Podcast appearances and mentions of rebecca belmore

On this episode of Below the Radar, our host Am Johal is joined by Hank Bull, an artist and curator whose administration and advocacy work has greatly contributed to artist-run culture in Canada. Hank discusses his work with the Western Front and Centre A, and he also brought along some props to give us a taste of what his past radio art sounded like! Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/254-hank-bull.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/254-hank-bull.html Resources: Hank Bull: https://hankbull.ca/ The HP Show: https://wavefarm.org/ta/archive/works/vae2da Western Front: https://westernfront.ca/ Centre A: https://centrea.org/ Vancouver Art Gallery: https://www.vanartgallery.bc.ca/ Bio: Hank Bull was born in 1949 in Moh'kins'tsis/Calgary and grew up in Toronto and small towns in southern Ontario. He became interested in art and music at an early age, mentored by a librarian, Graham Barnett, and encouraged by high school instructors Paavo Airola and David Blackwood. After travels in Europe in 1968, he studied drawing and photography in Toronto under Robert Markle and Nobuo Kuobota. In 1973, he moved to xwməθkwəy̓əm (Musqueam)/Vancouver to join the newly formed artist-run centre Western Front. In this interdisciplinary setting, he was exposed to mail art, poetry, ceramics, improvised music and video. He produced a weekly radio broadcast, cabaret performances, shadow theatre and telecommunications projects. During the 1980s he travelled in Asia, Africa and Europe, organized international exchanges and helped to develop a Canadian network of artist-run centres. He has worked in collaboration with a wide range of artists, including Kate Craig, Glenn Lewis, General Idea, Robert Filliou, William S. Burroughs, Kathy Acker, Michael Snow, Mona Hatoum, Antoni Muntadas, Steve Lacy, Tari Ito, Rebecca Belmore, Germaine Koh, Khan Lee, Cornelia Wyngaarden and many others. He has filled a variety of roles as artist, curator, writer, organizer and administrator. Throughout his career, he has continued an individual practice of painting, music, photography, video, sound and sculpture. He lives at the Western Front and spends a fair amount of time in swiya, territory of shíshálh Nation, as a member of the Storm Bay Art and Conservation Society. Cite this episode: Chicago Style Johal, Am. “The World Accordion To Hank — with Hank Bull.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, October 22, 2024. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/254-hank-bull.html.

While completing her BFA at Baylor University, Rebekah Danae's fourteen year painting practice was stylistically and thematically influenced by formative experiences in Belgium, studying Rene Magritte's surrealist blend of comedy and peril, and in Texas, learning from Sedrick Huckaby's metaphoric expressions offaith, community, and heritage.Sculpturally— through leatherwork and interior design— Danae's work has been influenced by the cowboy boot making community in Beggs, Oklahoma and the design firm of Christopher Murphy in Tulsa, Oklahoma. In practice, Danae draws inspiration from Virgil Abloh, who blurred the lines of art and commerce through the tools of contemporary culture; Rebecca Belmore's ability to elicit intimate moments of reflection while tackling tremendous contemporary issues; the liberatory mysticism of Afrofuturism philosophy; the fiber artists of the wearable art movement in the 70s; and from the community-based relational practice of Rick Lowe.Through her work, Rebekah Danae and A Creative House orchestrate a movement in the middle of the country, made up of a diverse creative choir. Far from a lone ranger, Danae works collaboratively across a curated network of Oklahomans— from the punk underground, homegrown rappers and producers, luxury interior designers, rodeo cowboys, rural bootmakers, to philanthropic, political, and educational leaders. Her approach, while whimsical and surreal, has the intended impact of critical regional culture-shaping from the current white supremacy that is prevalent regionally today and toward a co-created futurist Oklahoma, the liberated West.

