No rest for Paul Walde’s Glacier

New departmental chair Paul Walde is participating in the October 4 dusk-to-dawn contemporary arts celebration that is Nuit Blanche Toronto. His recent video installation Requiem for a Glacier will be screened at University of Toronto’s Hart House as part of the choral exhibit All Together Now. All Together Now will consider the renewed interest in the choir format and its capacities for inspiring feelings of togetherness, communicating shared memory and history, and—occasionally—provoking less than harmonious results. Nine video installations and sound works by Canadian and international artists will resonate throughout Hart House, accompanied by on-the-hour performances by 10 choirs from the Toronto community.

Paul Walde recording on Farnham Glacier (photo: Pat Morrow)

Paul Walde recording on Farnham Glacier (photo: Pat Morrow)

Says Nuit Blanche: “Paul Walde’s massive video installation Requiem for a Glacier will engulf visitors in a panoramic portrait of BC’s Jumbo Glacier area, serenaded by a four-movement oratorio written to respond to the imminent threats of global warming and resort development.”

Walde’s piece is presented alongside acclaimed UVic Visual Arts alumnus Althea Thauberger’s sound piece Murphy Canyon Choir, a documentation of a choral performance developed by the artist and a group of spouses of active-duty soldiers in the largest military housing complex in the USA.

Originally conceived in Paris in 2002, Nuit Blanche is a 12-hour event with a mandate to make contemporary art accessible to large audiences, while inspiring dialogue and engaging the public to examine its significance and impact on public space. Nuit Blanche is both a “high art” event and a free populous event that encourages celebration and community engagement.

nuit-blancheFrom sunset to sunrise city spaces and neighbourhoods are transformed into temporary exhibitions: unusual or forbidden spaces become sites of contemporary art open for all-night discovery and rediscovery, and cultural institutions—from museums to galleries to artist run centres—open their doors and offer free access to contemporary art. Now universally translated as “Sleepless Night,” Nuit Blanche has expanded its reach beyond Paris to more than 25 cities across the globe, each offering its own version of the all-night art extravaganza.

Fellow Visual Arts professor Vikki Alexander‘s photographs were a highlight of the 2012 Nuit Blanche Toronto.

A little closer to home, Requiem for a Glacier is also currently on view through to October 25 at the Art Gallery at Evergreen Cultural Centre in Coquitlam BC, and from there will appear at Université Laval’s visual arts gallery in Quebec City until the end of December.

You can read more about Walde’s Requiem in this UVic KnowlEDGE feature.

Walde's "Interdeterminacy" offers art from mushroom spores

Walde’s “Interdeterminacy” offers art from mushroom spores

In other Paul Walde news, his work Interdeterminacy (for John Cage)—seen locally as part of last year’s Visual Arts faculty exhibit Paradox—is part of Open Sound 2014: Sonorous Kingdom at the Surrey Art Gallery in Surrey, BC. That exhibition runs until December 14, but Walde will perform with EMU: Experimental Music Unit from noon to 5pm on Saturday, November 15, at the Surrey Art Gallery. Elements from the concert Music for Mycologists will be on the program, including Interdeterminacy.

New student welcome

Now that classes are back in session, it’s time again for our annual Fine Arts New Student Welcome soiree, where we welcome our first-year students in style.

ice-social_960x540But rather than offer yet another year of pizza, this time around the Fine Arts faculty and staff will be serving something different: ice cream! Yep, we’re throwing an ice cream social—but better still, this Sept 11 event will feature tasty gourmet ice cream sandwiches by Cold Comfort, local purveyor of high-end ice cream yumminess.

ColdComfortRather than just the humdrum likes of vanilla, strawberry and chocolate, Cold Comfort offers ice cream sandwiches with flavours like Vanilla Bean sandwiched between chocolate cookies and Salted Caramel (that’s dairy and gluten-free, no less). We’ll also have a mystery box of random flavours for the more daring ice cream gourmands.

Coastal Giant

Coastal Giant

But there will be more than just ice cream up for grabs. In addition to popcorn and cookies (for those who don’t like chilly treats), we’ll also be featuring the music of local country funk band Coastal Giant.

Come for the food, stay for the fun! The New Student Welcome is always a great chance to connect with Fine Arts faculty and staff in a casual environment. All Fine Arts students, staff and faculty are welcome to join us from 4 to 6pm Thursday, September 11, in the Fine Arts Courtyard.

