Faculty & Instructors

  • Post-Industrial Ephemera: Soundings, Gestures and Poetics

    close up of an industrial building and window

    Photo credit: Derek Knight

    Post-Industrial Ephemera: Soundings, Gestures and Poetics
    Silo-City welcomes you to an exhibition featuring artists on both sides of the Niagara River

    April 22 – 29, 2017
    105 Silo-City Row, Buffalo, NY 14203, U.S.
    Opening Reception: Saturday, April 22 from 2 – 5 pm
    http://www.silo.city
    Click here for directions
    Free community event

    Buffalo, New York and St. Catharines, Ontario are neighboring cities separated by a river and a border, but they also nurture a strong sense of regional togetherness and cultural kinship. Colleagues in Sculpture, Arts, Comparative Literature, English Studies, Visual Arts, Studies in Arts and Culture, and French Studies at SUNY on the U.S. side and Brock University on the Canadian side will share a common space at Silo-City, Buffalo between April 22 – 29. Coming from different places and practices, we wish to foster interdisciplinarity.

    Together, we want to reflect on the notion of dispersal. A concrete monument, an overwhelming structure, Silo-City is also a crucible of ephemeralities – sounds dissipating as they echo up the walls, the wind blowing through hollow buildings, the decay of objects deposited in the empty halls, the temporary presence of others, productive resonances of creative experiences. Is Silo-City a memorial? Silos are built to maintain large networks of commodity exchange for human and animal sustenance. Here, however, the workers are gone; the buildings are exposed to inclement weather; the projects we bring with us will disappear, be dispersed or displaced. Silo-City, despite its imposing constructions, invites visitors to become more perceptive to the transience of human endeavours.

    We will plant colourful seedpods, install a neon sign in tribute to the Buffalo river that flows by Silo-City, crush words out of their discourse, scatter mourning songs for long gone lives, bring images, noise and stories from other places. We will capture the brilliance of a moment.

    A follow-up one-day symposium at Rodman Hall Art Centre, St. Catharines will document and revive the exhibition on September 16, 2017.

    The opening will include performances by Harmonia Chamber Singers, Reinhard Reitzenstein, Lauren Regier, Continuous Monument, Catherine Parayre and Jim Watkins 

    Curators: Catherine Parayre, Reinhard Reitzenstein

    Click here to download the performance program.

    For more images and information, please visit the exhibition website.

     

    University of Buffalo art dept, Rodman Hall, Harmonia, Marilyn I Walker, Silo City and Brock University faculty of Humanities logs in a row


    Participating artists: 

    ArtIndustria+
    Untitled (neon sign)

    ArtIndustria+ was formed in 1995 by Derek Knight and Franc Petric, two Canadian artists who reside in the Niagara region. Motivated by the desire to work collaboratively, they have developed projects over the years with a focus on art, research and technology. Underlining their concerns with the dialectical relationship between ecology and industry, their conceptual models combine installation techniques and situational aesthetics to further examine the artist’s role in post-industrial society.

    Continuous Monument
    Silo Sessions at the American (noise/drone performance)

    Continuous Monument is an affiliation of interdisciplinary culture-makers working among design, text, architecture and sound fields. Born from the ashes of a contaminated political landscape, Continuous Monument gathers to spatialize sound and signal in temporary, site specific soundscape improvisations. Monument will perform at The American in Silo City as an acoustic inhabitation; live ghosts active in remnant industrial anatomy.

    Akasya Crosier
    Likeness (typeface study)

    Akasya Crosier is a multifaceted artist based in Western New York. She is currently a senior at UB studying Studio Art and Communication. In her artwork, she focuses on effective communication skills, idealized spaces, and bright imagery.

    Catherine Parayre (assisted by Josh Dawson, SUNY and Paul Savoie, Brock U)
    Ingrained Words (14 posters: assembled fragments from texts by 33 writers)

    Catherine works in Arts and Culture, and in Modern Languages, Literatures and Cultures at Brock University. She is particularly interested in contemporary Occitan literature, as well as the co-presence of literatures and visual arts. She includes her four languages in her creative work.

    Catherine Parayre and Jim Watkins
    The Silo-Minder (recording, reading)

    Jim Watkins lives in Silo-City and is our silo-minder/keeper. His passion for the arts and for Silo-City is central to our cross-border project.

    Lauren Regier
    Where I stand is fair and square (performance/grass seed & dirt)

    Lauren Regier is Honours graduate from Brock University’s Visual Arts program, and is an emerging artist based in the Niagara Region. Much of her work is inspired by the notion of functionality and relationships between the industrial world and the natural realm. Interested in the experiential nature of contemporary art, her practice includes photography, installation, performance, drawing and video.

