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  • Crossing Borders

    More fences flash by six years later—this time at Esker Foundation in Calgary, Alberta. Fences of different patterns, designs, and materials change and morph throughout Postcommodity’s four-channel projection, A...

  • Crossing Borders

    The fence, the focus of A Very Long Line, is the symbol of constructed nationalism and a tool to shift transborder discourse. In an earlier related project discussing...

  • Crossing Borders

    The fences in A Very Long Line run in horizontal lines, then in tightly staggered vertical lines; most ominous are the heavy metal forms crossed to create forbidding...

  • Sarah Todd

    *Sarah Todd* is a curator currently living and working in Calgary, where she is an art curator and public programmer at the Glenbow Museum. She has previously worked...

  • Tyler J Stewart

    *Tyler J Stewart* is an independent writer, curator and musician based in Lethbridge, Alberta. With a BFA (Art History/Museum Studies) from the University of Lethbridge, his interests centre around...

  • Jem Noble

    *Jem Noble* (UK, 1974) lives and works in Vancouver (unceded Coast Salish territories). He repurposes media artifacts, stages gestures, screenings and performances, makes installations, publications and broadcasts, often working collaboratively....

  • Lindsay McIntyre

    *Lindsay McIntyre* is a film artist working with 16mm film and experimental, handmade and documentary techniques. Her short films circle themes of portraiture, place, form and personal histories. She has created...

  • Bruce Hugh Russell

    Born in Vancouver in 1952, Bruce Hugh Russell studied at the Vancouver School of Art (now Emily Carr University) and at Concordia University. An independent curator and art historian,...

  • Nicole Kelly Westman

    *Nicole Kelly Westman* is a visual artist of Métis and Icelandic descent. She grew up in a supportive home with strong-willed parents—her mother, a considerate woman with inventive creativity, and...

  • Editor's Note: Re-Ornamentation

    Kapwani Kiwanga, in her 2-channel sound installation 500 ft at Esker Foundation—part of her exhibition A wall is just a wall (and nothing more at all)—gives a 12-minute oral history of institutional...