A September full of events

Now that  university classes are back in session (at least some BC students have returned to school), Fine Arts is also back in action with a full slate of September events. Here’s a chronological list of what’s coming up in the next few weeks—be sure to check back in early October for next month’s lineup.

irontomahawksThe annual Audain Exhibition presents returning Audain Professor Jackson 2Bears and his live cinema/scratch video performance, Iron Tomahawks. Digitally-encoded vinyl records—created in conjunction with specialized software developed by the artist—enable the manipulation of audio/video media in realtime, creating a multimedia performance that simply needs to be seen. Pop in and see the kind of contemporary work our Visual Arts professors are creating.

Iron Tomahawks should be open by Sept 12—they’re just dealing with some technical issues at the moment. Once it opens, it will run 10am-4:30pm Mondays-Fridays through to Sept 26 in the Audain Gallery, found off the main foyer of the Visual Arts building. And it’s free to watch, of course.

TiaCasperPhotoMagicPosterVisual Arts alumna Tia Casper is opening her first exhibit since graduating. Photo Magic offers a series of photographs taken in Las Vegas over 48 hours.These analog, pseudo tourist snapshots show Las Vegas through its lights, signs and grandiose architecture. The images juxtapose the glamour of greed against the detritus and decay of a failing dream. The images are dark, yet the lights shine through to create a parody of what Las Vegas symbolizes.

Photo Magic opens Thursday, Sept 11 and runs to Sept 28 at the Fifty Fifty Arts Collective, 2516 Douglas.

From Thomas Kneubuhler's "Access Denied" series

From Thomas Kneubuhler’s “Access Denied” series

Staying on the visual arts beat, we’ve got the first of the 2014/15 Visiting Artist series—Thomas Kneubuhler. A Swiss-born multimedia artist, Kneubuhler creates work that often deals with social issues and how technology affects people’s lives. His work has been presented in many exhibitions in both Europe and North America. He’s appearing here as part of his participation in Open Space’s Work’PLACE’ exhibit. (Thanks to Open Space for jointly sponsoring his illustrated talk here on campus.)

If you’ve never caught one of the Visiting Artist talks, they’re a great chance to hear about what’s happening in the contemporary art scene around the world. Thomas Kneubuhler appears at 8pm Wednesday, Sept 17, in room A162 of the Visual Arts building. Also free!

Iron Chink imageAs mentioned above, Open Space’s fall exhibit is Work’PLACE’, and it features a number of connections to the Visual Arts department. Work’PLACE’—curated by longtime Visual Arts professor Lynda Gammonuses a variety of strategies to interrogate the rapidly transforming definitions of “work”. Work’PLACE’ features Visual Arts MFA alumnus Dong-Kyoon Nam, previously mentioned Visiting Artist Thomas Kneubuhler, and London’s Tommy Ting, along with a film by Christine Welsh of UVic’s Women’s Studies.

Work’PLACE’ opens 7pm Friday, Sept 19, and continues to Oct 25 at Open Space, 510 Fort. If you’re interested in the ideas behind the art, the exhibit’s Artist’s Talks is at 2pm Saturday, Sept 20.

ReBirth of the Cool_PatrickBoyle9 copyThe School of Music is keeping the “cool” in “school” (but, you know, spelling it correctly) with the first of the season’s Faculty Concert Series: Re-Birth of the Cool. Jazz professor Patrick Boyle is celebrating the 65th anniversary of the iconic Birth of the Cool sessions—featuring Miles Davis, Gil Evans and Gerry Mulligan—by performing innovative arrangements from these classic charts on guitar and trumpet, as well as a duo with Juno Award-winning local trombonist and School of Music professor emeritus Ian McDougall.

Re-Birth of the Cool kicks off at 8pm Saturday, Sept 20, in the Phillip T. Young Recital Hall. Tickets are $14 & $18. Can’t make it to the show? Tune in here for a live broadcast of the concert.

Our colleagues at the Legacy Art Galleries are offering a pair of exhibits focusing on Salish art: Perpetual Salish: Contemporary Coast Salish Art from the Salish Weave Collection and Salish Reflection: Coast Salish Art and Artists on Campus.

lessLIE's "wHOle_W(((h)))orl(((d)))"

Art by lessLIE

Perpetual Salish presents a wide range of art forms and ideas, and gallery visitors will gain a better understanding of the cultural and stylistic elements that unify and inspire these contemporary artists in their own artistic practices. Artists featured are Maynard Johnny Jr., lessLIE, John Marston, Susan Point and Dylan Thomas, and the exhibit runs to January 10, 2015.

Meanwhile, Salish Reflection honours Coast Salish artists Chris Paul, Maynard Johnny Jr., and knitters May Sam and the Olsen family (Adam, Joni, and their mother Sylvia), who were all part of UVic’s Artist in Residence Program through the Department of Anthropology between 2011 and 2013. During their three-month residency, they collectively taught students about their own artistic practices as well as aspects of Coast Salish history and contemporary culture.