    Reinhard Reitzenstein
    ArbreTreeBaum (vocal piece in 5 languages)

    Reitzenstein has held over 100 solo exhibitions and over 300 group exhibitions globally, and has completed over 25 public and private art commissions. His work is represented in more than 50 public and corporate collections internationally. Reitzenstein has been Director of the Sculpture Program at, SUNY, Buffalo since 2000. He is represented by the Olga Korper Gallery in Toronto.

    Casey Ridings
    Untitled Emotion (acrylic paint)

    Casey Ridings is currently a Graphic Design student at the University at Buffalo. She is intrigued by the geometric nature of organic patterns; through a spontaneous and intuitive process she creates intricate paintings and drawings inspired by the exploration of her experiences and emotions.

    Cody Schriever
    Vanity Case / Skeletons of Perception (painting/sculpture)

    Cody Schriever is a student in the University at Buffalo art department. His paintings and sculptures deal with human nature, and the structures of its self-perception. By combining various styles of painting and modes of expression he creates a complex narrative of the global condition.

    Shawn Serfas
    Alloyed (acrylic)

    Shawn is an Assistant Professor in the Visual Arts Department, Marilyn I. Walker School of Fine and Performing Arts at Brock University. His research interests include contemporary painting, drawing and printmaking practices concerning relational abstraction, environmental aesthetics, religion, the landscape as well as issues bordering abstraction and representation.

    Lucas Veraldi
    2mp (inkjet prints)

    Lucas is an artist currently residing in Buffalo, NY. His practice examines the different methods of representation that exist within the realm of photography and explores the truth value that a photograph holds as a piece data that showcases life.

    Sophia Yung
    Voyage Voyage 

    Sophia Yung is a Chinese American graphic designer and artist from Brooklyn, NY. Her most recent work involves the analysis of Asian American culture shock, language barriers, mixed martial arts and the role of financial capital in the precarious 21st century.

    Jean Zhu
    bacteria (video)

    Jean Zhu is currently a Media Study student at the University at Buffalo. She is both a photographer and a filmmaker. Her experimental films and straightforward photographs of everyday objects and scenes are noted for their color combination, explicit composition and rich content.


    Tags: , , , , , , , , , , ,
    Categories: Alumni, Announcements, Events, Faculty & Instructors, News

  • Honours Applications: VISA 4F06, 3F99 and 4F99 due May 1, 2017.

    VISA Students: Reminder that Honours Applications for VISA 4F06, 3F99 and 4F99 are due by May 1, 2017. There are hard copies available in the Visa office or if you email Monika Lederich at [email protected] she can send you digital copies.

    Categories: Announcements, Current Students, Faculty & Instructors, News

  • Upcoming exhibition at Rodman Hall: Donna Akrey’s “Also Also”

    (Source: Rodman Hall Art Centre)

    DONNA AKREY
    Also Also

    Curated by Marcie Bronson

    February 11 to April 30, 2017

    Opening Reception: Saturday, February 11, 3 pm

    HOT TALK: Thursday, March 2, 7 pm
    Donna Akrey in conversation with Marcie Bronson

    Donna Akrey is interested in how habit shapes the way we experience and engage with the world around us. Rooted in her astute observation of patterns of communication and consumption, her work humorously intervenes to raise discussion about social and environmental issues, often responding directly to a particular site or community. Using common, surplus, and discarded materials to construct sculptures and installations that she describes as “ruminations on the spectacle of the unspectacular”, Akrey draws attention to the futility of the notion of “the ultimate” and the richness in the space between intention and result. Akrey explains: “I imagine the absurd as real, because sometimes the real is so absurd.” Alongside selected works from the last 15 years of her practice, this exhibition presents a site-specific outdoor installation created in collaboration with neighbourhood residents.

    Donna Akrey, Middle Ground, 2016, mirror, wood, foam, casters.

    Tags: , , , , , ,
    Categories: Events, Exhibitions, Faculty & Instructors, News

  • Brock Talks: “Finding Photographs” by VISA Professor Amy Friend

    Brock Talks Logo“Finding Photographs” by Brock Visual Arts Professor Amy Friend
    The process artists undertake in their studio practice involve various amounts of experimentation and discovery. Professor Amy Friend, Department of Visual Arts, will present behind-the-scenes aspects of studio practices by several photographic artists working with found photographs and highlight the complex navigation and issues related to the specific act of ‘finding photographs.’

