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[edit] Frédo "Fresh" Acconci

Stan Douglas receives $25,000 Hnatyshyn Foundation Award

January 25, 2007. ARTIST STAN DOUGLAS RECEIVES $25,000 HNATYSHYN FOUNDATION AWARD

VANCOUVER, January 19, 2007 – The recipient of the inaugural Hnatyshyn Foundation Visual Arts Award is Vancouver artist Stan Douglas. The $25,000 prize for excellence in Canadian visual arts will be presented to Douglas today by Gerda Hnatyshyn, C.C., President and Chair of the Board of The Hnatyshyn Foundation, at a reception at the Vancouver Art Gallery.

“We are absolutely delighted to be awarding our first annual prize for a Canadian mid- career artist to Stan Douglas, a groundbreaking artist with a remarkable international reputation,” said Mrs. Hnatyshyn. “We look forward to the outstanding work he will produce in the years ahead.”

The award winner was selected by a jury of six curators chosen by the Foundation for their knowledge of the visual arts across Canada: Scott Watson of the Morris and Helen Belkin Art Gallery at the University of British Columbia; Catherine Crowston of the Art Gallery of Alberta; Darlene Coward Wight of the Winnipeg Art Gallery; Kitty Scott, formerly of the National Gallery of Canada and currently with the Serpentine Gallery in London, England; Paulette Gagnon of the Musée d'art contemporain de Montréal and Robin Metcalfe of Saint Mary's University Art Gallery in Halifax.

Born in 1960 in Vancouver, Stan Douglas is an internationally renowned photographer, filmmaker and multimedia installation artist whose work has been collected and exhibited worldwide since his first solo show in 1981. His latest work, Klatsassin, was screened as a World Premiere at the 2006 Vancouver International Film Festival.

In recommending Douglas for the Hnatyshyn Foundation Award, the jury described him as “a pioneering artist who has made an internationally recognized contribution to contemporary art.” Speaking on behalf of the jury, Scott Watson said, “Stan Douglas has produced a large body of compelling photographic works, often in concert with his ambitious film and video projects. These projects, for which he is most celebrated, are small cinematic masterpieces that revolutionize the cinematic experience. In his most complex recombinant films, episodes are continually reordered so that no two viewers will have the same experience. Douglas's projects engage us in specific historical moments or attach themselves to other films but always highlight larger questions about identity and power relations. He is an artist who is admired for his exquisite mastery of his craft as well as the intellectual and emotional depth of his work.”

The Hnatyshyn Foundation Visual Arts Award is the first of several grants for mid-career artistic achievement that the Foundation intends to create over the next two to three years. The Ottawa-based foundation also awards eight post-secondary scholarships of $10,000 each year to the most promising young Canadians undertaking training programs in the performing arts.

Established by the late Right Honourable Ramon John Hnatyshyn, Canada’s twenty-fourth Governor General, The Hnatyshyn Foundation is a private charity dedicated to the support of excellence in the arts. Its programs are funded by donations from government, foundations, corporations and individuals. The Department of Canadian Heritage matches donations received by the Foundation up to a maximum of $2.5 million.

Information about the Foundation and The Hnatyshyn Foundation Visual Arts Award is available on the Foundation’s website www.rjhf.com

[edit] George Bures Miller

http://www.ocad.ca/static/alumni_profiles/george_bures_miller.htm

[edit] Vancouver School

The Vancouver School of conceptual[1] or post-conceptual[2] photography (often referred to as photoconceptualism[3])is a loose term applied to a grouping of artists from Vancouver starting in the 1980s. [4] Critics and curators began writing about artists reacting to both older conceptual art practices and mass media by countering with "photographs of high intensity and complex content that probed, obliquely or directly, the social force of imagery."[5] No formal "school" exists and the grouping remains both informal and often controversial[6] even amongst the artists themselves, who often resist the term.[7] Artists associated with the term include Jeff Wall, Ian Wallace, Roy Arden[8], Stan Douglas and Rodney Graham.[9]