Chris Paul's "Conservation"

Chris Paul’s “Conservation”

This exhibit illustrates the teaching methodology and experience of students and artists in collaboration along with examples of the artists’ work. (The Artist in Residence Program is facilitated by Dr. Andrea Walsh, who teaches the Anthropology of Art, and the program is supported by donors George and Christiane Smyth.)

All are welcome to join the artists and curators of both exhibits for a reception at 2pm Saturday, Sept 20, at Legacy Downtown, 630 Yates. Light refreshments will be served

You can also hear a curator’s talk with lessLIE at 2pm Saturday, Sept 27, at the Legacy Downtown.

cal_23_event_97334

Sarah Treadwell (top) and West My Friend

A great new project by the School of Music is their Emerging Artist Alumni Series. Not only does it allow recent Music graduates a chance to shine in the spotlight, the Emerging Artist series also offers a fantastic opportunity for students to meet with and learn from young alumni. The first in the series brings together classical and folk traditions in a double-bill of violist Sarah Tradewell and the chamber folk group West My Friend—featuring Eden Oliver, Jeff Poynter and Alex Rempel. 

The Emerging Artist Alumni Series kicks off at 7:30pm Sunday, Sept 21, in the Phillip T. Young Recital Hall. Admission is by donation.

WR Faculty reading poster_14If the literary arts are more your style, the Department of Writing is holding its Annual Faculty Reading Night this month. Featuring the words of Carla Funk, Bill Gaston, Kevin Kerr, David Leach, Tim Lilburn, Joan MacLeod and an excerpt of a film by Maureen Bradley, plus grad students Leah Callen, Heather Clark, Danielle Janess, Michael LaPointe and Sam Shelstad, the evening will be hosted by Fine Arts communications honcho and Writing department sessional instructor John Threlfall.

The Annual Faculty Reading Night starts at 7pm Tuesday, Sept 23, in room A240 of the Human & Social Development building. Guess what? It’s also free.

spearin_CAREWORN

Gary Spearin’s “Careworn”

Over the past two decades, the multi-media installations of Ontario-based multimedia artist Gary Spearin have utilized painting both on and off the canvas. A repertoire of painting techniques and styles had been employed to magnify issues of site and context within museums, private and public galleries, public and domestic architecture, and the natural and historic landscape.

Come hear Spearin talk when he’s the next in the Visiting Artist series. That’s at 8pm Wednesday, Sept 24, in room A162 of the Visual Arts building. Yep, it’s free.

Suzanne SnizekAnd you can end your month in harmony thanks to another of the Faculty Concert Series. This time it’s School of Music flute professor Suzanne Snizek performing works by composers Mel Bonis, Charles Koechlin, Kaija Saariaho and J.S. Bach. This concert will also feature School of Music guests, pianist Bruce Vogt and soprano Anne Grimm.

That’s at 2:30 pm Sunday, Sept 28, in the Phillip T. Young Recital Hall. Tickets are $18 & $14, and you can tune in here for a live audio webcast.

 

Sounds like art

Most artists aren’t very pleased when their work receives a chilly reception. But when Visual Arts professor Paul Walde created a four-movement orchestral requiem for an audience of one—the Farnham glacier in the Kootenays—he was expecting to get the cold shoulder.

Paul Walde recording on Farnham Glacier (photo: Pat Morrow)

Paul Walde recording on Farnham Glacier (photo: Pat Morrow)

Accompanied by a 70-person choir and orchestra, Walde and a film crew trekked up the icefield in July 2013 to bring awareness to melting glaciers in general, and to the Jumbo and Farnham glaciers in particular. The glacier area is the site of a controversial resort development.

While composing music for a glacier may seem a bit odd, it’s simply part of Walde’s wider practice as an artist exploring the boundaries between sound, landscape and art.

“Is listening a natural act? Is perception a cultural act? What does it mean to overlay something completely natural with something overtly cultural?” asks Walde. “Those are the kind of questions I deal with.”

As an artist, Walde believes the combination of visual material with natural sounds allows for a different kind of listening experience. “If you can convince your brain that what you’re hearing is music, you’re going to listen to those sounds very differently,” he says.

Growing up in northern Ontario, Walde was influenced by his experiences with nature and landscape art. “On a larger scale, Canadian identity has always been wrapped up in landscape,” he says. “But I have a strong interest in science, and a lot of science is centered on the investigation of the natural world and how it works.

“Then there’s the larger socio-political dimension of climate change—if you consider the environment somehow integral to our Canadian identity, what does it mean when it’s threatened?”

