicited Service 2006 Photo documentation of performance: "I took on the role of artists as
service provider by delivering espressor and hot milk to people in the morning — unannounced."
Panya Clark Espinal
The Jack Pine Remembered 2003 aluminum, steel, paint, 15' x 6' x 6'
Thief 1999-2000 wooden trunk, wood, latex paint
Tart 2000 wooden pie safe, wood, latex paint
Four men who I never met and whom never knew each other but whose
bloodlines converge in my children 2003 aluminum, latex paint, powder coating
clockwise from upper left (from varying angles): Pedro Espinal, Juan de Dios Merlos,
Almeron Husband, and Avdeij Plistik
If I lived in California I'd probably eat more avocados and I'd probably learn how to drive a car but for sure I would have gone to the Perception of Perception events last weekend! My busy brother was a patricipant. I'm gonna see if I can coax a report out of him.
Karl Mattson
Karl Mattson, Time Machine
Karl Mattson, Peepshow
Karl Mattson, Peepshow (detail)
Karl Mattson, Industrial Evolution
Karl Mattson, Industrial Evolution (detail)
Karl Mattson, making of Industrial Evolution
Karl Mattson, Dust Bunny (detail)
Karl Mattson, Dust Bunny
I feel compelled to mention that Karl Mattson is an environmentalist who does not harm nor kill any animals. Rural living in northern B.C. provides plenty of carcasses for those who want them. A while ago I posted an image of Karl Mattson's excellent Surveyor sculpture at mile zero of the Alaska Highway in Dawson Creek. I actually prefer the dystopic sculptures posted here. In the summer I got to see Peep Show and Dust Bunny for real. The horrifying aspects of the work seem to me like an appropriate response to the enormity of environmental destruction and toxic intrusion that is felt much more immediately by people living in Canada's north than it is by those of us (those of us who don't have asthma, that is) in the middle of the GTA.
Candian copyright law is getting scary..."Close observers of the file say all signs point to a new regime that will improve safeguards for major music, film and media companies and artists for unpaid use of their material, but neglect to make exemptions for personal use of copyrighted content." (more at cbc.ca) (thanks Jeff!)
The current issue of Canadian Art has an excerpt of a talk by Ken Lum (click the "learn more" link for a nice interview), originally delivered as the keynote address at the 2006 Sydney Biennale. I found it very grounding and clarifying. I've transcribed a bit below:
Political economy is a constant yet largely unspoken referent in many of the contemporary-art biennials that take place around the world. In Dakar [attending Dak'Art, "the largest art biennial in West Africa'], I heard complaints from several visiting European and American critics and curators about how shoddy Dak'Art looked. Exhibition walls were not always properly painted and the technical equipment was older and more modestly scaled that in the richer biennials of the West. Leading critics and curators failed to recognize the degree of lack in a place such as Senegal. Even immersed in the hard realities of West Africa, the myth that all artists start from the same place continued to be perpetuated.
We like to believe that art operates in a space separate from political economy. We even like to believe that this separation is necessary in order to maintain a critical distance from the social order. There is some validity to this separation, in that critical distance from one's own presuppositions can allow for different epistemic perspectives. But I am also wary of the ways in which this separation can be used in the service of a neo-colonialist logic in the context of places like Senegal, where, historically, cultural production has often been measured in imposed-from-afar formalist or anthropological terms, but seldom regarded in terms that recognize indigenously derived criteria.
There have been several occasions in my life when I contemplated withdrawing from art in order to find out what I did not know about art. But my withdrawal was in the manner of a Heideggerian withdrawal of the withdrawal. The trip I made to Dakar in 1998 was undertaken on my own initiative as a means of breaking out of the art system as I then knew it, and effort to deepen my understanding of how art could be defined differently. This was a time when I felt great disillusionment about art and great disappointment in myself, a crisis of being that I believe afflicts all artists from time to time. I had a choice: I could either stop being an artist or I could enlarge my frame of understanding of art by looking away from what I was accustomed to.
I began to embrace an increasingly philosophical view of artistic purpose, one inscribed more in terms of the artist's life and less in terms of the art world's idea of the artist. I saw the necessity of letting go of the art world as I knew it in order to be more free, to rediscover the true purpose of art and to become re-enchanted with it by giving myself over to the world.