Tuesday, September 13, 2011 | 7-9pm
Emily Carr Lecture Theatre | Room 301, South Building
The Faculty of Visual Art + Material Practice, Emily Carr University of Art and Design and the Canadian Photographic Portfolio Society Present: Through the Lens: Photography and Contemporary Art is a CPPS Panel Discussion featuring Mark Lewis, Liz Magor, Marianne Nicolson, and Ian Wallace, moderated by Kathleen Ritter.
One could argue that, out of any technological changes, the advent of photography in the mid-nineteenth century has most fundamentally altered the way we see the world around us. Photography’s influence in our daily lives has been pervasive, and its growing ubiquity and impact over the course of the twentieth century has been intimately tied to systems of belief, power, and ideology. In short, one can no longer help but see the world through a lens.
Likewise, photography’s impact on art has been profound. Of particular interest are the ways in which other traditional art forms have responded to the development of photography. How has painting changed to accommodate or reject photography? How does sculpture revision itself in relation to photographic ways of seeing? For artists working across media, what role does photography play in the changing modes of representation?
A one-night panel discussion, moderated by Kathleen Ritter (‘00), is structured around a question posed to four artists—Mark Lewis (’11 D.Litt), Liz Magor (’71), Marianne Nicolson (’96), and Ian Wallace (former professor ’72-‘98)—who work across disciplines: What role does photography play in your practice?
Mark Lewis (b. 1957, Hamilton, Ontario) lives and works in London, England. He attended Harrow College of Art (London) and the Polytechnic of Central London. Lewis began making films in the mid-1990s. He has had numerous solo exhibitions, including: the Hamburger Kunstverein, Musee d’art Moderne (Luxembourg), BFI Southbank (London), the National Museum of Contemporary Art (Bucharest), International and National Projects -P.S.1 Contemporary Art Center, (New York) and the Vancouver Art Gallery. In 2009 Lewis represented Canada in the 53rd Biennale di Venezia.
Liz Magor (b. 1948, Winnipeg, Manitoba) studied at the University of British Columbia (1966-68), Parson’s School of Design (1968-70) and Vancouver School of Art (now Emily Carr University of Art + Design, Diploma 1971). Since the early 1970s Magor has produced numerous sculptural and photo-based works that have addressed issues of place and refuge, creation and transformation, production and reproduction, identity and the material condition of the human body. Magor’s work has been exhibited nationally in solo exhibitions and she has also been selected to represent Canada in such major international exhibitions as Notion of Conflict: A Selection of Contemporary Canadian Art (Stedelijk Musuem, Amsterdam, 1995), Documenta VIII (1987) and the 41st Biennale di Venezia (1984).
Marianne Nicolson (b. 1969, Comox, British Columbia) is a member of the Dzawada’enuxw Tribe of the Kwakwaka’wakw First Nations. She holds a BFA from Emily Carr University of Art and Design and a MFA in Visual Art from the University of Victoria. Her work has been shown both nationally and internationally at venues such as the National Indian Art Centre, the Taipei Fine Arts Museum, the Jordan National Gallery, the Vancouver Art Gallery and the National Gallery of Canada. Currently she is conducting PhD research on the conceptualization of space and time in Kwakwaka’wakw language and art and the importance of indigenous language to indigenous worldview.
Ian Wallace (b. 1943, Shoreham, England) has lived in Canada since 1944 where he has played a critical role in the development of contemporary art since the late 1960s. He has cultivated a unique visual language that critically reflects the ambitions of modernism through the process of image-making, often by inserting the photographic image into the space of monochrome painting. Wallace has exhibited his work extensively nationally and internationally. Wallace was recognized with the Molson Prize from the Canada Council for the Arts in 2009, Canada’s Governor General’s Award in Visual Art in 2004, and a VIVA Award of Honour in 1997.
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