Dear Friends of VISA,

I've been thinking about Conceptual Art these days because of last week's review in the New York Times called, Here's Looking at You, Conceptualism and an upcoming comprehensive exhibition of Canadian conceptual art called Traffic at Vancouver Art Gallery. I started art school just at the very end of the conceptual art era in the early 1980's. I remember some of my first experiences going to galleries and being very confused by the lack of imagery on the wall and the preponderance of work with text. I really didn't know what to think at the time. I felt it was out of my reach or beyond my ability to comprehend. However I'd like to speak up for conceptual art because it often gets a bad rap. People want to look at something and get immediate results. If they don't get it right away, they are ready to dismiss both the work and the artist. The event that made me change all my thoughts and attitudes about conceptual art was reading about Marcel Duchamp. For several months I became passionately engaged (remember the new phrase from last week's newsletter) about Marcel Duchamp. I read an entire book that only talked about one work: The Bride Stripped Bare by her Bachelors Even (The Large Glass). I was first drawn into the work because the title and image didn't match. I realized it was up to me to make some kind of connections there. I don't know if it was because this hit me at the perfect time (I was probably only 18 or 19) but I started to become really interested in the possibility that art could be about ideas and that seemed very exciting to me. What fascinated me the most was that Duchamp spent 11 years on this piece and he wrote copious notes about it (the notes are collected in piece called The Green Box which is in the collection of the Metropolitan Museum of Art). I recently came across a quote by Duchamp about the relationship of the art to the viewer:
All in all, the creative act is not performed by the artist alone, the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.
I encourage you to look at the image below and just take a minute to try and imagine what it might possibly mean. Not think about whether or not you like it, or whether it is a good or bad piece of art, put just let your mind wander and see where it goes. If you're curious to find out more about this piece: Philadelphia Museum of Art.

Wendy

Drawing: Introduction I
We are offering two time slots for this great introductory course. This course provides students with an introduction to the basic materials and techniques of drawing. Emphasis is on elements such as line, shape, value, space, proportion, perspective and composition. In addition, students are encouraged to explore a range of materials and develop personal expression in their drawing. Subject matter includes still life, the figure, landscape, architectural space and student-supplied source material.
Bring a 4B pencil and sketchbook to first class.

This six-week course is an introduction to writing short fiction. The course includes the study of plot and story-structure, character creation, scene, setting and dialogue. Over a period of five weeks students are led through the process of writing a story from start to finish. In the sixth week, students are invited to submit their story for 'workshop' to push their writing to the next level (the term 'workshop' in writing refers to bringing work forward for group discussion and analysis, similar to the 'critique' process in visual arts courses). Students will leave this class with a polished piece of writing and handful of strategies for getting your work published. No previous writing experience is required.

Thursdays 6:30pm - 9:30pm, Sep 13 - Oct 18, 2012 (Section 1)

Thursdays 6:30pm - 9:30pm, Nov 1 - Dec 6, 2012 (Section 2)

CALL FOR ENTRIES: Photographs of back spaces in Victoria

The Slide Room Gallery will be hosting a large group exhibition of photographs under the theme of Backspace from November 9-December 3, 2012.

We are looking for new work that explores local backspaces: these could be undefined spaces such as the borders of public and private lands or spaces that explore the ideals of sanctuary or retreat within rural, suburban or urban green spaces. 

Artists are are asked to submit up to work as jpeg files (max 5/person). Work will be juried with up to two images per person to be chosen. Selected images will need to be printed in 8x10 or 11x14 sizes for exhibition. No framing is necessary (prints will be installed on wall with magnets).

All artists selected will receive a small honorarium of $50 to help cover print costs.

Backspace will provide a showcase for emerging artists as well as highlight new work from some established artists whose photographic practice explores notions surrounding 'backspace' and the contemporary landscape.

Submissions should be emailed to:

with 'backspace' in the subject line.

For more information contact:

Tara Nicholson (curator)

Are you looking for a way to contribute to the vitality of your community?