News

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

    Tuesday, February 07, 2017 | By

    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.

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    Categories: Events, Faculty & Instructors, News

  • VISA instructor Amy Friend featured on MoMA Instagram!

    Tuesday, January 24, 2017 | By

    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!

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  • Lauren Regier’s Bioart piece Aroma Illius Laqueo.

    Wednesday, January 18, 2017 | By

    REGIER painting in studio

    (Source: The Brock News, Wednesday, January 18, 2017 | by Alison Innes. Photo: Lauren Regier (BA ’14) works on her photographs in studio.)

    Three classes into her first Brock University art course with Professor Keri Cronin, Lauren Regier (BA ’14) knew she wanted to study art full time.

    She has since continued to nurture her passion for art and recently launched a photography exhibit at Malcolm Gear Studio in Welland.

    Regier called her connection with Brock and the local arts community, as well as an artist residency she took following graduation, critical to her artistic development.

    It was her professors at the University who explained the residency process and shared their professional experiences to help guide her in an appropriate direction.

    With the support of professors Amy Friend, Irene Loughlin and Donna Szoke, Regier opted to participate in the Sointula Art Shed Residency Program near Vancouver Island in March 2016.

    Lauren Regier’s Bioart piece Aroma Illius Laqueo.

    Lauren Regier’s Bioart piece Aroma Illius Laqueo.

    The residency was an important opportunity for her to explore functional and survival properties of plants, humans and animals, and to apply that research into the construction of the plants in her Bioart series.

    The series is a collaboration of science and art that creates new, interesting organisms by meshing together existing bits of plant matter.

    Regier’s work combines plants with industrial products to create strange new prototypes. She documents her creations in black and white photography, hand-tinted with watercolours.

    Regier’s current exhibition, Fantasy Fleur, is an offshoot of her Bioart series.

    “I wanted to break with the notion of idealized beauty — something that is manufactured and very commonplace when it comes to depicting nature, such as floral wallpaper and furniture patterns,” Regier said.

    The Fantasy Fleur photographs feature plants in different stages of their life cycles. They are printed on aluminum; the highly polished surfaces allow for interactive play between the viewer and the work.

    “Similar to species that bloom at specific times of the day, these metallic prints respond to their environments and viewers are forced to physically interact with the work in order to see the image,” Regier said.

    Producing the pieces has been a highlight for Regier over the past year.

    “Meeting wonderful people in the community through Brock University and Rodman Hall has been crucial in developing my practice and providing me a platform to show my photographs,” she said.

    Regier first met Malcolm Gear in her curatorial art class at Brock.

    The artists recently reconnected at a Rodman Hall event at Mahtay Café, which ultimately led to Regier’s exhibition being launched at Malcolm Gear Studio, 464 East Main St. in Welland.

    Her work is on display until Jan. 31.

    Regier’s photography is also available for viewing on her website.

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    Categories: Alumni, In the Media, News

  • Visual Arts professor releases new book on photography

    Friday, December 09, 2016 | By

    Appropriated photographs book cover(Source: The Brock News, Friday, 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.

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  • Visual Arts students build camera obscura at Walker School

    Wednesday, November 23, 2016 | By

    (Source: The Brock News, Wednesday, November 23, 2016 | by Alison Innes. Photo caption: Brock Visual Arts students work to build a camera obscura in front of the Marilyn I. Walker School of Fine and Performing Arts.)

    Constructing a large outdoor camera has given Brock Visual Arts students a freeze frame of photography techniques of the past.

    As part of the Walker Cultural Leader Series, 40 students from Prof. Amy Friend’s Camera and Darkroom Process Photography course and Candace Bodanski’s Baroque Art and Architecture course worked to build a three metre by three metre camera obscura in front of the Marilyn I. Walker School of Fine and Performing Arts in downtown St. Catharines

    The camera obscura gave students an opportunity to experience an early form of photograph making.

    “Their interactions with the structure coerced new methodologies and much trial and error to achieve a successful photograph,” Friend says.

