Arts and Humanities Commons^™

Relational Maneuvers In Autobiographical Video Art, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

No abstract provided.

Asleep And Awake: Contemporary Indigenous Video Art And The Politics Of Presence, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

No abstract provided.

Book Review: Museum Pieces: Toward The Indigenization Of Canadian Museums, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

No abstract provided.

Bill Burns: Dogs And Boats And Airplanes, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

No abstract provided.

Lovesick Child, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

No abstract provided.

The Official Picture: The National Film Board Of Canada's Still Photography Division And The Image Of Canada, 1941-1971, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

No abstract provided.

Family Photography And The Documentation Of Trauma In Contemporary Art, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

No abstract provided.

Heather Saunders: The "Freaky Friday" Series, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

Desire and sex and lust. The conflation of signifiers of sensuality and femininity in female clothing points to a rigorous sexualization of the body beginning in girlhood, through their dress and the way it’s worn. Lace, fishnet, silk, leather, satin, chiffon and latex are shown in their various iterations in children’s fashion. The same materials, fabrics and the words used to describe them host different meanings and associations in adulthood. Yet, somewhere in this liminal divide, childhood and adulthood speak to each other, and the conversation is uncomfortable, like the first time you heard about the birds and the bees.

Exhibition Review: Clive Holden: Media/Mediated, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

An approach to artmaking that is driven by the prospect of chance, by the accidental, is reliant upon the inherent rationale of the natural world. There, chaos constitutes change (or vice versa) and reveals new forms that displace and/or update the old. Toronto-based multidisciplinary artist Clive Holden’s recent practice has manipulated the properties of the natural world into an aesthetic strategy. Utilizing the randomization and dynamism found in nature serves to unsettle and reconfigure his installations, transforming them into ever-evolving media.

Shapeshifting: Transformations In Native American Art, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

Gary Wyatt: Seekers And Travellers Contemporary Art Of The Pacific Northwest Coast, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

No abstract provided.

Some Things Last A Long Time, Matthew Ryan Smith

Matthew Ryan Smith, Ph.D.

Relational viewing is also linked to poststructuralist theory, which has provided a framework for shifting away from the idea that the author is the creator of meaning to instead consider how readers interact with texts to produce meaning. Some Things Last a Long Time considers the connections between autobiography and relational experience. With this exhibition, I propose that contemporary autobiographical art can operate as a site where social encounters are created and where self-discoveries become possible. I encourage viewers to use their own lived experiences and personal histories to interpret the artworks in the exhibition.

The Participating Witness: A Conversation With Jaret Belliveau, Matthew Ryan Smith

Matthew Ryan Smith, Ph.D.

Jaret Belliveau is a Moncton-based photographer and filmmaker whose photographic work addresses illness and loss. Arguably, Belliveau is best known for his series Dominion Street (2003-2008), which began as a visual investigation into family dynamics and the hegemonic balances of power that maintain it. However, ten months into the project, Belliveau’s mother was diagnosed with stomach cancer. Soon after, the disease spread throughout the rest of her body and in time it took her life. Upon the recent staging of Dominion Street at Fredericton’s Beaverbrook Gallery (April 26, 2012 - June 10, 2012), I conducted an e-mail exchange with Belliveau …

Karin Doleske: The Drama Of Abstraction, Matthew Ryan Smith

Matthew Ryan Smith, Ph.D.

Karin Doleske’s most recent series Embedded Paintings from 2012 maintains a heightened interest in placing the viewer as an arbiter of knowledge. With these works, Doleske has manipulated poetic narrative for the visual sphere so that viewers may experience her paintings as they would written texts. However, in a twist of semiotic mischief, each painting formally characterizes an empty page to be filled by the viewer’s thoughts and imagination. For example, the horizontality of "Ten" subtly points to the lines of a written novel yet alphabetical letters are clearly absent. By doing so, it is as if Doleske has created …

Adel Abdessemed: The Future Of Décor, Matthew Ryan Smith

Matthew Ryan Smith, Ph.D.

Adel Abdessemed’s Future of Décor at OCAD’s Onsite Gallery is the artist’s first solo exhibition in Canada and is a testament to the university’s ‘Nomadic Residency’ programme, which has featured work and lectures from ORLAN, Rirkrit Tiravanija and Hal Foster. Some may find Abdessemed’s invitation by curator (and OCAD professor) Charles Reeve as a daring gesture considering the artist’s 2008 show in San Francisco was terminated after the artist received death threats over a video series that featured close-ups of six animals bludgeoned to death for food. That being said, Abdessemed moves in a different trajectory for Onsite. The work …

John Cushnie: Greying The Grey, Matthew Ryan Smith

Matthew Ryan Smith, Ph.D.

Paintings are not talking heads. They can produce a conversation, an interaction, an exchange. They ask us to listen with our eyes, to feel the space between us, to project ourselves. The paintings in Eidolon Prospects aim for a mutual exchange, a reciprocal relationship — they push us to face our uncertainty, to work at them, to reconsider their visuality, to tap into their manipulation of materials. Their material and pigment are rendered as voices, and in their silent speech, the paintings come to haunt us. John [Cushnie]’s paintings disturb, incite and ambiguate.

Autobiography And The Family Frame: Jaret Belliveau's “Dominion Street” At Gallery Tpw, Matthew Ryan Smith

Matthew Ryan Smith, Ph.D.

Documented over a period of five years, “Dominion Street” presents a visual narrative of love, loss, and life encapsulated within an East Coast milieu. Privy to the Belliveau family’s emotional and physical plights, the artist utilizes an autobiographic frame offering up strikingly informal glimpses of his family.