How do bureaucratic documents create and reproduce a state's capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing: Documentation, Administration, and the Interventions of Indigenous Art (Fordham University Press, 2023) by Dr. Danielle Taschereau Mamers investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Dr. Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialise identity categories in the service of colonial governance. Her analysis of bureaucratic artefacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L'Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Dr. Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorising decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada's complex and violent relationship with Indigenous peoples. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How do bureaucratic documents create and reproduce a state's capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing: Documentation, Administration, and the Interventions of Indigenous Art (Fordham University Press, 2023) by Dr. Danielle Taschereau Mamers investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Dr. Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialise identity categories in the service of colonial governance. Her analysis of bureaucratic artefacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L'Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Dr. Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorising decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada's complex and violent relationship with Indigenous peoples. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

How do bureaucratic documents create and reproduce a state's capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing: Documentation, Administration, and the Interventions of Indigenous Art (Fordham University Press, 2023) by Dr. Danielle Taschereau Mamers investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Dr. Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialise identity categories in the service of colonial governance. Her analysis of bureaucratic artefacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L'Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Dr. Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorising decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada's complex and violent relationship with Indigenous peoples. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

How do bureaucratic documents create and reproduce a state's capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing: Documentation, Administration, and the Interventions of Indigenous Art (Fordham University Press, 2023) by Dr. Danielle Taschereau Mamers investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Dr. Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialise identity categories in the service of colonial governance. Her analysis of bureaucratic artefacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L'Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Dr. Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorising decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada's complex and violent relationship with Indigenous peoples. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How do bureaucratic documents create and reproduce a state's capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing: Documentation, Administration, and the Interventions of Indigenous Art (Fordham University Press, 2023) by Dr. Danielle Taschereau Mamers investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Dr. Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialise identity categories in the service of colonial governance. Her analysis of bureaucratic artefacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L'Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Dr. Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorising decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada's complex and violent relationship with Indigenous peoples. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

“Wright” with a “W, spider webs, sewing needles, Dune, grief, and Black and Blue. Join the friends as they visit Going Dark: The Contemporary Figure at the Edge of Visibility. Artists include: American Artist, Kevin Beasley, Rebecca Belmore, Dawoud Bey, John Edmonds, Ellen Gallagher, David Hammons, Lyle Ashton Harris, Tomashi Jackson, Titus Kaphar, Glenn Ligon, Kerry James Marshall, Tiona Nekkia McClodden, Joiri Minaya, Sandra Mujinga, Chris Ofili, Sondra Perry, Farah Al Qasimi, Faith Ringgold, Doris Salcedo, Lorna Simpson, Sable Elyse Smith, Stephanie Syjuco, Hank Willis Thomas, WangShui, Carrie Mae Weems, and Charles White.

Brendan and Clint sit down next to Clint's two cubic foot wood fired test kiln to chat about his path in the world of ceramics. They cover topics ranging from Ford flat tops, being introduced to the extended family of ceramics, working with the amazing Rebecca Belmore, and his time in the military. Before the interview the gang chats about the pros and cons of working in a rural versus urban setting, and its effects on their art practice.  Today's Kaolin Crushes are: Christopher Reid Flock, Behnaz Fatemi, and Makiko Hicher Nakamura.   Today's episode is brought to you by: For the past 100 years, AMACO Brent has been creating ceramic supplies for our community ranging from underglazes to Electric kilns, ...and they have no plans of slowing down. www.amaco.com

Rebecca Belmore is one of Canada's most important artists and is now having her first Australian solo show. Plus, visit Sally Smart's studio, inspired by one of the most influential dance companies of the twentieth century. And Yuki Kihara's Venice Biennale entry Paradise Camp, where the artist reimagines tropes used by Paul Gauguin and Samoan tourism brochures, with a Fa'afafine cast.

Rebecca Belmore is one of Canada's most important artists and is now having her first Australian solo show. Plus, visit Sally Smart's studio, inspired by one of the most influential dance companies of the twentieth century. And Yuki Kihara's Venice Biennale entry Paradise Camp, where the artist reimagines tropes used by Paul Gauguin and Samoan tourism brochures, with a Fa'afafine cast.

Rebecca Belmore is one of Canada's most important artists and is now having her first Australian solo show.Plus, visit Sally Smart's studio, inspired by one of the most influential dance companies of the twentieth century.And Yuki Kihara's Venice Biennale entry Paradise Camp, where the artist reimagines tropes used by Paul Gauguin and Samoan tourism brochures, with a Fa'afafine cast.