[edit] References

  1. ^ http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/01/09/DDV3U9I6U.DTL
  2. ^ http://www.akimbo.biz/akimblog/?id=68
  3. ^ Sarah Milroy "Is Arden our next greatest photographer?" Globe and Mail (Oct. 27, 2007): R1.
  4. ^ http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/01/09/DDV3U9I6U.DTL
  5. ^ http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/01/09/DDV3U9I6U.DTL
  6. ^ Marsha Lederman "Behind the Lens: The Vancouver School Debate" Globe and Mail (Oct. 20, 2007): R13.
  7. ^ Marsha Lederman "Behind the Lens: The Vancouver School Debate" Globe and Mail (Oct. 20, 2007): R13.
  8. ^ Sarah Milroy "Is Arden our next greatest photographer?" Globe and Mail (Oct. 27, 2007): R1.
  9. ^ http://www.e-flux.com/shows/view/2452


http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/01/09/DDV3U9I6U.DTL http://izzieegan.com/2007/01/18/vancouver-school-of-photography-scott-mcfarland/ http://photo-muse.blogspot.com/2007/10/vancouver-school-or-not.html http://www.philly.com/philly/entertainment/arts/20071221_Talent_search_looks_to_Canada.html http://www.news1130.com/news/local/article.jsp?content=20070226_190753_4504 http://www.doppelgangermagazine.com/november/christopher_brayshaw.html

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Globe and Mail

Sarah Milroy "Is Arden our next greatest photographer?" Globe and Mail (Oct. 27, 2007): R1.

Print Edition 27/10/07 Page R1

For Canada's visual arts, last Saturday was Super Bowl Sunday.The opening of the Roy Arden exhibition at the Vancouver Art Gallery had been framed as a historic event. Jungle drums had been beating for weeks about a panel discussion that would bring together Jeff Wall and Ian Wallace (those old silverbacks of Vancouver photo-conceptualism) with younger, mid-career artists Roy Arden and Mark Lewis. Could such an occasion heal the rifts in this notoriously argumentative art community? (Wallace and Wall have apparently not shared the same stage for a dog's age.) Could it lay bare the intellectual DNA behind the photo-based work from Vancouver that, for almost three decades, has been Canada's most significant contribution to international art?

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Marsha Lederman "Behind the Lens: The Vancouver School Debate" Globe and Mail (Oct. 20, 2007): R13. MARSHA LEDERMAN Print Edition 20/10/07 Page R13 Lock

For a group of artists who work primarily with images, as opposed to text, a lot of fuss is being made over a few words. The term in question is the Vancouver School. The label has been used to describe a group of artists from Vancouver whose work is based in photo-conceptual practices (and who often photograph the city itself).

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http://www.akimbo.biz/akimblog/?id=68

Both artists made the case for art that is something other than the theory-driven post-conceptualism Vancouver is known for (neither actually said the word “photography,” but it hung like a spectre in the air).

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http://www.e-flux.com/shows/view/2452

In spite of or, more probably, exactly because of its spectacularly isolated location on the northern shores of the Pacific, Vancouver has, in recent decades, grown into an important center of contemporary visual arts. Home to artists of such critically acclaimed stature as Stan Douglas, Rodney Graham, Ken Lum, Jeff Wall and Ian Wallace, all of whom have exhibited extensively in Europe and the Americas, Vancouver has firmly established itself as an international art hub of the first order. Although some of the aforementioned artists will of course figure prominently in the exhibition, Intertidal explicitly seeks to address the wide-ranging riches of art practices that have been developing in Vancouver since these figureheads first came to the fore some ten to fifteen years ago, and focus on the irreducible heterogeneity of artistic production of recent years. A grand total of sixteen artists, many of them still relatively little known in Europe, are invited to contribute existing works or create site-specific new work for the exhibition. Taking into account the historical primacy of photographic practice in Vancouver art, the exhibition will boast its fair share of photographic works, films and video projections; a series of drawings, paintings and sculptural works, however, will complete the picture of a city survey dedicated to documenting an arts scene characterized by a rigorous commitment to the politics of the image and imaging as such.

Vikky Alexander, Roy Arden, Scott McFarland and Kelly Wood represent the photographic paradigm as a cornerstone of much Vancouver-based art practice; two historical photo-based works by Ian Wallace define the parameters of the citys well-known brand of conceptual art, commonly referred to as photo-conceptualism. Stan Douglas, Rodney Graham, Damian Moppett and Judy Radul present highly accomplished video and film works that enact the ambiguities ingrained in British Columbias supernatural landscape, whereas the works of Rebecca Belmore, Brian Jungen, Tim Lee and Ron Terada deal with the ambivalences and mixed blessings of culture and (sub)urbanization. A conscious re-engagement with more traditional modes of production such as drawing, painting and sculpture, take up centre stage in the artistic practices of Geoffrey Farmer, Liz Magor and Steven Shearer.