Paul Walde (photo: Times Colonist)

Falling pine needles bring a piano to life (photo: Times Colonist)

As an acclaimed intermedia artist, Walde has fused his passion for nature and art by transforming mushroom spores, flitting moths, falling pine needles, beaver-gnawed trees and improvised soundscapes into numerous gallery pieces over the years—including Requiem for a Glacier.

Originally commissioned by the Langham Cultural Centre in Kaslo, Requiem received international media attention. Conducted by UVic Symphony director Ajtony Csaba, the performance was filmed as the basis for a video installation.

The soundtrack also incorporates field recordings taken on top of (and beneath) the glacier’s ice field. “The natural resonances of the glacial sounds almost elicit another melody,” he says.

The volunteer orchestra on the glacier (photo: Pat Morrow)

The volunteer orchestra on the glacier (photo: Pat Morrow)

The final 9 x 32-foot, 40-minute projected video installation—which also includes material recounting the history of the glacier, the advent of electricity and climate change, and the government’s announcement of a year-round resort community in the Jumbo Glacier area (which Walde translated into Latin and used as the choral parts in his Requiem) has already appeared in two Kootenay-region galleries.

As the proposed $1-billion Jumbo Glacier Resort continues to generate controversy, Requiem for a Glacier has created new awareness about the issues of global warming and the development of wild spaces. “I offer information and allow people to draw their own conclusions,” he explains. “The video isn’t simply a documentation of the performance. I didn’t want to make a music video, I wanted to make a unique art work which operated more like a painting.”

As always, Walde leaves it to his audience to discover the impact of the art.

Walde's "Interdeterminacy" offers art from mushroom spores

Walde’s “Interdeterminacy” offers art from mushroom spores

“I love leaving a gallery and seeing information in ways I never noticed before,” he says. “That’s one of the great experiences you can have with any art form—literature, theatre, film, visual art—the artist gives you a lens to understand the world.”

Walde is the new chair of UVic’s Visual Arts department and an old hand at engaging students in the contemporary creative process. “I try to convince them that their first idea isn’t always their best idea,” he says. “Consider that first idea an initial impulse and see where else it can go.”

He’s also excited by new opportunities in the art world. “There are great opportunities in technology,” he says. “We’re also seeing the development of an art market that’s unprecedented; it’s enormous compared to what it used to be. Really, it’s a great time to be an artist.”

Requiem for a Glacier runs September 11 to November 1 at the Evergreen Cultural Centre in Coquitlam, then at Laval University Art Gallery in Quebec City until the end of December.

This piece originally ran as part of the KnowlEDGE UVic Research series.

Four on the Floor

New faces will soon be seen in the faculty boardroom, as four departmental mainstays step into fresh administrative roles for three-year terms. Three new Chairs have been announced: Allana Lindgren in Theatre; David Leach in Writing; and Paul Walde in Visual Arts. Not to be left out, Evanthia Baboula of History in Art has been named the new Associate Dean.

Baboula

Baboula

“As we welcome the new leadership team we should also remember to thank those who have been serving in these jobs over the past few years,” says Dean Sarah Blackstone. “These individuals—Lynne Van Luven, Bill Gaston, Daniel Laskarin, and Warwick Dobson—have been working very hard on behalf of the Faculty, sometimes sacrificing their own scholarship and creative activity to be sure everyone else had the proper support to be successful in their own endeavours.”

“Good leadership is key to everything we do and all we want to accomplish as a Faculty,” Blackstone continues. “We have been very well served by the outgoing team, and I am looking forward to working with the new team.”

Lindgren

Lindgren

While appreciating the amount of work the position will entail, Lindgren is clearly looking forward to her new post. “I am grateful to my colleagues for their support and encouragement, and buoyed by our collective desire to solidify our reputation as one of the best theatre departments in Canada,” says Lindgren, a specialist in theatre history. “We’re going to continue to produce exciting theatre while preparing our students to be creative leaders.”

For his part, Leach is “thrilled and honoured” to lead the department he first joined as a student 25 years ago. “Every day, we hear good news about the creative success of our alumni,” says Leach, currently the director of both the Professional Writing and Technology and Society programs.

Leach

Leach

“I hope to increase the awareness of our program, nationally and internationally, so that any student seriously considering a career in the literary arts will put UVic on the top of their wish list . . . I also hope my hair doesn’t turn completely grey until after my second year!”

Both Leach and Lindgren highlight the importance of interdisciplinarity—in Fine Arts and across campus—as well as UVic’s core values of experiential learning, socially engaged research and community outreach. (Walde was out of town as of this writing.) Lindgren also notes the importance of the Phoenix as one of UVic’s most public faces. “In the coming years, I encourage everyone to catch a show and see our ideals in action!”