Rebecca Belmore is one of Canada's most important artists and is now having her first Australian solo show. Plus, visit Sally Smart's studio, inspired by one of the most influential dance companies of the twentieth century. And Yuki Kihara's Venice Biennale entry Paradise Camp, where the artist reimagines tropes used by Paul Gauguin and Samoan tourism brochures, with a Fa'afafine cast.

Episode 12: Where is the Land in Landscape?   “Where is the Land in Landscape?” investigates the histories of landscape painting in the canon of Western Art and assesses a few contemporary works of art that counter European modes of thinking about land, territory, nature and the environment. In the first part of the episode we cover historical painters working in Dutch, French, British and American landscape traditions. In the second part we at contemporary art including Cherokee artist Kay WalkingStick's paintings of place and space, the protest performance art piece Mirror Shield Project: Water Serpent Action at the Oceti Sakowin initiated by Cannupa Hanska Luger and Rory Wakemup, and Rebecca Belmore's Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother.   Sources + further reading: Adams, Ann Jensen. “Competing Communities in the ‘Great Bog of Europe': Identity and Seventeenth-Century Dutch Landscape Painting.” In Mitchell (see below). Auricchio, Authors: Laura. “The Transformation of Landscape Painting in France.” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/lafr/hd_lafr.htm. Baetjer, Authors: Katharine. “Claude Lorrain (1604/5?–1682).” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/clau/hd_clau.htm. Belmore, Rebecca. Artist's website. https://www.rebeccabelmore.com/. Benally, Razelle. How to Build Mirror Shields for Standing Rock Water Protectors, 2016. https://vimeo.com/191394747. Cole, Thomas. View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow. Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/10497. Hanska, Cannupa. “MIRROR SHIELD PROJECT.” Accessed December 12, 2021. http://www.cannupahanska.com/mniwiconi. Harris, Beth and Steven Zucker. "Constable and the English Landscape." Smarthistory, August 9, 2015. https://smarthistory.org/constable-and-the-english-landscape/. Liedtke, Authors: Walter. “Landscape Painting in the Netherlands.” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/lpnd/hd_lpnd.htm. Mitchell, W. J. T. Landscape and Power.  Chicago: University of Chicago Press, 1994. Morris, Kate. Shifting Grounds: Landscape in Contemporary Native American Art. Seattle: University of Washington Press, 2019. Tate. “Landscape – Art Term.” Tate. https://www.tate.org.uk/art/art-terms/l/landscape. WalkingStick, “Kay. Artist's website. http://www.kaywalkingstick.com/.   Music Credits: Alfred Cellier (British) - The Pirates of Penzance (Overture) https://commons.wikimedia.org/wiki/File:DOyly_Carte_1957_-_The_Pirates_of_Penzance_01_-_Overture.ogg Hector Berlioz (French) - Symphonie Fantastique 2nd movement excerpt https://commons.wikimedia.org/wiki/File:Hector_Berlioz_Symphonie_fantastique_2nd_movement_excerpt.mp3 Patrick Gilmore (American) - When Johnny Comes Marching Home https://commons.wikimedia.org/wiki/File:When_Johnny_Comes_Marching_Home,_U.S._Military_Academy_Band.wav Standing Rock Water Protestors https://commons.wikimedia.org/wiki/File:Call_to_block_Pipeline_CannonBall_,North_Dakota_SACRED_STONE_CAMP.webm   Credits: Season 2 of Unboxing the Canon is produced by Professor Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Our sound designer, co-host and contributing researcher is Madeline Collins.  Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum Agreement. Today this gathering place is home to many First Nations, Métis and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. Our logo was created by Cherie Michels. The theme song has been adapted from “Night in Venice” Kevin MacLeod and is licensed under Creative Commons Attribution International 4.0. Grants from the Humanities Research Institute and from Match of Minds at Brock University support the production of this podcast, which is produced as an open educational resource. Unboxing the Canon is archived in the Brock Digital Repository. Find it at https://dr.library.brocku.ca/handle/10464/14929   You can also find Unboxing the Canon on any of the main podcast apps. Please subscribe and rate our podcast. You can also find us on Twitter @CanonUnboxing and Instagram @unboxingthecanon or you can write to unboxingthecanon@gmail.com 

On The Fringe! is a discussion-based podcast that looks at, critiques, and examines different kinds of feminist performance art. In this episode of On the Fringe!, our hosts Bronwyn, Emily, Gaby, and Grace take a look at Rebecca Belmore's compelling performative photograph entitled Fringe, and discuss how Indigenity, femininity, and the dichotomy of violence/healing impact Belmore's work.

