The show is well underway, with 10 fabulous artists hard at work on their pieces for the opeining in April. Information on the exhibition can be found on the website at www.thegrandtrunk.net.
I am currently working on a new blog, and will inform you when I’ve made the switch – stay tuned until then!
Open Call for Submissions The Grand Trunk @ The Gladstone Hotel
Emerging curator Casey Hinton is inviting artists to submit portfolios and samples of their work for the opportunity to be commissioned for an exhibition, temporarily titled “The Grand Trunk” taking place at the Gladstone Hotel in Toronto, in March of 2010. The Hotel, built in 1889 is Toronto’s oldest hotel still in operation and will serve as the platform for the narrative thread that ties all the commissioned works together. Each artist will be given a suitcase or trunk, and along with it, a historic object/artifact of some kind (newspaper article, train ticket, photograph) depicting or naming a true person and event, and will be asked to respond to whom this person might have been, within the parameters of the suitcase. The historic artifact will inform a conversation about the memory of a location and potentially cause questions about the history of the space in which the exhibition will be shown. In their responses the artists will be invited to collect, assemble and create objects, which, in some way, inform the viewer of the identity of the individual being represented. The artists will use the suitcase not only as a departure point but also as a container for the work(s) which can than be displayed within the suitcase, or unpacked and displayed as a series. These layers of history, memory and nostalgia share the same location, pointing to a collective memory of a shared space and the blurring of fact and fiction that takes place in the process of remembering. Emerging or established artists who would like to embark on this creative process and creation of parafictional characters are invited to submit a small portfolio (details below). Artists will be selected based on a body of work in any medium, who’s interest echoes those of this exhibition; identity, memory, collective memory, nostalgia, fact and fiction, story telling, personal histories and multiple histories. A suitcase, historic artifact, and loose guidelines will be given to the eight artists once chosen for the commissions.
To Apply: Submit no more than 10 photographs of no more than 5 works depicting your style, medium and personal aesthetic. Include a short artists statement, no more than 250 words, as well as contact information and website address (if applicable). Submissions should be emailed to caseyhinton@live.com. The deadline for submissions is Saturday, January 9th. Pick up and/or drop off for CD submissions can also be arranged if necessary. For more information contact Casey Hinton at caseyhinton@live.com or call 647.215.9919
so, my thesis is taking shape. This is the logo that will be attached to my call for submissions, and i’ll post this call for submissions tomorrow, as soon as I’ve finished writing it!
this site is so neat. it seem unassuming and bizarre at first but fill in the blank fields here and you will get your very own:
these are a couple of photographs I wanted to share from various museum archives. They were part of a show called Camera Obscured in 1997 curated by Vid Ingelevics and they can be seen here on this website. I love them because even though I study museums and galleries and the roles that run such institutions, I rarely actually think about the people who created the ‘environments’ in galleries, or the beginnings of museums. They are lovely photographs.
Visitors walking through dirt fields towards newly constructed Field Museum of Natural History, Grant Park, Chicago, 1921. Photographer: Charles Carpenter.
Photographers at work in the 'operating room' in the High Attic, Metropolitan Museum of Art, 1924. Photographer: not recorded.
Dr. James L. Clark and unidentified technician with lion group in preparation, Akeley African Hall, American Museum of Natural History, New York, 1934. Photograph: Julius Kirschner.
Working on Flying Bird Group, Sanford Hall, American Museum of Natural History, New York, 1947. Photographer: Alex J. Rota.
Billo and Bella, museum guard dogs, with their trainer, Art Institute of Chicago, Chicago, 1941. Photographer: not recorded
My thesis project has taken a drastic turn – for the better I think. My previous idea had some serious issues that seemed almost unsolvable, such as; if I am both the curator and the artists, what happens to each of these roles? Does the artist become obsolete? Does the curator become obsolete? Isn’t this just a conceptual art piece dealing with curatorial issues, rather than a curatorial piece? Another concern was my devotion to responding historically to the site – which I was having a difficult time finding.
So, now, the short version of what I intend to do: I am curating artists to respond to a suitcase to which I have attached a fictitious name and date. I am interested in creating identities and representing personalities through objects, series of objects, collections. This show will be exhibited in an old hotel, as I am interested too in the nostalgia and memory, or collective memory of a space.
So, now I am thinking in a slightly new direction. Objects. Memory. Identity. Perception. Collections. Representation. Self. Travel. Consumerism. Nostalgia. Collecting. Belongings. Value. Attachments.
And I need to start thinking about working with artists, which will be an interesting direction I have never really taken before. Framing the exhibition the way that I want it to create a cohesive look and narrative while still allowing enough freedom for artists to be creative and contribute something special and individualized. I’m excited for the experience and the challenge.
I’ve hit a wall with my thesis project.
my teachers are asking: What is my mission? Why do I need to do something fictional? What is the reason? Am i still the curator if I am also the artist? How will I negotiate these two roles?
I am thinking now that I might now be curating a show and commission other artists.
ba hum bug. I have much more to vent about, think about, but no time to do it now.
My mother has a love of the written word. I don’t mean that she loves to read – although she does – but rather that she loves words. This love turned into a collection of dictionaries, thesauruses (thesauri?), maps, books and magazines meant for cutting up. Naturally this love of words, and maps, and old books fell to me too. So when my friend sent me a link for this artist, I just fell in love. I might have a new use for the shelf full of old cut up books on my shelf…
His name is Brian Dettmer.
just gorgeous….
My dear friend Marissa over at tinygrants (an amazing project!) and the author of art blog the last place on earth you probably want to be sent me an email when she came across an artist she knew i would just love.
and she was right.
Neil Pardington‘s works are beautiful. I remember visiting a museum in Banff as a child and being fascinated with the darkness of their museum – and it was full of dead stuffed animals. There is something both eerie and magical in that type of feeling, and these photographs capture it:
fantastic collections, in this case held by our public collectors….
In revisiting the film The Gleaners and I, I discovered that there is mention of an interesting artist Louis Pons. I have not been able to find much about him, other than he collects junk and creates beautiful collages out of them, and that he is from France.
If anyone does know or come across anything on him, please let me know.
I love his displays of collections of junk:
They remind me alot alot alot of Louise Nevelson who made similar collages of junk. Here is her piece, eerily similar:
and another:
the idea that I love about both of these artists and their philosophies is the notion that all of these objects that they collect, junk they turn into art, was someone elses before, has lived another life, has another history.
that’s a lovely idea.