    Wednesday, February 15, 7 – 10 pm
    St. Catharines Public Library
    54 Church Street, St. Catharines

    For more information, connect with us on our Facebook event page.

    Tags: , , ,
    Categories: Events, Faculty & Instructors, News

  • VISA instructor Amy Friend featured on MoMA Instagram!

    VISA instructor Amy Friend’s piece, “Hands on Water”, is featured today on the Instagram page of the Museum of Modern Art as part of their MoMA R&D Salon 19: Modern Death. Have a look! Congratulations, Amy!

    Tags: , , ,
    Categories: Faculty & Instructors, News

  • Visual Arts professor releases new book on photography

    Appropriated photographs book cover(Source: The Brock NewsFriday, December 9, 2016 | by Alison Innes)

    Professor Linda Steer has been fascinated with photography since she was a little girl looking at her grandmother’s photo albums. Her interest in photography and surrealism has now led to the recent publication of her book, Appropriated Photographs in French Surrealist Periodicals, 1924-1939.

    Steer says understanding the appropriation and recirculation of images is an important part of our media-rich culture.

    “Research on photography is becoming increasingly important as we live more and more of our lives through visual images,” she says.

    Memes are one modern example of how the meaning of an image changes.

    “They are typically photographic images that have been appropriated and altered through the addition of text or juxtaposition with other images. They circulate on social media. That process of adding text and re-circulating changes their meanings,” Steer says.

    The surrealists of the 1920s and 1930s were doing a similar thing in their magazines: taking existing images and juxtaposing them with other images or text. In this process, surrealists turned established images, such as medical images or crime-scene photographs, into works of art with very different meanings from the original photographs.

    It’s important to our image-laden lives to understand this process and what it means, says Steer.

    Her book is structured around four case studies and is the first of its kind on this topic.

    Since art history is an interdisciplinary field, Steer’s analysis engages with histories of psychiatry, psychoanalysis, ethnography, anthropology, literature and poetry, criminology, forensics, politics, religion, and popular culture in late 19th and early 20th century France and beyond.

    While the book is for an academic audience, Steer hopes those interested in photography and art will also find it appealing.

    “I hope that my book gives readers a new way of thinking about the complex relationships between surrealism and photography, and that it allows readers to understand, in a more general way, how photographs work and how they come to have meaning,” Steer concludes.

    Tags: ,
    Categories: Faculty & Instructors, News

  • Visa Photography Instructor Amy Friend mounts exhibition.

    image_559Photography Professor Amy Friend presents Eternal Light at the Miles Nadal Jewish Community Centre in Toronto.

    November 2 – 30, 2016
    The Gallery at the J
    Miles Nadal Jewish Community Centre
    750 Spadina Ave. (at Bloor), Toronto Ontario

    In Jewish tradition the death of a loved one is commemorated by lighting a yahrzeit candle, often with a prayer beginning with a passage from Proverbs, “. . . the lamp of the Eternal is the soul of humanity . . .” For most Jews who perished in the Holocaust, and so many who died before, there is no surviving family to observe this ritual. It therefore falls to future generations. For a visual interpretation of the theme Future of Memory, Neuberger HEW commissioned artist Amy Friend. Exploring the notion of light, Friend used archival photographs of European Jewry before the Shoah from UJA Federation’s Ontario Jewish Archives, Blankenstein Family Heritage Centre. She carefully perforated each reproduced photo and shined light though the small openings, bringing new light into the image and recreating it as a unique work of art; a poignant and eternal tribute to life, love, and loss.

    Amy Friend is a Canadian Artist and Assistant Professor of Fine Arts at Brock University. Friend has exhibited nationally and internationally, exploring issues related to history, memory, personal archives and phenomenology. She works with the medium of photography pushing its anticipated boundaries through installation and material experimentation. Recent exhibitions include Assorted Boxes of Ordinary Life (Rodman Hall, Canada), Heaven on Earth at the DongGang Museum of Photography (South Korea) and at the GetxoPhoto Festival (Spain). She has been selected as a top 50 photographer by Critical Mass International Photography Competition for three years running. Amy Friend is represented by C3 Arts.

    Exhibit Curated by Mira Goldfarb. Generously co-sponsored by Sally & Mark Zigler in honour of their parents, Fanny & Bernard Dov Laufer and Etty & Salo Zigler.

