Description: The article examines author Gertrude Stein's literary portraiture inside her own ideas about cubism. The link of Stein's literary work to the visual style of cubism is discussed. Some passages from her book "Tender Buttons" are compared. Stein outlines three reasons for cubism in her work. This is a post–peer-review, pre-copyedited version of an article published in Critical Survey. The definitive publisher-authenticated version is available in Critical Survey, Vol. 17, No. 3 (2005), pp. 66-84, http://search.ebscohost.com/login.aspx?direct=true&AuthType=shib&db=a9h&AN=19657058&site=ehost-live&custid=s1190300
Description: This essay by Richard William Hill is included in the exhibition catalogue for TURTLE/Television Island Exhibit, featuring the work of James Luna and ssipsis, at USM Art Gallery, Gorham, September 24 - November 10, 2010, curated by Carolyn Eyler. "They live on opposite shores of this continent natives call TURTLE ISLAND. James Luna, internationally recognized performance and installation artist and member of the Puyoukitchem [Luiseño] tribe based in La Jolla, California; and ssipsis, a Penobscot author and the only woman birch bark artist from Maine, challenge us with their art and activism" -- Cover. "
Description: Commissioned by AKA Artist-Run and supported by the Canada Council for the Arts’ New Chapter initiative, Locals Only is a large-scale multi-year art project that explores food security, community led resource development, and intergenerational exchange in the core Saskatoon neighbourhood of Riversdale. As one of the oldest neighbourhoods in the city, Riversdale hosts some of the most diverse and culturally rich communities in the region, and yet is simultaneously facing unprecedented pressures from encroaching gentrification along with long-standing issues related to accessing locally-sourced sustenance. In response, Locals Only takes the form of a mobile food service that deploys socially engaged art, local knowledge, and long-form hospitality to cultivate a community-based exploration of reciprocity by redeploying symbolic representations of gentrification into the hands of longtime community residents. Through a collaborative partnership with AKA Artist-Run and CHEP Good Food Inc., a 25-year old Riversdale-based organization with significant expertise in food-based community development through working with children, families and communities to improve access to good food and promoting food security, Locals Only will operate as an elder-guided, artist-designed, and youth-operated mobile programming space in the shape of a food service truck. Locals Only will also serve as a platform for intercultural dialogue and intergenerational capacity building by sharing traditional knowledge around food, hospitality, and community development from long-time Riversdale residents of Indigenous, Chinese, Ukrainian, Russian, and Francophone backgrounds. Importantly, this prioritisation of local history acts as a key instigator for intentional, yet immaterial, outcomes that result from the project in the form of empowerment, authorship, and securing visibility and verbal and visual space for marginalized residents. Locals Only is one of 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter initiative. With this $35 million initiative, the Council supports the creation and sharing of the arts in communities across Canada. Locals Only was developed with preliminary research funding from the Saskatchewan Arts Board Artists in Communities grant. Thank you to Saskatoon residents, small businesses, artists and academics who generously gave of their time and knowledge in the first research stage of Locals Only. Locals Only is curated by Tarin Dehod, organized with Yvonne Hanson.
Description: Exhibited at the Centre Pompidou in Paris and at the Street Meet Festival in Saskatoon, Decisions, Decisions is a temporary and interactive text-based installation. The statements for Decisions, Decisions are based on exaggerations and distortions of familiar rhetoric from community consultations, urban development, campaign slogans, and protest placards. The text is ambiguous or unsettled, designed to encourage a plurality of understandings, highlighting the diversity of our own interests and affinities in a public space. However, each statement is also more complex than it might appear at first glance, aiming to offer a sense of instability or shifting priorities for the viewer. Drawing on this kind of language, the poster series also interjects other logics and potentials by encouraging participation based on either agreement, disagreement, or ambivalence, using small sticker dots normally found in asset mapping activities and based on added complications based on footnoted questions in a corresponding booklet. Decisions, Decisions aims to capture a sense of possibility and power in the language we use to describe ongoing, and yet subtle, political struggle.
Description: Published in conjunction with Black Dog Publishing, UK, this richly illustrated book includes critical essays on concrete poetry and Michael Morris, featuring a chronology of Morris’s prolific practice from the mid-1960s onwards. It follows the 2012 exhibition of the same name that was held at the Belkin Art Gallery, which focused on a series of large-scale paintings with inserted mirrors that Morris made in 1969 — his last paintings until the early 1980s — brought together at the Belkin for the first time since then. The Belkin’s show presented the paintings in the context of contemporaneous examples of concrete poetry, a practice that had influenced Morris and catalyzed his move into other forms of art making such as sculpture, photography and performance, examples of which were also represented in the exhibition. This book focuses on Morris’s activity in the late 1960s and his “last paintings,” in an attempt to restore them to an art historical context.
Description: Within the Anglo-American critical tradition, concrete poetry and conceptual art largely disavow each other. When representatives of one speak of the other, it is often to dismiss it or undercut its legitimacy as a poetic or artistic movement. The purpose of this essay is to orchestrate a rapprochement, in order that they might begin speaking to each other again. University of Wisconsin Press: Contemporary Literature Journal: https://uwpress.wisc.edu/journals/journals/cl.html
Description: Essay in a catalogue of an exhibition held at Gallery 44, Toronto, May 6-June 5, 2004. Exhibition description: Frustrated in his search for archival testimonies of aboriginal experience, Thomas turned to historic studies produced by white photographer Curtis and ethnographer Knowles as sources for discoursing with history. A Study of Indian-ness is based upon fictive conversations between the artist and these historic persons.
Description: Kent Monkman’s work fascinates. An artist of Cree origin he revisits North American historical events and western cultural representations, often under the guise of Miss Chief Eagle Testickle, his alter ego, the sexy and extravagant diva warrior. His aesthetics and drama have the effect of drawing out both what has been erased and concealed in the historical inscription of aboriginal culture the repressed desire and troubled fascination that have paradoxically contributed to shaping it. In Interpellations. Three Essays on Kent Monkman the art historians Jonathan D. Katz, Richard W. Hill and Todd Porterfield offer perspectives and analyses on Monkman’s work that address history and genre painting, the queered Romantic landscape, the shifting and unfixed subject, race, sexuality, conquest and sovereignty, and modern versus discontinuous temporality.
Name: Hill, Richard W., Katz, Jonathan D., Porterfield, Todd