User:Winged Blades of Godric/Salvaged stuff

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Manasie Akpaliapik[edit]

Manasie Akpaliapik (23 August 1955) is a Canadian Inuit artist, based in Ottawa and Montreal. Akpaliapik was born in a hunting camp in the vicinity of Arctic Bay on Baffin Island.[1]

Akpaliapik learned to carve by observing his parents, Lazaroosee Akpaliapik and Nakyuraq Akpaliapik, his adopted grandparents, artists Peter Ahlooloo and Elisapee Kanangnaq Ahlooloo and his maternal great aunt Paniluk Qamanirq.[2] His grandparents are deceased.[3]

He moved with his family to Arctic Bay in 1967, and at the age of twelve was sent to residential school in Iqaluit. Objecting to restrictions on the use of Inuktitut and traditional inuit beliefs, he left the school when he was sixteen and returned to Arctic Bay with his wife Noodloo. After the death of Noodloo and their two children in a housefire in 1980, Akpaliapik moved to Montreal where he resumed his sculpture. Later, Akpaliapik moved to Toronto. [4]

A Canada Council grant in 1989 made it possible for Akpaliapik to return to Arctic Bay to learn drum dancing and kayak making and research and collect stories told by elders. [4]

Two works by Akpaliapik are in the collection of the National Gallery of Canada: Qalupiluk (1991), a sea monster from a cautionary tale who lures children onto the sea ice, capturing them in his parka that serves a a metaphor for the problems facing young inuit—unemployment, drugs and alcohol.[5] Untitled (1991) is a whalebone sculpture of a head, with a soapstone bottle inserted in the skull, also deals with alcohol abuse among Inuit. [6]

Work that Akpaliapik created while living in Toronto has been exhibited at the Art Gallery of Ontario since June 2014.[1] The Winnipeg Art Gallery exhibited his work in 1990 in a show curated by Darlene Wright called Manasie: The Art of Manasie Akpaliapik.[7]

Akpaliapik believes that art serves a constructive atavistic role of restoring important elements of past culture, even though he has not fully lived them.[3]

Akpaliapik has mentioned that he likes the work of Robert Davidson and his brother Bill Reid. [3]

Tools and materials[edit]

Akpaliapik works with bone, ivory and stone, narwhal tusk[3], walrus tusk[3], (northern) soapstone, marble, indiana stone, caribou antler. [3] In an interview with John Ayre from 1993, [8] Akpaliapik learned to use rotary tools from artists in Montreal, and spends $3500 annually on sandpaper, glues and carbide steel and diamond tools for hard stone.[3]

Collections[edit]

An Inukshuk by Akpaliapik is installed on the rooftop of WAG.[9]

Shaman Summoning Taleelayuk to Release Animals (1989) is in the collection of the Winnipeg Art Gallery [10]

Timeline[edit]

  • 1955 birth
  • 1965 10 years old
  • 1967 relocation to Arctic Bay, went to school [3]
  • ???? Pond Inlet (a couple of years)
  • ???? Back to Arctic Bay
  • ???? sent to Iqaluit for 4 years
  • ???? Exchange student to Greenland
  • ???? Married
  • ???? Went to Red River College in Winnipeg
  • ??? Started carving Muskoxen to make money
  • ???? worked for the government and on oil rigs
  • ???? working for a mine
  • 1981 ("twelve years ago") fire
  • ???? Canada Council Grant ("a couple of years ago")
  • ???? went north to study Noah Piugatuk from Igloolik,Philip Qarnanirq from Arctic Bay, and another man from Pond Inlet.
  • 1982 moved to Montreal ("lived in Montreal for about five years before moving to Toronto")[3]
  • 1985 Uumajut: Animal Imagery in Inuit Art, curated by Bernadette Driscoll, Winnipeg Art Gallery, Winnipeg, Manitoba
  • 1987 move to Toronto (ayres93)
  • 1990 Arctic Mirror, curated by Odette Leroux, Canadian Museum of Civilization, Gatineau, Quebec
  • 1990 Manasie: The Art of Manasie Akpaliapik, curated by Darlene Wight, Winnipeg Art Gallery,  Winnipeg, Manitoba
  • 1991 Earth Spirit Festival Toronto[3]
  • 1992 New Territories 350/500 Years After
  • 1992 Inuit Art: Drawings and Recent Sculpture, curated by Marie Routledge, National Gallery of Canada, Ottawa, Ontario
  • 1993 Cover of Inuit Art quarterly [11]
  • 1993 Multiple Realities: Inuit Images of Shamanic Transformation, curated by Darlene Wight, Winnipeg Art Gallery, Winnipeg, Manitoba
  • 1993 interview with Ayre 6 years in Toronto
  • 1995 Immaginario Inuit Arte e cultura degli esquimesi canadesi, curated by Darlene Wight, Galleria d'Arte Moderna e Contemporanea, Verona, Italy
  • 1997 “Itinéraire Inuit”: Rencontrer un people à travers son art, UNESCO, Paris, France
  • 2014 exhibit in the AGO