    Tags: , , , , , ,
    Categories: Faculty & Instructors, News

  • Presence: Large Drawings by Lorène Bourgeois

    (Source: The Brock Press, October 25, 2016 | by Shannon Parr)

    Lorène Bourgeois’ “Forteresse painting by Peter Legris

    Lorène Bourgeois’ “Forteresse” (2012) / Peter Legris

    Brock’s own Visual Arts Instructor, Lorène Bourgeois, is exhibiting a collection of her work with large drawings at the Marilyn I. Walker School of Fine and Performing Arts. Some of her most recent highly detailed drawings are mounted directly on the wall and are described by MIWSFPA as “large-scale representations of humans, animals, clothing and nakedness”.

    Although born in France, Bourgeois has trained in the arts in Paris, Philadelphia and Halifax, earning a Master of Fine Arts degree at the Nova Scotia College of Art and Design University. Bourgeois’ work has been exhibited in Canada, France, Korea, Russia and the United States, and her work is currently held in a multitude of centres for art which include: the Canada Council Art Bank, the Banff Centre for the Arts, the Department of Foreign Affairs, the National Bank of Canada, the Richmond Hill Public Library, the Museum of Contemporary Canadian Art, Ernst and Young, Senvest, Hart House and the Donovan Collection. Currently, she lives and works in Toronto, as well as teaches in Brock’s Department of Visual Arts.

    In a statement made on her website in regards to her recent drawings, Bourgeois says she is developing a series of drawings that focus on the subject of clothing and its relation to human and animal bodies. She goes on to say that she is interested not only in the social and utilitarian functions of garments, but also their qualities as physical objects. In particular, the details of these physical objects, such as their folds and buttons, are some of what she explores in her work.

    “Isolated from their original context, and placed in the presence of similarly ambiguous “faux frères,” such garments seem to oscillate between functionality and theatricality, between absurdity and threat,” said Bourgeois. “It is this tension, the moment when the function of clothing slips into something less recognizable, that I wish to explore.”

    At the opening of her gallery at MIWSFPA, she further elaborated on her more recent drawings, saying that they relate garments to the human body and face:

    “We have five new pieces in this show. They are all from the same series; what’s interesting for me actually is to allow them to connect to one another just like people would in life,” said Bourgeois. “They really reflect my own experience, like looking at people and contouring people in life. Of course, my interest is in a different meaning of clothing – like, people wear clothing for a social reason, it can be protection, it can be both, or it can also be a sign of authority. There are all these different possibilities, and with this collection we see a few.”

    Out of the pieces hung along the walls, one individual drawing stood out, as it was the lone piece to include an animal.

    “I’ve also been interested in animals for some time – even dressed animals. Sheep, for instance, at the winter fair are covered with a kind of hood, which really reminds you of something from the middle ages,” said Bourgeois. “It’s a bit scary, because you only see the eyes.”

    Although her subject matter is diverse, it all connects to and works with images of humanity. Throughout our discussion on her art, she began to speak about what she is trying to accomplish with these pieces.

    “There is a lot of different thought going into this work,” said Bourgeois. “Like bringing back a different period of history but also bringing together individuals which lived in the past. Some of the work’s sources are really both from my life and looking at people and animals, but they’re also looking at artifacts in a museum. Also, looking at sculpture. Some of these faces [in the drawings] were actually roman people.“

    Lorène Bourgeois’ “Swim Cap” by Peter Legris

    Lorène Bourgeois’ “Swim Cap” (2013) / Peter Legris

    On a drawing entitled “Swim Cap” (2013), Bourgeois commented that this was one of the drawings of a sculpture. This sculpture was depicting a nineteenth century noble person in France, but Bourgeois removed the clothing she’d had on and instead focused on the face and shoulders, noting that she wanted to focus on the woman’s strength in these features.

    Referencing a work entitled “Tin Hat” (2014), Bourgeois noted, “this fellow here who was a Roman general has become a soldier or a worker – we really don’t know now because of that tin hat. I know it is an odd thing I’m doing with the human form but for me, what really matters is bringing them back in a way and showing their strengths and sometimes their attitude, but often the dignity that I see.”

    When the subject turned to motivation, Bourgeois elaborated on the two things she thinks of when meditating on her work; first, its presence.

    “One of the things I think of when I think of my work is the idea of presence – bringing back the human presence, whether it’s that of a person living before our time – it could be a contemporary person like my neighbour’s daughter (reference to “Infant”, 2012). The other word I would use is trying to make it as intense as possible through the way of working. It is very intense, with layers and layers of the medium.”

    On her process, she explained that her staple tool in the Large Drawings collection is Conté, a medium often consisting of compressed, powdered graphite. Bourgeois only uses this and an eraser to produce her pieces; there is no white tool, and so instead she works with the original white space of the paper. One piece can take approximately three months

    In the collection now being exhibited in MIWSFPA, it is interesting to note that there are four separate drawings of figures wearing gas masks.
    Although she expressed her horror at the idea of war, Bourgeois also claimed a sense of fascination felt when exploring war museums. She recounted a time a few years back, when she was on a research grant in England. The Imperial War Museum was holding an exhibition on childhood during WWӀӀ.