Walde (photo: Pat Morrow)

Walde (photo: Pat Morrow)

When asked for some words of advice, outgoing Theatre Chair Warwick Dobson offered this sage wisdom to the new Chairs: “Visit your Dean briefly and infrequently,” he quipped. “And know that you can usually help students—but faculty is trickier.”

Dean Blackstone also appreciates the time and effort taken by those who assisted with the appointments. “Join me in thanking the search committees who undertook this important work and congratulating the new administrative team,” she says.

Summer plans (part one)

Who doesn’t like summer? Classes are finished, the fall semester is still far enough away to not worry about and we’ve all got some time to put towards our own creative practices. What’s on deck for some of our faculty this summer? Let’s find out.

Lynne Van Luven

Lynne Van Luven

Outgoing Associate Dean Lynne Van Luven has been busy winding up her job in the Dean’s Office and trundling all her books back upstairs to her permanent home in the Department of Writing. But, before she assumes full teaching duties again, she’s taking a well-deserved administrative leave for the 2014/15 academic year.

“In the period of my leave, I hope to get a whole lot of work done on Flesh Wounds, which is the working title for my new book of essays about the hilarious and hair-raising process of ageing,” she says. “I have lots of research and writing to do, so I am most appreciative of the time off.” But having time off doesn’t come naturally to the diligent Van Luven. “I have never—since I started teaching at universities back in 1981—had a full year off to work on a project,” she admits. “I hope I just don’t blow all my time pursuing Skittles and beer . . . or, alternately, wine and roses.”

Bland with Canadian actress Neve Campbell

Bland with Canadian actress Neve Campbell

Busy Department of Theatre continuing sessional instructor Leslie Bland always has some fascinating side-projects on the go. Recently back from a trip to Paris and from attending the Banff World Media Festival in June, he’s currently completing his latest film project.

“I’m wrapping post production on our feature documentary Gone South: How Canada Invented Hollywood,” Bland reports. “There will a world premiere of it in August in Los Angeles hosted by the LA Consul General for Canada.” Word is the premier might even be held at the famous Grauman’s Chinese Theatre in Hollywood. (Maybe Bland can give a tour of all the famed Canadian hand-prints in the concrete there.) Gone South comes on the heels of the all-female stand-up comedy series She Kills Me that Bland recently produced and directedfor broadcast on APTN.

Lewis Hammond & Monteverdi

Lewis Hammond

School of Music director Susan Lewis Hammond is cracking the books this summer—her own book, that is. “I’ll be finishing a textbook titled Baroque Music: History, Culture, Performance—forthcoming with Routledge in 2015″, she says. On top of that, she’ll be presenting on a panel “on the value of a Bachelor of Music degree” at Congress 2015 at Brock University, and traveling to do research at the University of Toronto. Let’s hope there’s time for some relaxing in her schedule, too.

Writing professor and filmmaker Maureen Bradley recently completed editing her locally-lensed debut feature film Two 4 One—Canada’s, and possibly the world’s, first mainstream transgender romantic comedy— and is now in the process of submitting it to major film festivals, both Canadian and international.

Dániel Péter Biró

Biró

As well as preparing for his prestigious Fellowship from the Radcliffe Institute at Harvard University in 2014/15, School of Music professor Dániel Péter Biró will have his new composition Al Ken Kara (That Is Why It Was Called) performed on July 26 at the Teatro Fondamenta Nuove in Venice, Italy. This piece was originally composed as part of the Mediterranean Voices film project. In addition, the book The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective that he co-edited with fellow School of Music professor Harald Krebs, has just been released by Oxford University Press.

Youds photoVisual Arts professor Robert Youds currently has his light-based sculpture “turn on your electric* on view as part of the Vancouver Art Gallery’s exhibit Out of Sight: New Aquistions, running to September 1. He’s also completing a major sculptural commission which will be opening at the Vancouver Art Gallery’s Offsite this fall. Locally, his piece “soft works for complicated needs*” is featured in the current AGGV exhibit Through the Looking Glass until September 7.  In addition to that, Youds will have the paintings “our aurora borealis and everything else” as part of the Transformation of Canadian Landscape Art: Inside and Outside of Being at the Xi’an Art Museum in China from August 10 – September 21. Better still, he’ll be travelling to Xi’an and Beijing to give talks and to meet foreign dignitaries as part of the exhibit.

Stay tuned for more summer plans!

Jackson 2Bears explores the future of tradition

Three things set Jackson 2Bears apart as the 2013/14 Audain Professor of Contemporary Arts of the Pacific Northwest for the Department of Visual Arts. Not only is he the first UVic alumnus and first local artist to hold the position, but he is also the first person reappointed for a second year.