Matt Pine is Toronto-based mixed-media and spray-paint artist. He works with mixed-media as he finds that it allows him to keep pushing boundaries and exploring new ways of expressing himself. To create his images, Matt works with multiple models and photographers around the world. His artistic toolbox ranges from photography and digital drawings to spray painted portraits and custom clothing creations. His paintings depict the juxtaposition of beauty and resilience in the face of struggle. Each of Matt’s subjects has faced some form of trauma or life difficulty and overcome it. It is a modern-day reminder not to judge a book by its cover. Matt’s style is heavily influence by his past in tattooing and graffiti. As such, his style can be explained as taking street art, cleaning it up a bit, and bringing it indoors. It is a meeting of raw experience and raw emotion, thoughtfully processed and translated onto the canvas. Learn more about the artist:  https://www.mattpineart.com/ https://www.instagram.com/mattpineart/   Learn more about the podcast and podcast host: http://curatoronthego.com/podcast/ https://www.instagram.com/curatoronthego/   Sponsor: Imagefoundry - a Toronto-based fine art printing boutique that specializes in edition printing, art documentation, editing, custom art reproduction projects and retouching work. Imagefoundry always uses top-notch materials and offers affordable prices and flawless execution. They produce ultra-sharp, direct scans from artworks of any size. Imagefoundry is proud to be a green business that re-uses up to 75% of packaging materials, as well as uses water-based inks, adhesives made from natural materials, and safe, food-grade chemicals for photographic processing.  Imagefoundry's clients include artists: Rebecca Belmore, Suzy Lake, John Massey, Jeffrey James and organizations like the Art Gallery of Ontario and Art Gallery of Hamilton among many others.  Imagefoundry always supports the local art community and provides its storefront space for solo and group shows. Visit https://www.imagefoundry.ca/ to book an appointment and learn more about the company and its services.    

Hello! You are listening to Curator on the Go Podcast and I am Liza - your host! Today, I had the pleasure of speaking to Toronto-based artist Madeleine Gross.  Madeleine customizes her photographs with paint in a way designed to abstract landscapes but without completely abstracting reality. A graduate of the Ontario College of Art and Design where she gained a Bachelor of Fine Arts in Photography, Madeleine intuitively applies gesture, texture, color, and strokes with paint with the idea of emulating an immersive reality for viewers and in turn induces the sensation of actually being there just by looking. The inspiration she finds in nature, light and the effortlessly entertaining pastime of people watching can be felt in her images; with textural color layers and a realistic movement, her images embody the ripped water from a jet sky, ocean waves, the fresh beach breeze. Positive connotations are at the heart of her work, with each of the photographs taken on her trips across the globe, all enhanced by a warm and bright palette applied through a few happy strokes of a brush. Her past clients are KitKat Canada, Fashion Magazine Canada, i-D Magazine, Nike Air Society, Roads Group, among others. Her art was featured at CBC Arts, Fashion Magazine, Saatchi Art, Interview Magazine Germany, Redmilk, etc. I’ve been a big fan of Madeleine’s work and excited to have her as my podcast guest. Enjoy! Find more information about Madeleine at: https://www.madeleinegross.com/contact-us/ https://www.instagram.com/madeleinegross/   Learn more about the show and the podcast host: http://curatoronthego.com/podcast   Before we continue, I want to thank today’s episode sponsor Imagefoundry - a Toronto-based fine art printing boutique that specializes in edition printing, art documentation, editing, custom art reproduction projects and retouching work. Imagefoundry always uses top-notch materials and offers affordable prices and flawless execution. They produce ultra-sharp, direct scans from artworks of any size. Imagefoundry is proud to be a green business that re-uses up to 75% of packaging materials, as well as uses water-based inks, adhesives made from natural materials, and safe, food-grade chemicals for photographic processing.  Imagefoundry's clients include artists: Rebecca Belmore, Suzy Lake, John Massey, Jeffrey James and organizations like the Art Gallery of Ontario and Art Gallery of Hamilton among many others.  Imagefoundry always supports the local art community and provides its storefront space for solo and group shows. Visit https://www.imagefoundry.ca/ to book an appointment and learn more about the company and its services.  

