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Jin-me Yoon
Andrea Kunard, Ming Tiampo; Designed by Barr Gilmore
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R1,179
Discovery Miles 11 790
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Ships in 12 - 17 working days
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"... I was able to make a simple gesture which left no permanent
mark on the land."In 1979 Marlene Creates signaled her intent. In
contrast to the monumental earthworks of that time, she revealed
that her interest in the intersection of art and the natural world
was with the ephemeral, the small scale, and the non-monumental,
and with place, "not as a geographical location," she writes, "but
as a process that involves memory, multiple narratives, ecology,
language, and both scientific and vernacular knowledge."
Supplementing the impermanence of her artistic gestures with the
technology of photography, Creates found an audience and created a
body of work without peer.Creates has sensitvely probed the
relationship between human experience and the natural world for
almost four decades. From her early works that record traces of the
human body on the land to her later explorations of poetry in situ
in the boreal forest and photography as an active medium -- where
the rush of water over the lens transforms the artist's own image
-- Creates leads us with an environmental and cultural
consciousness to a greater understanding of the language of the
natural world and our "places" in it.It is no easy task to sum up,
in a single book, a career that privileges the act over the
artifact, the moment over the monument. But under the direction of
curator-critics Susan Gibson Garvey and Andrea Kunard, Marlene
Creates: Places, Paths, and Pauses offers not only a broad view of
her work in photography but also a critical appreciation of her
multi-disciplinary approach (assemblages, memory-map drawings, and
video-poems) through essays by Gibson Garvey and Kunard, art
historian Joan M. Schwartz, nature writer Robert Macfarlane, and
poet Don McKay.Marlene Creates: Places, Paths, and Pauses
accompanies a major retrospective touring exhibition organized by
the Beaverbrook Art Gallery in partnership with the Dalhousie Art
Gallery. It will open in Fredericton in September 2017 and
thereafter will be shown at galleries in Halifax, Charlottetown,
St. John's, and other venues in central and western Canada.
The Cultural Work of Photography in Canada is an in-depth study on
the use of photographic imagery in Canada from the late nineteenth
century to the present. This volume of fourteen essays provides a
thought-provoking discussion of the role photography has played in
representing Canadian identities. In essays that draw on a
diversity of photographic forms, from the snapshot and advertising
image to works of photographic art, contributors present a variety
of critical approaches to photography studies, examining themes
ranging from photography's part in the formation of the geographic
imaginary to Aboriginal self-identity and notions of citizenship.
The volume explores the work of photographs as tools of self and
collective expression while rejecting any claim to a definitive,
singular telling of photography's history. Reflecting the rich
interdisciplinarity of contemporary photography studies, The
Cultural Work of Photography in Canada is essential reading for
anyone interested in Canadian visual culture. Contributors include
Sarah Bassnett (University of Western Ontario), Lynne Bell
(University of Saskatchewan), Jill Delaney (Library and Archives
Canada), Robert Evans (Carleton University), Sherry Farrell Racette
(University of Manitoba), Blake Fitzpatrick (Ryerson University),
Vincent Lavoie (Universite du Quebec a Montreal), John O'Brian
(University of British Columbia), James Opp (Carleton University),
Joan M. Schwartz (Queen's University), Sarah Stacy (Library and
Archives Canada), Jeffrey Thomas (Ottawa), and Carol Williams
(Trent University/University of Lethbridge).
... jai pu intervenir simplement, sans laisser de traces durables
sur le terrain. Jeune encore, lartiste Marlene Creates signalait
deja en 1979 son intention de se demarquer des installations de
terrassement monumentales de lepoque pour sinteresser, au confluent
de lart et du monde naturel, a lephemere, a la petite echelle, au
non monumental et au lieu, " pas tant comme endroit geographique, "
ecrit-elle, " que comme processus qui inclut la memoire, une
multiplicite de recits, lecologie, le langage et le savoir, tant
vernaculaire que scientifique. " En palliant le caractere ephemere
de ses interventions grace aux techniques photographiques, elle a
su trouver son public et creer une uvre hautement originale. Depuis
pres de quatre decennies, Creates sattarde avec sensibilite aux
rapports entre lexperience humaine et le monde naturel. Des ses
premieres uvres, preservant les empreintes du corps humain sur le
sol, et jusqua ses plus recentes explorations de poesie in situ
dans la foret boreale et de photographie comme medium actif, ou
elle laisse le ruissellement de leau sur lobjectif brouiller son
autoportrait, Creates exerce sa grande vigilance ecologique et
culturelle pour nous amener a mieux comprendre le langage du monde
naturel et les " lieux " que nous y occupons. Il est difficile de
rendre compte en un seul volume dune carriere qui a prefere lacte a
lartefact, le moment au monument. Or, sous la direction des
commissaires-critiques Susan Gibson Garvey et Andrea Kunard, Lieux,
sentiers et pauses propose au lecteur, en plus dune large gamme des
uvres photographiques de Marlene Creates, un examen critique de sa
demarche multidisciplinaire (assemblages, croquis de cartes-memoire
et poemes sur video) grace aux essais de Gibson Garvey, de Kunard,
de lhistorienne de lart Joan M. Schwartz, de lecrivain ecologiste
Robert Macfarlane et du poete Don McKay. Marlene Creates : Lieux,
sentiers et pauses accompagne limportante retrospective itinerante
organisee par la galerie d'art Beaverbrook, en partenariat avec la
Dalhousie Art Gallery. Apres son vernissage a Fredericton en
septembre 2017, lexposition visitera Halifax, Charlottetown, St.
Johns et dautres villes du centre et de louest du Canada.
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