Jackson 2Bears

Jackson 2Bears

Following in the footsteps of such noted Indigenous artists as Rebecca Belmore, Michael Nicol Yahgulanaas and Nicholas Galanin, 2Bears is a Kanien’kehaka (Mohawk) multimedia artist and a frequent face around campus. Having completed both his Masters and PhD here, he taught for both Visual Arts and UVic’s Pacific Centre for Technology and Culture before accepting the Audain position. But he’s kept busy off-campus this past year by participating in solo and group exhibitions such as Ghost Dance: Activism. Resistance. Art. at Toronto’s Ryerson Image Centre, the Beat Nation tour which saw him invited to perform in Montreal and a number of East Coast performances with the Noxious Sector collective, as well as participating in Open Space Gallery’s recent public art symposium Reclaim The Streets.

As with all Audain professors, 2Bears’ year was split between teaching and studio practice. “There were periods where I was really focused on working with students—which was fantastic—but because of the way the position is set up, I found a lot of time for my own work,” he says. “Much of my year was about intense research; I really wanted to use this time to experiment with my own practice. Sometimes at the mid-career level, you find yourself in ruts or overly familiar ways of working; I was conscious of trying to upset that for myself. I wanted to do the research in order to recreate my practice.”

But he was also found himself challenged by his experience teaching the 300-level Audain seminar, which included students working in a variety of mediums: from painting and sculpture to digital media, performance and music. “Working with students at the senior level, it feels less like teacher/student relationships and more like we’re a group of artists working together, helping each other out,” he says. “I found that immensely helpful—especially in an environment where you’re forced to be critical of other peoples’ work all the time in that role, you go home and do that to yourself; it enhances your own practice. You look at your own work, and the voice in your head says, ‘Am I following my own advice here? Have I really thought this through?’”

2Bears in performance

2Bears in performance

Currently working on creating entirely new digital instruments for his Audain exhibition in September 2014 (“I’m adapting an old analogue synthesizer into a video performance machine . . . I want to treat video like sound, so it can warp and move like a synthesizer and music”), 2Bears has also been writing (“I’m also working on some new texts directly related to indigenous philosophy and technologies”) and looking at enhancing community engagement with the Audain position.

“I’ve been building relationships between Visual Arts and First Peoples House, Open Space and the community, but it’s taken a lot of this year just to get that off the ground,” he says. “But it would make me very happy to see that carry on, create more of a sense of community with the Audain position—not just community here on campus but bringing in other artists as well.” Already in the works is a series of mini-residencies with fellow contemporary indigenous artists Maria Hupfield, Sonny Assu and Corey Bulpitt.

All in all, 2Bears is pleased with his first year as an Audain Professor. “Absolutely, it’s been a great year,” says an enthusiastic 2Bears. “It’s been a real challenge working with students—in this environment, it’s very rich, very interdisciplinary, and everybody’s coming at things from different angles and perspectives—but it’s been fantastic.”

Created in 2009 as part of a $2-million gift from B.C. art philanthropist Michael Audain and the Audain Foundation, the Audain professorship brings in mid-career professional artists to both work with students and further their own work.

Call for Courses

The Faculty of Fine Arts is requesting expressions of interest for the following sessional assignments:

Got a great course idea?

Got a great course idea?

Fall Term - FA 200 A0: Special Topics in Fine Arts (maximum enrollment: 150 students), September-December 2014.
A multi-disciplinary investigation into various aspects of the arts. Focus may vary from year-to-year. Class runs Monday and Wednesday, 4:30pm – 5:50pm.

Spring Term -FA 335 A01 – Popular Culture (maximum enrollment: 75 students), January – April 2015.
An interdisciplinary examination of the popular arts and their place in society. The topics for
examination will vary in different years and sections. Class runs Monday and Thursday, 8:30am – 9:50am.

Expressions of Interest are due by 4:30pm Thursday, June 19th, 2014. Positions will be assigned no later than June 27, 2014.

Insert your course here

Insert your course here

Please submit a written letter of interest indicating qualifications and experience,
potential course outline along with a current Curriculum Vitae to:
Samantha Knudson, Academic Administrative Officer
Faculty of Fine Arts (Fine Arts Building, Rm 116)
University of Victoria, PO Box 1700 Stn CSC, Victoria BC V8W 2Y2

If you are interested in proposing future courses that fit within the Fine Arts curriculum (see Undergraduate Calendar pg. 310), please contact the Dean of Fine Arts Office to schedule an appointment. Sessional Instructors are CUPE 4163 (Component 3) positions with Sessional Lecturers Certification.