See also[edit]

  • Abraham Apakark Anghik
  • Jimmy Inaruli Arnamissak
  • Lucassie Ikkidluak
  • Mattiusi Iyaituk
  • Isa Oomayoualook
  • Pitseolak Qimirpik
  • Nalenik Temela
  • Lucy Tunguak Tiqik
  • Ashevak Tunneillie
  • Judas Ullulaq[12]

References[edit]

  1. ^ a b "Manasie Akpaliapik | AGO Art Gallery of Ontario". www.ago.net. Retrieved 2016-09-10.
  2. ^ "Manasie Akpaliapik (1955- ), Inuit artist biography and portfolio". Retrieved 2016-09-10.
  3. ^ a b c d e f g h i j Ayre, John (1993). "Carving Is Healing to Me: An Interview with Manasie Akpaliapik" (PDF). Inuit Art Quarterly. 8 (4): 34–42. ISSN 0831-6708.
  4. ^ a b "Manasie Akpaliapik - National Gallery of Canada | National Gallery of Canada".
  5. ^ "Qalupiluk. Manasie Akpaliapik 1991". www.gallery.ca. Retrieved 2016-09-10.
  6. ^ "Untitled. Manasie Akpaliapik 1991". www.gallery.ca. Retrieved 2016-09-10.
  7. ^ "http://www.inuitartalive.ca/index_e.php?p=87". {{cite web}}: External link in |title= (help)
  8. ^ http://inuitartfoundation.org/wp-content/themes/u-design/images/Archives/1993_04.pdf. {{cite web}}: Missing or empty |title= (help)
  9. ^ "Beyond polar bears". www.winnipegfreepress.com. Retrieved 2016-09-14.
  10. ^ "Inuit Art | Winnipeg Art Gallery". wag.ca. Retrieved 2016-09-14.
  11. ^ "cover" (PDF). Inuit Art Quarterly. 8 (4). winter 1993. ISSN 0831-6708. {{cite journal}}: Check date values in: |date= (help)
  12. ^ "A la découverte de l'art Inuit". Le Huffington Post (in French). Retrieved 2016-09-14.

Unused references[edit]

http://www.inuitartalive.ca/index_e.php?p=86

First Critic[edit]

[1]

References[edit]

  1. ^ "The First Critic". The New Yorker. 2012-01-24. Retrieved 2017-05-04.

Ruth[edit]

Ruth Sonderegger (born 3 January 1967) is an Austrian philosopher.

Sonderegger studied Philosophy and Literary science (Literaturwissenschaft) in Innsbruck, Constance and Berlin. She received her doctorate from the Freie Universität Berlin in 1998. From 1993 to 2001, she was a research associate at the Philosophical Institute of the Freie Universität Berlin, from 2001 to 2009 hoogleraar Metafysica en haar geschiedenis aan de Faculteit der Geesteswetenschappen (FGw) at the Universiteit van Amsterdam.[1] Since 2009, she teaches at the Academy of Fine Arts Vienna as a professor of philosophy and aesthetic theory.

Awards[edit]

In 1999, Sonderegger received the Ernst Reuter Prize for her dissertation "Für eine Ästhetik des Spiels". In 2009 she was awarded the honorary award (Würdigungspreis) of Voralberg for her contributions to the philosophical theory of art and culture (philosophischen Kunst- und Kulturtheorie) in [2][3]


References[edit]

  1. ^ Amsterdam, Universiteit van. "Mw. dr. R.M. Sonderegger - Universiteit van Amsterdam". www.uva.nl (in Dutch). Retrieved 29 August 2017.
  2. ^ "Land Vorarlberg - Preisträgerinnen und Preisträger der vergangenen Jahre". www.vorarlberg.at (in German). Retrieved 29 August 2017.
  3. ^ "Verleihung des Wissenschaftspreis des Landes - oesterreich.ORF.at". vbgv1.orf.at. Retrieved 29 August 2017.

