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>SUE LLOYD: Void
Opening Reception: Friday, March 7th at 7pm
Exhibition runs through Saturday, April 5th
Gallery Hours: Tuesday-Saturday 11am-6pm
VOID, a solo exhibition of new works by Sue Lloyd, continues her interest in making “textually-based” work in a digital environment. Composed of existing images remixed from a wide variety of source material, the new works are large digital prints. Having begun with images of the sky, VOID arrives at a much less concrete place. By using existing imagery, the task of rendering appearances is de-emphasized and focus can shift to the rendering of issues less visible but more primary: speaking, knowing, seeing. Lloyd finds the rendering of perception more compelling than the documentation of visual appearance: landscapes and figures describe interior as much as exterior states of being.
"Viewing the thirteen images of Sue Lloyd’s VOID provokes a visual consciousness reminiscent of a haunting. Whether pleasurable or disturbing, the heightened memory states that haunt each of us retain a vivacity outside of linear time. Sue Lloyd’s digital remixed images quietly ambush us in a similar manner." Betsy Warland.
SUE LLOYD is visual artist who lives and works in Toronto. Her work has been exhibited locally and nationally; past solo exhibitions include Presentation House in Vancouver and Kamloops Art Gallery. Her work has also appeared in publications including BRICK and Public. She has received Council grants and her work is represented in private and public collections. She is a past member of the Red Head Gallery, and the Out of the Frame and Giant-S Collectives. She received her M.F.A. from York University and teaches in the Visual Studies Program at University of Toronto.
Flock of Hands John Constable: Hampstead Heath, Looking towards Harrow at Sunset, 9 August 1823. Paintings of the Annunciation, PHAIDON, London 2000: Bedoli, El Greco, Gentileschi, Gerard David, Barocci, Murillo, de Zurbaran, Beccafumi, Vouet, Rubens, Poussin, Poelenburgh, Pittoni, Masucci, Procaccini; Giordano, Remi, van Poelenburgh, de Champaigne, Bougereau, Bordone, Veronese, Tiepolo, Strozzi.
Digital archival print, 23”x 28”, 2007
>b.h. YAEL and JOHANNA HOUSEHOLDER: Verbatim
Opening Reception: Friday, November 23rd, 7-9pm
Screening schedule:
Saturday, November 24th, 12-8pm
Sunday, November 25th, 11-6pm
Tuesday, November 26th to Friday, November 30th 11-6pm
Closing Reception & Talk: Friday, November 30th, 7-9pm
APPROXIMATIONS: parts 1 – 3
Three videos by Johanna Householder & b. h. Yael
The Mission, Colour, Video, 4 min 21 sec., 2000
With the exception of one brief sequence, this tape is a shot-for-shot recreation – edited in camera – of the opening scene of Francis Ford Coppola’s 1979 landmark film, Apocalypse Now, with Johanna Householder in the role of Captain Benjamin Willard. By replacing Sheen’s body with her own, Householder probes subjectivity and the processes of identification as b.h. Yael duplicates Vittorio Storaro’s Academy Award™ winning cinematography Dogme style.
December 31, 2000, Colour, Video, 7 min. 22 sec., 2001
December 31, 2000 is a shot-for-shot recreation of the pivotal scene in Stanley Kubrick's classic 2001: A Space Odyssey in which Dave dismantles HAL, the renegade computer. But on December 31, 2000, Kubrick's apocalyptic dream has not yet been realized. The domestic scene supplants the space station, and household appliances become the conduit through which we enter the mainframe. In ironic reversal, the failure of the future is exposed.
Next to Last Tango, Colour, Video, 7 min., 2001
Johanna Householder gets in a bag with Francis Bacon, Bernardo Bertolucci, Marlon Brando and Maria Schneider, re-reading the infamous “butter scene” from the highly controversial 1972 film which, according to Pauline Kael, "changed the face of an art form." b.h. Yael equally faithfully records the action. Commissioned by Trinity Square Video for the Trans>Sex>Tech Residency.