    “Something I didn’t realize until that show was that everyone in Europe had to have a gas mask ready,” explained Bourgeois. “Because gas had been used in WWӀ, they thought it was going to be used again in WW2; people were terrified. In that display, they were showing gas masks for children which they called ‘Mickey Mouse’. The gas masks were red and had funny colours so kids would not be so scared of them, but it was pretty scary [for me to see]. They showed a video of a toddler learning how to put the mask on their head. In the end, gas was not used at war, but it’s still a current topic because it’s been used recently in Syria.”

    On her earlier work, Bourgeois talked about her fascination with clothing:

    “I drew only the clothing. I’ve always worked with the human theme. As I mentioned before, I used to look at faces from sculpture and I would take a lot of photos in museums of sculpture, but then all of a sudden my camera started looking below and realizing the clothing.”

    Lorène Bourgeois’ “Tin Hat” by Peter Legris

    Lorène Bourgeois’ “Tin Hat” (2014) / Peter Legris

    Bourgeois spoke on the eighteenth century, saying there were were beautiful sculptures with beautiful clothing, specifically noting the time of the French revolution. Men wore very frivolous and showy costumes, which drew her interest. Even now, although she focuses on the face, she works with a hat in her drawings.

    In one corner of the room hung a drawing entitled “Forteresse” (2012); in it, a severe looking woman sits, staring out at you amidst the huge, frilly fabric collaring her dress.

    “The source for Forteresse is a tiny sculpture of a woman from the nineteenth century, and she had a much smaller cloth around her shoulders and neck,” said Bourgeois. “I made her much bigger and her dress also bigger. I call it Fortress. She’s very righteous, very dignified, and you don’t know whether the strengths are coming from her or whether the outfit gives her those strengths. On one hand it gives her power, but on the other hand it’s very restrictive, which it was if you think about those times in the Victorian time where women wore corsets and very stiff clothing.”

    When looking at Bourgeois’ Large Drawings, her dedication to depicting the human expression and presence is clear. The detailed shading done only through Conté and eraser allows her to work very closely with the base level paper itself, coming back to it over and over again, and sustaining a relationship with its white space. She did not need to talk about presence, because it was already felt in the room. “Swim Cap” stares, fierce and dignified, into the dead centre of the room. The depictions of children and people in gas masks almost stalk the corners of the gallery, some staring back at its viewers and others looking away. The medium allows for an intense representation of its subject matter and, with it, Bourgeois has brought these people, Romans or World War ӀӀ children, into the room
    with us.

    Lorène Bourgeois’ gallery of Large Drawings will be held at the Marilyn I. Walker School of Fine and Performing Arts from October 18th – November 18th, Tuesday – Saturday from 1:00 p.m. until 5:00 p.m.

    Tags: , , ,
    Categories: Faculty & Instructors, In the Media, News

  • Lorène Bourgeois exhibition coming to MIWSFPA

    (Source: The Brock News, Wednesday, October 12, 2016)

    Whether Lorène Bourgeois is drawing humans or animals, the use of garments is a recurring part of her striking imagery.

    And starting Oct. 18, the public will have a month-long opportunity to view an exhibition by the Paris-born visual artist and Brock University instructor.

    The show “Large Drawings” will be on display in downtown St. Catharines, in the Art Gallery of Brock’s Marilyn I. Walker School of Fine and Performing Arts. Consisting of 10 to 12 highly detailed works, the images are representations of humans, animals, clothing and nakedness.

    Bourgeois herself will be on hand for an opening reception from 5 to 8 pm on Thursday Oct. 20, which is a free community event.

    Throughout her career, Bourgeois has had her artwork exhibited across Canada as well as in France, Korea, Russia and the United States. She now lives and works in Toronto, and has for several years taught drawing in Brock’s Department of Visual Arts.

    To learn more about the upcoming exhibition and see some of the imagery, click here.

    Tags: , , , ,
    Categories: Faculty & Instructors, In the Media, News

  • Visa LTA Instructor exhibits in Poland.

    amy-friend_dare_alla_luce_1-3LTA Photography Instructor Amy Friend will be exhibiting work in Października Poland as part of the Vintage Photography Festival October 7 to 23. For more information, please click HERE.

    Tags: , , ,
    Categories: Faculty & Instructors, News