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http://www.sfu.ca/artgallery/06teck04povera.html

These women may not know very much about 'Vancouver School' photo-conceptualism, yet, they have, with uncanny accuracy, homed in on the same subjects that have played such a large role in the photographic work of artists as diverse as Jeff Wall, Roy Arden, Adam Harrison or Mike Grill.

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[edit] Janet Cardiff, Forty-Part Motet

Materials: 40 loud speakers mounted on stands, placed in an oval, amplifiers, playback computer Duration: 14 min. loop with 11 min. of music and 3 min. of intermission

Quote from Cardiff (from website):

"While listening to a concert you are normally seated in front of the choir, in traditional audience position. With this piece I want the audience to be able to experience a piece of music from the viewpoint of the singers. Every performer hears a unique mix of the piece of music. Enabling the audience to move throughout the space allows them to be intimately connected with the voices. It also reveals the piece of music as a changing construct. As well I am interested in how sound may physically construct a space in a sculptural way and how a viewer may choose a path through this physical yet virtual space.

I placed the speakers around the room in an oval so that the listener would be able to really feel the sculptural construction of the piece by Tallis. You can hear the sound move from one choir to another, jumping back and forth, echoing each other and then experience the overwhelming feeling as the sound waves hit you when all of the singers are singing.”

Canadian artist Janet Cardiff (b 1957) is best known for her numerous audio works and films, often created in collaboration with her partner George Bures Miller.

Thomas Tallis, one of the most influential English composers of sixteenth century, wrote Spem in Alium nunquam habui, a choral work for eight choirs of five voices, to mark the fortieth birthday of Queen Elizabeth I in 1575. This piece of music deals with transcendence and humility, both important issues to a Catholic composer during a time when the Catholic faith was suppressed by the Sovereignty.

Using this piece of secular music as a starting point and working with four male voices (bass, baritone, alto and tenor) and child sopranos, Cardiff has replaced each voice with an audio speaker. The speakers are set at an average head height and spaced in such a way that viewers can listen to different voices and experience different combinations and harmonies as they progress through the work.

A few moments before the music begins the choir's preparations can be heard along with fragments of conversations and the choir leader's encouraging comments to the performers. All of this builds up to the sublime moment when the first solitary and plaintive voice is heard.

With Forty-Part Motet Cardiff offers a very personal and intimate engagement with the Tallis music, but one that is experienced in an open and public way:

Even in a live concert the audience is separated from the individual voices. Only the performers are able to hear the person standing next to them singing in a different harmony. I wanted to be able to 'climb inside' the music connecting with the separate voices. I am also interested in how the audience may choose a path through this physical yet virtual space.

Janet Cardiff: untitled statement in Elusive Paradise: The Millennium Prize at the National Gallery of Canada, Ontario, 2001 (brochure)

40 track audio installation Duration: 14 minutes 7 seconds Sung by Salisbury Cathedral Choir Recording and post-production: SoundMoves Sound editing: George Bures Miller and Steve Williams Producer: Theresa Bergne Forty-Part Motet: Version One (British Edition) by Janet Cardiff was produced by Field Art Projects with the Arts Council of England, Canada House, the Salisbury Festival and Salisbury Cathedral Choir, BALTIC Gateshead, The New Art Gallery Walsall and the NOW Festival Nottingham with the assistance of Tascam UK and B&W Loudspeakers

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With its recent installation of Janet Cardiff's The Forty-Part Motet MoMA has created what has to be one of the most sublimely beautiful spaces in Midtown Manhattan. (An installation view is at right.) It's not fashionable these days to use words like "sublime" and "beautiful" without scare quotes, but I'm simply at a loss for how to describe the work without them.

Cardiff's piece, for those not familiar with this well-traveled sound installation, is a recording of Thomas Tallis's polyphonic choral work from 1575, Spem in alium. Tallis's Latin text translates this way:

   I have never put my hope in any other but in you God of Israel who will be angry and yet become again gracious and who forgives all the sins of suffering man. Lord God Creator of Heaven and Earth look upon our lowliness.

