October 2 2012 
Vancouver Island School of Art Newsletter


Dear Friends of VISA,
One of the things I always stress to my students is to approach art with an open mind, so for example when they encounter a work they don't like, I suggest that they stop for a moment and ask questions such as: why did the artist choose this subject matter? or this material? how does the material inform the subject? when was it made? what is the historical and/or cultural context it was made in?, etc. But I must confess in some cases I find it hard to linger long enough with a work of art to ask those questions. There are occasions when I find a work of art too physically repellent to absorb. The work of performance artist and sculptor Paul McCarthy immediately comes to mind. McCarthy's work literally makes me feel physically ill when I look at it. As an instructor I find it hard even to present his works in terms of a class discussion, however important they are to the current contemporary art dialogue. I came across an interesting interview in the New York Times the other day with author Maggie Nelson (The Art of Cruelty: A Reckoning) whose book seems to be vindication of some of my own sensibilities. (I haven't read this yet but here is a review). Perhaps it is a weakness that I crave beauty, while understand the need for shock. I am fascinated by artists who work to balance beauty and shock. Whatever people have to say about Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living, I do think this is a work that exists on those two levels. I think Goya's Disasters of War depict shocking images but they offer us a way in through the sheer beauty of Goya's draughtsmanship. Or Ai Wei Wei's Sunflowers are an example of a more subtle kind of shock (the shock to the senses as visitors walk on the work and literally crush the porcelain sunflowers). Maybe there is a difference between 'shocking' and 'high impact'. I think these artists use images or material to create a high impact on the audience. I think the difference between shock and high impact is with shock you are in it for the short time; often the initial repulsion pulls you away as quickly as it pulls you in. Work with high impact makes you want to stay and ponder what you are experiencing at that moment. I realize this position might make me a puritan or a romantic, but this is something I am willing to live with. I guess the best thing we can do is push ourselves as far as we can go in terms of engaging with a work of art, but also accept our individual limitations in terms of what we can spend our energy looking at.

Wendy

Wendy Welch
Executive Director
Vancouver Island School of Art


Ai Weiwei Sunflower Seeds (Tate Modern)
DRAWING WORKSHOP: MAP AS BIOGRAPHY
Saturday, October 27, 10am-5pm 

The first maps were drawn by artists and now in the 21st century more and more artists are turning to maps as a source for their art practice. In this map workshop students will explore the idea of mind-mapping as well as other sorts of 'mapping' to create expressive abstract drawings. One of the best ways to make good art is to focus on what is unique about you as an individual and make that part of your work. This workshop will include elements of this self-discovery process as well as some very focusing on some exciting design and composition possibilities. 

Workshop includes drawing, painting and collage.

All materials are provided in the material fee. You just need to show up.
October 27, 2012 Saturday, 10am - 5pm
Wendy Welch
Tuition: $100.00 (6 hrs)
Material Fee: $25 (all materials included)

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.
Deadline is October 15, 2012

For more information contact:
Tara Nicholson (curator)

METCHOSIN ART GALLERY
Opening, Saturday Oct 6 at 1pm

Frank Mitchell and Sylvia Bews-Wright will be exhibiting their in a show entitled MONSTERS. This exhibition continues the tradition of the political cartoon by using art as a form of political commentary.  Paintings of various dictators, tyrants and politicians will be on display.  Monsters will provides art lovers with examples of how art can be both creative and politically critical.  Mitchell and Bew-Wright make political art because each sees it as a valuable form of protest.  Bews-Wright noted, "My motivation is to make viewers test their own sense of history and personal responsibility...we are all complicit when we do nothing."

 

The show will run until October 28th.  

 

The Metchosin Art Gallery is open Thursday to Sunday 12 - 5pm.


ANTI MATTER FILM FESTIVAL
starts October 12

Dedicated to the exhibition and nurturing of film and video as art, Antimatter has grown into the premier showcase of experimental cinema in the west. Encompassing screenings, installations, performances and media hybrids, Antimatter provides a noncompetitive festival setting in Victoria, British Columbia, free from commercial and industry agendas.

The highest standards of curatorial practice are employed to build thematic programs of innovative film and video selected from international submissions. In addition, our annual Foreign Matter series has become the incubator for hundreds of short films, all new to North American audiences, compiled and contextualized by international curators. Reciprocally, Antimatter delivers curated programs of new Canadian work to international audiences through our Foreign Matter tours.

Since 1998, the quality and creativity of its programming, commitment to audience development, and respect for filmmakers and their work have made Antimatter one of the most important media arts events in Canada, and the world.  Screenings are at the Vic Theatre (808 Douglas St) and all events are pay-what-you-can.

PROGRAM GUIDE

For more information about our courses or events contact
Linda or Jen at the office: 250-380-3500 or [email protected]
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