VERBATIM, Colour, Video, 7 min. 45 sec., 2005
The work recreates the opening scene of Mel Gibson's The Passion of the Christ, with shot-for-shot faithfulness. When Gibson released the film in time for the Easter screenings of 2004, it had already received an enormous amount of pre-publicity around Gibson’s vaunted goal of going for verisimilitude, which included the cast speaking in Aramaic and Latin, but didn’t exclude the studio set for the garden of Gesthemene, flooded with smoke and blue light, or the previously unreported presence of the Devil (herself) on the Via Dolorosa.
‘Our strategy is to open up the question about accuracy versus interpretation, a tactic that Gibson used to ensure that the conservative Christian audiences, for whom it was made, would approach The Passion with proper, uncritical reverence. But then Pope John Paul II agreed: “It is as it was,” he was reported as saying in the Wall Street Journal. This version just is.’
Biographies:
Both b.h.Yael, and Johanna Householder are professors of Integrated Media Program in the Faculty of Art at the Ontario College of Art and Design.
Johanna Householder has been making performances and other artwork in Canada since the late 1970s. She was a member of the notorious, satirical feminist performance ensemble, The Clichettes, who performed under variable circumstances, throughout the 1980s. Householder has maintained a unique performance practice, often collaborating with other artists. She is one of the founders of the 7a*11d International Festival of Performance Art, and with Tanya Mars, she co-edited Caught in the Act: an anthology of performance by Canadian women, YYZ Books, 2004.
b.h.Yael is a Toronto based filmmaker, video and installation artist. Yael’s work has exhibited nationally and internationally and has shown in various settings, from festivals to galleries to various educational venues. Her works have been purchased by several universities. These include Fresh Blood, A Consideration of Belonging, In the Middle of the Street, and Trisk-aidekaphobia. In 2006, Yael premiered Palestine Trilogy, three videos that focus on activist initiatives, addressing the politics of Palestine and Israel in sites of solidarity. Yael has just completed Trading the Future, a video essay questioning the ways in which secular culture has embraced apocalypse as inevitable.
>DEANNA BOWEN: Hymnals
Opening: May 11th, 7-9
Exhibition runs to July 1st, 2007
Hymnals is a conceptual photo series that revolves around the artist’s efforts to reframe African American Christian spirituals as nomadic “road songs” within the greater contextual framework of the Black diaspora. Over the passing centuries, the spiritual has determinedly prevailed as both vehicle for subversion and transcendental tool. Accordingly, Hymnals relies upon an understanding that despite Christianity’s problematic history, African-American slaves and freed blacks have found refuge, solace, strength, and at times, education within the black church for generations.
Bowen collected the pictured hymnbooks in the summer of 2006 while shooting her upcoming experimental documentary about her great grandparents’ migration from a cotton plantation in Alabama in 1911. The photos are part of a larger conceptual project Gospel; an interdisciplinary work that illuminates the interconnected spaces of slavery, Christianity, race, gender and sexuality. This project takes criticisms of black Christianity into account while looking to the long-standing intersection between Canadian and American slave histories as an artistic starting point. Once completed, Gospel will premiere at the University of Toronto’s Graduate Student Thesis Exhibition in April 2008. Bio: Deanna Bowen is a Toronto-based media installation artist. She is a graduate candidate in the University of Toronto’s Masters of Visual Studies Program and received her Diploma of Fine Arts from Emily Carr College of Art and Design in 1992. Her work has been exhibited nationally (Toronto, Chatham, Montreal, Regina, Vancouver) and internationally (Germany, France, Switzerland, Italy) in numerous film festivals and galleries. She has received several grants in support of her artistic practice, most notably from OAC, TAC, Toronto Lesbian and Gay Community Appeal, Telefilm Canada and BC Cultural Services. In addition to artistic production, Deanna has also worked in the cultural sector for over 10 years at organizations such as the Images Festival of Film, Video and New Media, InterAccess Electronic Media Arts Centre, the Liaison of Independent Filmmakers of Toronto (LIFT), Point of View Magazine, Women in Focus Arts & Media Centre, and the Inside Out Lesbian & Gay Film and Video Festival.
For more info visit: www.deannabowen.ca
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