For this piece, Cardiff recorded each of the forty unique vocal parts individually. The installation consists of forty speakers arranged in an oval, each speaker playing back a voice of one member of the Salisbury Cathedral Choir. Cardiff's advanced recording and playback technology creates the experience of a live performance that typical two-channel playback cannot. The elliptical installation gives visitors the ability to move around and through the sound in a way that is not possible when the piece is performed by a live choir.

Simply put, the recording stuns. If, as the choir crescendos, you don't feel a shiver rise somewhere inside you, you have to be emotionally tone deaf. Both times I've visited the piece in the last few weeks, I've fought to hold back an involuntary display of emotion. As I struggled to keep my eyes dry, I looked around the gallery space and saw others furtively wiping their eyes, hoping that no one else was noticing.

I've already decided that while this piece is installed over the next year it will become a regular lunch hour stop when I am working in New York. I'll be curious to see, though, just how my reaction to the piece will change the more that I experience it because in trying to determine what about the piece gives it such emotional power, I've realized that it's not anything in Cardiff's work.

Thomas TallisThe Forty-Part Motet takes all of its emotional punch from the choir's performance of Tallis's piece. Most serious singers include Spem in alium on the short list of works they want to perform some day because the piece creates a sound environment that is unique and that (prior to Cardiff's work) could not be adequately reproduced using recording technology.

In her piece Cardiff has harnessed the power of a live performance by using the skills of a master recording technician. She does not add to the effect of a live performance of Spem in alium; rather, she optimizes the recording of the performance to recreate the effect of a live event better than any recording engineer has been able to do to date. Unlike her other work where she creates original sound environments, here Cardiff has recreated a sound environment originally developed over 400 years ago.

Filtered through Cardiff's technology, the music sounds good enough to make listeners choke up. I can't help but wonder, though, if I will continue to have that experience over repeated visits. I still become emotional every time I hear the final movement of Beethoven's Ninth Symphony performed live. But that only happens for me a couple times a decade. I wonder if listening to Cardiff's recording of Spem in alium once a week over the next year in this walk-in sound chamber will dull my sensibilities to the work. I question whether the technological mediation of my experience of the piece of music will get in the way of my continued appreciation for the performance that has been recorded.

The magic of a live performance (recreated so well here) may be just that--magic created by real people in a passing moment in time. When that performance repeats exactly every fourteen minutes all day every day, the magic may dissipate. Only time will tell if Cardiff's piece has the staying power of the original, unmediated Spem in alium. I hope that it does, but I'm not sure that it will.


Salisbury Cathedral, Salisbury, England as part of the Salisbury Festival Baltic Centre for Contemporary Art, Gateshead, England P.S.1Contempoary Art Center, New York Now Festival, Nottingham, England The New Art Gallery Walsall, England

External links


Bibliography

Lilienthal, Matthias, Jorg Heiser, Eckhard Schneider, George Bures Miller and Janet Cardiff. Janet Cardiff & George Bures Miller: The Secret Hotel. Bregenz: Kunsthaus Bregenz, 2006. ISBN-10 386560014X ISBN-13 978-3865600141 Nemiroff, Diana. Elusive Paradise: The Millennium Prize. National Gallery of Canada. Ottowa, Canada. 2001. ISBN-10 0888847203 ISBN-13 978-0888847201

Berwick, Carley. Forty Harmonius Voices Drown Out Your Woes: Cardiff at MoMA."Bloomberg.com [http://www.cardiffmiller.com/press/texts/bloomberg01.01.pdf " Baker, Louise. "The NOW festival - Janet Cardiff's 'forty part motet'" [1] Easton, Anthony. "Janet Cardiff in conversation." Jacket 31 (October 2006)[2] straight.com Gilmam-Sevcik, Tim and Frantiska. "Janet Cardiff P.S.1," Flash Art No. 223 (March-April 2002): 102-3. Blanchette, Manon. "Sound or the Inner Element in the work of Janet Cardiff, Shirin Neshat, and Bill Viola, 'Sound Space'," Espace Sulpture No. 58 (Winter 2001-2002): 16-22. Boxer, Sarah. "Janet Cardiff, P.S. 1 Contemporary Center," ArtForum (September 2001): 66. Milroy, Sarah. "The Invisible Masterpiece," The Globe and Mail (March 8, 2001). Sundell, Margaret. "Janet Cardiff: P.S. 1 Contemporary Art Center, New York." ArtForum (January 2002).