The University of Victoria is an equity employer and encourages applications from women, persons with disabilities, visible minorities, aboriginal peoples, people of all sexual orientations and genders, and others who may contribute to the further diversification of the University. The University reserves the right to fill additional teaching assignments from the pool of applicants for this posting. All positions are subject to enrolment and budgetary approval.

MFA exhibit engages eyes & intellect

When it comes to advanced academic work, few would expect to spend five minutes examining a graduate student’s work in biochemistry, neuroscience or mechanical engineering and really “get it.” Yet the same rules don’t seem to apply to Visual Arts, where people are often quick to dismiss an MFA student’s work simply because they don’t immediately understand, or appreciate, it.

Art by Visual Arts MFA candidate Neil McClelland

Art by Visual Arts MFA candidate Neil McClelland

Just ask Paul Walde. A professor of painting and media practices in the Department of Visual Arts, Walde is the graduate advisor for UVic’s 11 Visual Arts MFA students. He’s also a very busy intermedia artist on the leading edge of contemporary practice, so he knows well of what he speaks. “If you walk into a play or open a book and just spend five minutes with it, you’re probably not going to have a good sense of what the total accomplishment is,” he says. “That’s the same with visual arts—you have to spend some time with the work, maybe do a little reading around it . . . sometimes the content of the art is such that a level of understanding will have to preface it in some way.”

The MFA exhibit, titled In Your Eyes,will feature work by six graduating MFA candidates: Megan Dyck, Ethan Lester, Neil McClelland, Kaitlynn McQueston, Carley Smith and Jeroen Witvliet. “It’s really like six solo exhibitions,” says Walde. “Six people are taking over the entire facility, and some take up three or four rooms. The amount of work they produce is staggering; you’ll only be seeing a fraction of what they’ve produced in the past two years.”

MFA student Kaitlynn McQueston

MFA student Kaitlynn McQueston

Kaitlynn McQueston, who did her BFA at York University, was attracted by the independent studio focus of the MFA program. “I love the idea of a program that focuses more on practice-based research,” she says. “Graduate students have a little more control over what you read and research . . . most programs are just partial studio, and you spend a lot of time writing papers. This is more independent.”

McQueston describes her own practice as being “site-specific work focusing on the outdoors and architecture . . . I like the idea of artwork that tries to blend into the urban landscape and invites you to touch it in an informal but tangible way. I like breaking down those institutional barriers and engaging the public with art, as well as the landscape.” (In addition to the work on display in the MFA exhibit, McQueston is currently negotiating with local municipalities to install some pieces in public spaces.)

An example of Jeroen Witvliet's work

An example of Jeroen Witvliet’s work

Artists like McQueston, who have fresh approaches and new ideas, are exactly who the MFA program wants to attract. “We’re looking for artists who want to engage with contemporary art dialogue in an environment that really promotes independently driven, rigorous studio investigation in the service of research creation,” says Walde. “It’s definitely a successful program given its size; I shouldn’t be shocked but it’s always surprising—or affirming—when our former students receive awards or gain the recognition they so rightly deserve.” (Case in point: Visual Arts alumnus Kim Adams, who was recently awarded the 2014 Governor General’s Award for Visual & Media Arts.)

One of Carley Smith's pieces

One of Carley Smith’s pieces

But while a perpetual sense of misunderstanding seems to be go hand-in-hand with being a contemporary artist, Walde doesn’t let it rankle him. “Most artists generally don’t want to confound audiences; they’re trying to convey messages in ways that are comprehendible in some form,” he explains. “But people expect it to work like advertising. With advertising, you’re driving by a billboard and you instantly get it, then it’s gone—whereas a good work of art will hopefully engage you and linger longer, more along the lines of a good novel or a good play.”

MFA-show[1]“With all the works in this exhibition, there are lots of opportunities for people to bring their own experiences and histories to bear upon the things that they’re seeing,” he says. “Most artists would agree that whatever you walk away with—whatever experiences you have—are valid interpretations of the art.”

In Your Eyes runs May 2-10 throughout the Visual Arts building. The opening night reception is from 6-9 p.m. on Friday, May 2, with opening remarks beginning at 7 p.m.

 

Mowry Baden wins prestigious Guggenheim fellowship

Well-known contemporary artist and sculptor Mowry Baden, a professor emeritus with the Department of Visual Arts, can now add one of North America’s most prestigious awards to his long list of honours. Baden is one of only two Canadians receiving a 2014 Guggenheim Fellowship and is among a diverse group of 178 scholars, artists, and scientists selected from a field of almost 3,000 applicants.

