The Way Between Things: The Art of Sandra Meigs - Brossura

Meigs, Sandra ; Marzolf, Helen

9781770415973: The Way Between Things: The Art of Sandra Meigs

Brossura

ISBN 10: 1770415971 ISBN 13: 9781770415973

Casa editrice: ECW Press, 2021

Vedi tutte le copie di questa edizione con ISBN

2 Usato

Da: EUR 25,26

1 Nuovo

Da: EUR 25,35

A stunning full-colour art book and the first to explore the career of award-winning visual artist Sandra Meigs

Part philosopher, part filmmaker, performer, writer, tinkerer, prankster, conjurer, naturalist, upholsterer, and teacher, Sandra Meigs has typically been referred to as a painter. But she engages whatever media or form she chooses to probe to the limits of the ideas circulating in her work.

Meigs’s work has been presented across Canada, the U.S., and Europe; it is represented in major public and corporate collections; and, among many accolades, she received the Governor General’s Award in Visual and Media Arts in 2015 and the prestigious Gershon Iskowitz Prize in 2015.

The book tracks how Meigs herself understands her art and her career, a story told through 17 major projects that best demonstrate her preoccupations; four essays written by Meigs and accompanied by sketches original to the book; as well as long-term research and investigations. The Way Between Things: The Art of Sandra Meigs samples a prolific and extraordinary artistic oeuvre.

Le informazioni nella sezione "Riassunto" possono far riferimento a edizioni diverse di questo titolo.

Informazioni sull?autore

Sandra Meigs is an award-winning Canadian painter and Professor Emeritus at the University of Victoria. She derives the content of her work from her own personal experiences and develops these to create visual metaphors related to the psyche, and is dedicated to the possibilities of enchantment that painting presents through color and form. Her work resides in many major art galleries across Canada, including the National Gallery of Canada, the Art Gallery of Ontario, and the Vancouver Art Gallery. She lives in Hamilton, Ontario.

As Executive Director of Open Space, an artist-run center in Victoria, British Columbia, Helen Marzolf presented Sandra Meigs’s The Basement Panoramas in 2013. Marzolf has organized contemporary art projects and publications at Open Space, the Dunlop Art Gallery, the Mendel Art Gallery, the Mackenzie Art Gallery (Regina), University of Saskatchewan (Saskatoon), University of Alberta, University of Victoria, and Carleton University. She lives in Victoria, British Columbia.

Estratto. � Ristampato con autorizzazione. Tutti i diritti riservati.

The Maelstrom was all-out, an experiential tour-de-force. It was a raw and ambitious work for a young artist. Precisely calibrated in scale and use of media, it launched Meigs’ characteristic artistic moves: sensory overload, the candid exploration of what lies behind polite social exteriors, her intimate and seemingly unedited drawings. Stirring emotions, reimagining aesthetic mores, disclosing the autobiographical, ignoring formal and social conventions, The Maelstrom simultaneously repels and appeals, speaking to our most concealed fears and furtive desires.

The Maelstrom confronted visitors with rapidly changing film sequences combined with poetic inter-titles, a roaring sound track, and an animated table that leaned into the viewer’s personal space. Meigs saw the table as a prop inspired by philosophers’ habit of using a table as a stand-in for the entire class of objects. She configured a compressed sensory theatre by erecting a temporary wall to confine the area of the film and the table, effectively constricting viewers’ movements to create an uneasy-making or “unheimlich” space. The Maelstrom was a daunting and astonishing presence for artist Robert Fones: “A table as protagonist! A table as malevolent force. Wow! That struck me as highly unconventional. The idea of an inanimate object as an active agent was reinforced by the table in the exhibition that, with the aid of a mechanized pulley system, tipped over, then righted itself every minute or so.” Fones’ attention, however, zeroed in on Meigs’ suite of twenty-two drawings. Installed as a storyboard, the drawings seemed to be the seed of Meigs’ expressionist theatre in Fones’ opinion, and he was especially drawn to the dream image of a table pinning and slicing a girl.

Another visitor, the critic John Bentley Mays, writing for The Globe and Mail, was shaken by his encounter with The Maelstrom. He found rational analyses were ineffectual in making sense of the installation. In his review of The Maelstrom in The Globe and Mail, he wrote of the “unspeakability” of Meigs’ art. His comment is exactly accurate, documenting the mute cognitive and emotional turbulence that attends an encounter with something entirely powerful, unexpected, and resistant to pr�cis. The text, the sound, the film, and the action overwhelmed him. Mays peppered his review with quotations from Meigs’ poetics as if their shared interest in words was the only solid brace he could grab. Meigs remembers Mays turning to her after they had viewed the work together and asking, “You look like a secretary for a greeting card company — how can YOU have made this work?” It could be that Mays was as much shaken by confronting a perceptive feminine intelligence; in turn, The Maelstrom seeped into Mays, taking up residence in his memory and psyche.