Hello! You are listening to Curator on the Go Podcast! Today, I had the pleasure of speaking to US-based artist Nicholas William. From his early simple shapes to his current smooth line-work, Nicholas’ studio practice has now grown into something that feels familiar but removed from its standard context. Curiosity, communication, Micro-Cultures, Digital Technologies, and Education. This is where Nicholas's inspiration comes from. Over the years, Nicholas presented his work in a number of solo and group shows and sold art to private collectors across the globe. Find more information about the artist: https://bynicholaswilliam.com/ https://www.instagram.com/bynicholaswilliam/   Learn more about the podcast and the podcast host: http://curatoronthego.com/ https://www.instagram.com/curatoronthego/    I want to thank today’s episode sponsor Imagefoundry - a Toronto-based fine art printing boutique that specializes in edition printing, art documentation, editing, custom art reproduction projects and retouching work. Imagefoundry always uses top-notch materials and offers affordable prices and flawless execution. They produce ultra-sharp, direct scans from artworks of any size. Imagefoundry is proud to be a green business that re-uses up to 75% of packaging materials, as well as uses water-based inks, adhesives made from natural materials, and safe, food-grade chemicals for photographic processing.  Imagefoundry's clients include artists: Rebecca Belmore, Suzy Lake, John Massey, Jeffrey James and organizations like the Art Gallery of Ontario and Art Gallery of Hamilton among many others.  Imagefoundry always supports the local art community and provides its storefront space for solo and group shows. Visit https://www.imagefoundry.ca/ to book an appointment and learn more about the company and its services.  

Hello! You are listening to Curator on the Go Podcast! Today I have the pleasure of speaking to Toronto-based visual artist David Brown. David graduated from the Ontario College of Art and Design in 1992. He has a 25-year award-winning career in the international art and design industry. David taught Industrial Design at OCADU while operating a successful product design studio. David is the founder and managing director of Toronto’s SpeakEasy, creating networking opportunities for established and emerging artists since 1996. In 2013, he initiated the Five Star collective aimed at facilitating member participation in international art fairs. David’s abstract encaustic paintings have been shown at numerous galleries and museums across Canada and the U.S. Recently he had a solo exhibition at The Painting Center in NYC. His paintings are held in private and corporate collections in North America, Europe, and Asia. The products he designed have been sold across North America, and his work has been published in books and magazines throughout Canada and the United States, such as Azure, Canadian Art, Style at Home, House and Home and The Toronto Star to name a few. You can learn more about David at:  http://www.encausticcollage.com/EncausticCollage/home.html https://www.instagram.com/encausticman/   You can learn more about this podcast and podcast host at:  http://curatoronthego.com/podcast/ https://www.instagram.com/curatoronthego/   I want to thank today’s episode sponsor Imagefoundry - a Toronto-based fine art printing boutique that specializes in edition printing, art documentation, editing, custom art reproduction projects and retouching work. Imagefoundry always uses top-notch materials and offers affordable prices and flawless execution. They produce ultra-sharp, direct scans from artworks of any size. Imagefoundry is proud to be a green business that re-uses up to 75% of packaging materials, as well as uses water-based inks, adhesives made from natural materials, and safe, food-grade chemicals for photographic processing.  Imagefoundry's clients include artists: Rebecca Belmore, Suzy Lake, John Massey, Jeffrey James and organizations like the AGO and Art Gallery of Hamilton among many others. Imagefoundry always supports the local art community and provides its storefront space for solo and group shows. Visit https://www.imagefoundry.ca/ to book an appointment and learn more about the company and its services.  