Revolution in the making[edit]

Revolution in the Making: Abstract Sculpture by Women 1947–2016 was an exhibition organized by Hauser Wirth & Schimmel, curated by Paul Schimmel and Jenni Sorkin.[1] The inaugural exhibition for the Los Angeles gallery, it was a revisionist survey that aimed to focus on contemporary sculpture and women artists and revalue studio practice. [2][3]

Works[edit]

  • Untitled [S.273, Hanging Nine-Lobed, Single Layered, Continuous Form] — Ruth Asawa, circa 1950
  • Untitled [S.435, Hanging Eight-Lobed, Single Layer, Continuous Form (Tear Drop)] - Ruth Asawa, 1952
  • Untitled [S.334, Hanging Fiftieen-lobed (Seven Open and Eight Interlocking) Continuous Form] - Ruth Asawa, circa 1955
  • Untitled [S.376, Hanging Six-Lobed, Continuous interwoven form, with Spheres in Two Lobes] - Ruth Asawa, 1956
  • Untitled [S.113, Hanging Five-Lobed Continuous Form in which the Top Lobe Contains One suspended Sphere] - Ruth Asawa, circa 1958
  • Untitled [S.143, Hanging Five-Lobed, Multi-Layered Continuous Form within a Form] — Ruth Asawa, 1996
  • Untitled [S.208, Hanging Three Interlocked Spheres, Each Containing Three Interlocked Spheres] — Ruth Asawa, circa 1962
  • Untitled [S.228, Hanging Six-Lobed, Discontinuous Surface (three sections) with Interlocked Top Section] — Ruth Asawa, circa 1962
  • Untitled [S.334, Hanging Fifteen-Lobed (Seven Open and Eight Interlocking) Continuous Form] — Ruth Asawa, circa 1955
  • Installation view, ‘Phyllida Barlow. GIG’, Hauser & Wirth Somerset, 2014
  • Wing — Lynda Benglis –1970 Untitled — Lee Bontecou, 1964
  • Untitled — Lee Bontecou, 1962 Untitled — Lee Bontecou, 1959
  • Untitled (The Wedges) — Louise Bourgeois, 1950
  • Dragonfly — Heidi Bucher, circa 1976
  • Untitled (Bodyshells) — Heidi Bucher, 1974
  • Intersection — Abigail DeVille, 2014
  • Untitled — Claire Falkenstein, circa 1962
  • Body Centered Cubic — Claire Falkenstein, circa 1960
  • Wire Sun — Claire Falkenstein, circa 1960
  • Wire Sun — Claire Falkenstein, circa 1960
  • Sun — Claire Falkenstein, circa 1960
  • Sun — Claire Falkenstein, circa 1954
  • Sun #4 — Claire Falkenstein , circa 1954
  • Vogelnest (Bird’s Nest) — Isa Genzken, 1989
  • Reticulárea — Gego, 1975 Trouxa — Sonia Gomes, 2004
  • Untitled — Sonia Gomes, 2015
  • Nº 1, from Torções Circulares series — Sonia Gomes, 2016
  • Nº 2, from Torções Circulares series — Sonia Gomes, 2016
  • Nº 3, from Torções Circulares series — Sonia Gomes, 2016
  • Nº 4, from Torções Circulares series — Sonia Gomes, 2016
  • Pendente 1 — Sonia Gomes, 2016
  • Pendente 2 — Sonia Gomes, 2016
  • Aught — Eva Hesse, 1968
  • Augment — Eva Hesse, 1968
  • Banisteriopsis — Sheila Hicks, 1965 – 1966
  • Banisteriopsis II — Sheila Hicks, 1965 – 1966/2010
  • Untitled — Cristina Iglesias, 1993–1997
  • A Snake — Yayoi Kusama, 1974
  • Reticule — Liz Larner, 1999–2000
  • São 8 [They Are 8] — Anna Maria Maiolino, 1993
  • Rolinhos na Horizontal [Horizontal Small Rolls] — Anna Maria Maiolino, 1993/2015
  • Untitled — Marisa Merz, 1980
  • Ttéia 1, A — Lygia Pape
  • Forgiving Strands (in progress) — Shinique Smith, 2015–2016
  • Kissing the Wall #5 with Yellow — Jessica Stockholder, 1990
  • Kissing the Wall #2 — Jessica Stockholder, 1988
  • Kissing the Wall #3 — Jessica Stockholder, 1988
  • Records: Copan/Quirigua/Mesa Verde — Michelle Stuart, 1977–1978
  • Frijoles Notebook — Michelle Stuart, 1975
  • Untitled (Nine Cones) — Ursula von Rydingsvard, 1976
  • Mellow Yellow — Hannah Wilke, 1975
  • Untitled — Hannah Wilke, 1975
  • Untitled — Hannah Wilke, 1970
  • 30 to 1 Bound Trees — Jackie Winsor, 1971–1972
  • R.S.V.P. I — Senga Nengudi, 1997/2003
  • Trashole Trashole — Kaari Upson, 2015

