robert amos on art: exhibit an elegant core sample of uvic fine arts faculty’s work - mylar film for sale
As part of the 50 th anniversary celebration of Victoria University, two exhibitions of works of art teachers and in-session teachers are planned.
The first one is "now" with the title "core sample", showing the artists who taught between the teacher's origins in 1966 and 1986.
Next there will be an exhibition showing the following and current staff.
Carefully selected and installed exhibitions bring new elegance to the traditional galleries in the center of the university.
Curator Caroline Riddle's forthcoming catalogue reveals the inside story of this important part of Victoria's art culture.
Most importantly, this is a visually stimulating performance for art historians and art lovers.
The Academy of Fine Arts originated in 1968 and is a branch of the School of Education established in 1966.
From the beginning, the founders John dobriena and Don Harvey went through a complicated period trying to find a place for studio art in the university, and identify a suitable direction in the rapidly changing world of art.
Some struggles are listed in the directory.
The exhibition gives a brief summary of the key period of artistic development.
I started with guns and knives: the daughter of the gun collector, a striking round oil painting by Glen howalls.
This is one of the most "paintings" in this work, because Francis Bacon's realism is dim.
Fleming Jorgenson's painting of Fort Roder Hill is still considered to be a representative of somewhere, as is the case with Peter Kahn's large pastel colours of Mount Gonzalez.
Jim Gordaneer was a short-lived meeting instructor whose little oil went above and beyond these reference images and turned into something more abstract.
Nearby is Herbert Sibner's colorful prints, which show two iconic forms in his late-stage expressionist pattern.
Tang Harvey's painting in this period is a colorful abstract expressionist work.
His painting handwriting was replaced by geometric hard edges of the doberina Shaped canvas, playing with the visual illusion we used to call Op Art.
Four colorful bold screen prints by George Tiessen suggest the landscape, but are almost likely to be an abstraction of the color field.
Douglas Morton also likes to tie colorful shapes together in a lively way that looks like an inorganic form of pop art.
Bill Fisher has a political motive.
This is Late 1960-
And expressed his thoughts in the free quotation of the old master's paintings and the screen prints rendered by the building.
Peter Daglish consists of a set of colored and cut text and images that are presented in plain plexiglass colors.
Michael Sandle offers dazzling red and black screen printing on reflective film.
These industrial materials and commercial processes were very advanced at the time. to-date.
Dennis Bowen spray
Painted galaxies and the outsidespace motifs —
Suitable for "Black Light" viewing-
With a geometric mandala effect.
Pat Martin Bates's stand alone is an unforgettable and profound light box.
Each of her autographed prints is worn by thousands of thorns to let the light shine, a map of the universe engraved with poetic spells.
Even in college, mystics were part of the 1970 s.
This is a critical moment in art.
Gwen Curry was there from the beginning, and he drew the head of the bird in the grid.
It may remind us of Andy Warhol's painting, but she goes further.
She printed their names on a plate like a tombstone and made us aware of the fragility of our ecology.
Concept art has arrived.
In the early 1970 s Dana Achilli found a way to break Victoria's isolation and connect with artists from all over the world.
As the catalogue told us, he asked 250 artists to send him pages printed on 250 pages, which he then sorted out and returned to the sender --
His first space Atlas.
As he said, space is the connector for everything.
With the arrival of Morrie Baden at UVic, everything has changed.
Baden is a supporter of "body art": his sculpture is not so much to be concerned about, but rather to be involved in the way of the body to explain what we think.
Soon after, he introduced Roland Brina, who avoided the formalism he had designed for "bricolage" in the early days, assembling and transforming the objects found.
Brener is particularly interested in dynamics
Let things work.
His quirky and evolving practice is far more interested in questions than in answers.
Together, after these two
Modernism laid the foundation for the coming digital revolution.
The tickets are free and the text on the wall is a fascinating history of recent times.
It's great to see this kind of management work going on in our art history.
Core sample: School of Visual Arts, University of Victoria 1966-
1986, in Heritage Gallery, 630 Yates Street. , uvac. uvic. ca, until Oct. 26.