Vous pouvez télécharger l’épisode ici! Entrevue Nous parlons avec l’artiste performatrice Rebecca Belmore et de la commissaire Wanda Nanibush à l’occasion de l’exposition Braver le monumental actuellement au Musée d’Art Contemporain de Montréal. L’exposition Braver le monumental se poursuit jusqu’au 6 octobre prochain. Vous trouverez tous les détails sur le site du Musée d’Art Contemporain... Read more »

  In 2008 Rebecca Belmore created piece of art called Fringe.    It's a photograph of a woman, reclining, her back to us.   Sown into her back are fringes, hanging down, some red, some white.  You might see these on the … Continue reading →

  In 2008 Rebecca Belmore created piece of art called Fringe.    It’s a photograph of a woman, reclining, her back to us.   Sown into her back are fringes, hanging down, some red, some white.  You might see these on the bottom of a skirt for instance.  The scar running the length of her back is […]

Rebecca Belmore's Wave Sound sculptures encouraged people to pause and listen to the wind and waterways. Listen to soundscapes recorded at the three locations: Lake Minnewanka's shoreline in Banff National Park (Alberta); Lake Superior's ridge at Pukaskwa National Park (Ontario, near Ojibways of the Pic River First Nation); and Green Point's seaside cliffs in Gros Morne National Park (Newfoundland).

Rebecca Belmore's Wave Sound sculptures encouraged people to pause and listen to the wind and waterways. Listen to soundscapes recorded at the three locations: Lake Minnewanka's shoreline in Banff National Park (Alberta); Lake Superior's ridge at Pukaskwa National Park (Ontario, near Ojibways of the Pic River First Nation); and Green Point's seaside cliffs in Gros Morne National Park (Newfoundland).

Rebecca Belmore's Wave Sound sculptures encouraged people to pause and listen to the wind and waterways. Listen to soundscapes recorded at the three locations: Lake Minnewanka's shoreline in Banff National Park (Alberta); Lake Superior's ridge at Pukaskwa National Park (Ontario, near Ojibways of the Pic River First Nation); and Green Point's seaside cliffs in Gros Morne National Park (Newfoundland).

Rebecca Belmore’s Wave Sound sculptures encouraged people to pause and listen to the wind and waterways. Listen to soundscapes recorded at the three locations: Lake Minnewanka’s shoreline in Banff National Park (Alberta); Lake Superior’s ridge at Pukaskwa National Park (Ontario, near Ojibways of the Pic River First Nation); and Green Point’s seaside cliffs in Gros Morne National Park (Newfoundland).

Rebecca Belmore’s Wave Sound sculptures encouraged people to pause and listen to the wind and waterways. Listen to soundscapes recorded at the three locations: Lake Minnewanka’s shoreline in Banff National Park (Alberta); Lake Superior’s ridge at Pukaskwa National Park (Ontario, near Ojibways of the Pic River First Nation); and Green Point’s seaside cliffs in Gros Morne National Park (Newfoundland).

Rebecca Belmore’s Wave Sound sculptures encouraged people to pause and listen to the wind and waterways. Listen to soundscapes recorded at the three locations: Lake Minnewanka’s shoreline in Banff National Park (Alberta); Lake Superior’s ridge at Pukaskwa National Park (Ontario, near Ojibways of the Pic River First Nation); and Green Point’s seaside cliffs in Gros Morne National Park (Newfoundland).

Discover contemporary, feminist artist, an Anishinaabe Quay woman from Northern Ontario and her evocative work, "Fringe." I will also draw comparisons to Christ's crucifixion through artists like Caravaggio and Carracci. Learn more about Rebecca at her website: rebeccabelmore.com and view her artistic process through this youtube link: https://www.youtube.com/watch?v=4VI1OJkY5bAThank you to Global 365 Logistics for sponsoring this episode. www.global365logistics.com

Discover contemporary, feminist artist, an Anishinaabe Quay woman from Northern Ontario and her evocative work, "Fringe." I will also draw comparisons to Christ's crucifixion through artists like Caravaggio and Carracci. Learn more about Rebecca at her website: rebeccabelmore.com and view her artistic process through this youtube link: https://www.youtube.com/watch?v=4VI1OJkY5bAThank you to Global 365 Logistics for sponsoring this episode. www.global365logistics.com