Mowry Baden in his studio, with the start of his Guggenheim-funded sculpture "Trisector"

Mowry Baden in his studio, with the start of his Guggenheim-funded sculpture “Trisector”

Baden is only the sixth UVic scholar to be awarded a Guggenheim and our first creative artist to receive the honour. The John Simon Guggenheim Memorial Foundation announced this year’s recipients on April 10 in its 90th annual competition for the US and Canada.

“I’m very happy,” says Baden of his one-year fellowship worth $55,000 US. “My request was for money to help develop a sculpture that addresses the sense of touch—in art parlance, that’s called haptic. The sculpture will be pretty complex and will, of course, also have a visual component. It is a piece that will be able to be moved from place to place.” His Guggenheim-funded sculpture, titled Trisector (seen here), is already being constructed.

Baden & Meigs' "Revolving Basement" (2013)

Baden & Meigs’ “Revolving Basement” (2013)

Best known locally for his public art sculptures and complex tactile works, Baden is a prolific artist and recipient of numerous grants and awards including a 2006 Governor General’s Award in Visual and Media Arts. He will also be speaking at the upcoming event Reclaim the Streets: A Symposium on Art and Public Space, running April 25 and 26 at Open Space. Baden also contributed the piece “Revolving Basement” to the recent solo exhibition The Basement Panoramas by fellow Visual Arts faculty member Sandra Meigs.

“The Department of Visual Arts is proud to congratulate Mowry Baden on being awarded a prestigious Guggenheim Fellowship,” says department chair Daniel Laskarin. “He was one of two professors who joined UVic in the 1970s and who led the development of our program into what it is today. His students are among the most successful artists across Canada and beyond, and his own artistic work is internationally celebrated.”

Baden's "Upper and Lower Case" (2009)

Baden’s “Upper and Lower Case” (2009)

Notable among Baden’s former students are the likes of Sobie Award winner Christian Giroux, Yale’s director of sculpture Jessica Stockholder, current Visual Arts professor Robert Youds and 2014 Governor General’s Award winner Kim Adams. In his GG interview, Adams mentions the influence Baden had on the development of his work. “When we learned art history, it was through somebody who knew art today—and that was Mowry Baden,” he says. “We started seeing things that were more real—the perception of the colours, the scale and the size, what happens between it and you and that space between. For me, it was the street level, I was trying to pull that into the art.”

You can read more about Baden’s life and artistic legacy in this Canadian Art magazine feature article “The Great One.”

Baden's "Tender Trepanation"

Baden’s “Tender Trepanation” (2005)

“UVic has for many, many years has had a popular and critical sculpture program,” says Baden. “A lot of these people who have done well out in the world are sculptors who have been trained by me, my friend Roland Brener, who passed away, and by Daniel Laskarin . . . it continues to be a very strong program.”

Reflecting on the development of the department under his guidance, Baden feels they created something unique. “I think it’s true that no other department was offering what we could offer—Roland with his uniquely English exposure and me with a Southern California background—that’s kind of a unique combination. I can’t think of another Canadian university or art school that had that kind of blend.”

Opening night of the recent BFA show Split hints at the diversity of the Visual Arts building

Opening night of the recent BFA show Split hints at the diversity of the Visual Arts building

Baden was also instrumental in developing not only the Visual Arts program but the building itself. “When I was the chair of the department in the early ‘90s, we were singularly fortunate in getting a new building, and I had a great deal to do with its design—not that I designed it, but I was the point man for the department,” he recalls.

“A little stroll through the building is important when you want to see how the pedagogy is reinforced by the structure of corridors and studios and shops, the way they are linked and related with one another. It’s not a thousand percent success, you can never achieve that, but I think the building does a great deal to help with practice.”

As mentioned above, Baden will also be participating in Reclaim the Streets: A Symposium on Art and Public Space at Open Space on April 25 and 26. A fascinating and wide-ranging interdisciplinary symposium on art in the public space, Reclaim the Streets will bring together artists, scholars, curators, activists, community organizations, and engaged citizens to examine and discuss the goals, perceptions, problems, and possibilities of public art in Victoria. Along with Baden, Fine Arts will be represented by the likes of Visual Arts MFA Kika Thorne and former Department of Theatre alumni and instructor Dr. Will Weigler.

Past Guggenheim fellows from UVic include climatologist Andrew Weaver (2008), astrophysicist Julio Navarro (2003), English professor Anthony Edwards (1988), ocean physicist Chris Garrett (1981) and biologist Job Kuijt (1964).

Often characterized as “midcareer” awards, the Guggenheim Fellowships are intended for men and women who have already demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts. Scores of Nobel laureates, Pulitzer Prize winners and eminent scientists are past Guggenheim fellows, including Henry Kissinger, Linus Pauling and Ansel Adams.