Participating artists[edit]

  1. Magdalena Abakanowicz
  2. Ruth Asawa
  3. Phyllida Barlow
  4. Lynda Benglis
  5. Karla Black
  6. Lee Bontecou
  7. Louise Bourgeois
  8. Heidi Bucher
  9. Abigail DeVille
  10. Claire Falkenstein
  11. Gego
  12. Isa Genzken
  13. Sonia Gomes
  14. Françoise Grossen
  15. Eva Hesse
  16. Sheila Hicks
  17. Cristina Iglesias
  18. Rachel Khedoori
  19. Yayoi Kusama
  20. Liz Larner
  21. Anna Maria Maiolino
  22. Marisa Merz
  23. Senga Nengudi
  24. Louise Nevelson
  25. Lygia Pape
  26. Mira Schendel
  27. Lara Schnitger
  28. Shinique Smith
  29. Jessica Stockholder
  30. Michelle Stuart
  31. Kaari Upson
  32. Ursula Von Rydingsvard
  33. Hannah Wilke
  34. Jackie Winsor

Exhibition catalogue[edit]

Smith, Elizabeth; Wagner, Anne (2016-09-06). Revolution in the Making: Abstract Sculpture by Women 1947-2016. Paul Schimmel, Jenni Sorkin (eds.). Milano: Skira. ISBN 978-88-572-3065-8.


References[edit]

  1. ^ http://www.latimes.com/entertainment/arts/la-et-cm-hauser-wirth-knight-review-20160310-column.html. Retrieved 13 March 2016. {{cite web}}: Missing or empty |title= (help)
  2. ^ "A Los Angeles Mega-Gallery Opens with Museum Ambitions". Hyperallergic. Retrieved 2016-03-29.
  3. ^ "Q&A: Jenni Sorkin on "Revolution in the Making" at Hauser Wirth & Schimmel | Artinfo". Artinfo. Retrieved 2016-03-30.

Traffic[edit]

Traffic: Conceptual Art in Canada 1965-1980 was an art exhibition[1] and a conference[2] organized by the Art Gallery of Alberta, Justina M. Barnicke Gallery (Hart House, University of Toronto) and the Vancouver Art Gallery [3] The exhibtion was jointly curated by Grant Arnold (Vancouver Art Gallery), Catherine Crowston (Art Gallery of Alberta), Barbara Fischer (Justina M. Barnicke Gallery), Michèle Thériault with Vincent Bonin (Leonard and Bina Ellen Art Gallery, Concordia University), and Jayne Wark (Nova Scotia College of Art and Design). The conference was held at the University of Toronto from November 26 – 28, 2010. It was the first exhibition in Canada dedicated to the emergence of conceptual art.

Essay by Jane Wark[4]

Exhibition Dates[edit]

September 11 - November 28, 2010, Toronto

March 18 - May 8, 2011, Halifax

June 25 - September 18, 2011, Edmonton

January - April 2012, Montreal

Participating Artists[edit]

per [5]

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References[edit]

Bonin, Vincent; Crowston, Catharine; Wark, Jayne; Wood, William (2012-10-12). Traffic: Conceptual Art in Canada 1965-1980. Grant Arnold, Karen Henry (eds.) (annotated edition edition ed.). Douglas & McIntyre. ISBN 978-1-895442-88-5. {{cite book}}: |edition= has extra text (help)

  1. ^ http://www.frieze.com/issue/review/traffic-conceptual-art-in-canada/. {{cite web}}: Missing or empty |title= (help)
  2. ^ "Traffic".
  3. ^ http://ccca.concordia.ca/traffic/intro_en.html. {{cite web}}: Missing or empty |title= (help)
  4. ^ http://www.msvuart.ca/index.php?menid=04/02&mtyp=2&article_id=387. {{cite web}}: Missing or empty |title= (help)
  5. ^ http://e-artexte.ca/23839/. {{cite web}}: Missing or empty |title= (help)
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