    After working with New York artist Liz Sales and Friend to build the camera, the students used it for about a month to produce photographs.

    The result is a new exhibit at the downtown Brock opening Thursday, Nov. 24.

    The term camera obscura was coined in the early 17th century and means “a darkened room.” The device works on similar principles to a pinhole camera. A dark room or tent with a small hole in one side allows light to pass into the darkened space and create an image of an object. This image can be captured on photographic paper or by drawing.

    Making the structure light-tight was a challenge, requiring students to hand stitch the black-out material directly onto the structure so wind couldn’t lift the fabric and allow light to leak in and interfere with the exposure of the silver gelatin paper during production.

    Friend said that she witnessed some hesitancy with the new structure at first, as it disrupts modern understanding of what a photographic capture is.

    “As a practitioner,” she said, “I love that reaching into the vaults of history reveals new ways of seeing and thinking. Students pushed their experiments with impressive results.”

    Other Brock Visual Arts classes also interacted with the camera obscura while two high school classes visited the project and attended a workshop with Sales and Friend in which they engaged with the camera and darkroom facilities to produce photographs.

    In Light and Darkness: A Camera Obscura Project with Artist Liz Sales and Brock Visual Arts Students runs until Dec. 9 in the MIWSFPA Art Gallery, and also features work from Sales’ own camera obscura series The Weather Inside. An opening reception and artist talk by Sales will be held Thursday, Nov. 24 from 6-7 p.m. in MW151 at the downtown campus.

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  • Brock students team with NY photographer

    Monday, November 21, 2016 | By

    Artwork of falls, and screen

    (Source: St. Catharines Standard, Monday, November 21, 2016 | by John Law. Photo caption: An image from photographer Liz Sales’ series The Weather Inside. CREDIT: Liz Sales / Submitted)

    New York photographer Liz Sales will team with Brock University Visual Arts students for a camera project opening Nov. 22.

    In Light and Darkness will spotlight the results of a ‘camera obscura’ collaboration on the grounds of the Marilyn I. Walker School of Fine and Performing Arts in downtown St. Catharines.

    Prior to an opening reception Nov. 24, Sales will host an artist’s talk at 6 p.m. in the school’s Foundation Studio (MW 151).

    “(Liz) has a knowledge base that’s quite extensive,” says Department of Visual Arts assistant professor Amy Friend. “And she’s quite adventurous. She doesn’t have a traditional set of what is expected, and I thought that would be really useful for the students.”

    Sales currently teaches at the International Center of Photography. Her work focuses on the relationship between perception and technology, and is seen in several photo-based magazines.

    Friend was already familiar with Sales’ work when the photographer contacted her two years ago for a magazine interview. She knew her unpredictable style and methods were ideal for Brock’s visual arts students.

    “She’s definitely an experimenter, which was really important to bringing her to work with the students. She has a background in motion picture cameras, and also builds her own cameras by hand to shoot her photographs.”

    In addition to student work, the show will feature selections from Sales’ camera obscura series The Weather Inside.

    Camera obscura is the optical result of an image projected through a small hole, seen as reversed and inverted.

    Friend says the students built a ten-by-ten foot tent with blackout material as an exterior darkroom for the project. It’s located directly in front of the Marilyn I. Walker school.

    “There’s quirks whenever you’re building something new in a different place, so it teaches them not only about the construction and function of the camera, but also the learning that happens along the way for everyone.”

    jlaw@postmedia.com

    • WHO: Liz Sales and Brock Visual Arts Students
    • WHAT: In Light and Darkness
    • WHEN: Nov. 22 to Dec. 9
    • WHERE: Marilyn I. Walker School of Fine and Performing Arts; 15 Artists’ Common; St. Catharines

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  • Camera Obscura Project hits Marilyn I. Walker School – In Light and Darkness on display Nov. 22-Dec. 9

    Wednesday, November 16, 2016 | By

    (Source: Niagara This Week, Wednesday, November 16, 2016)

    ST. CATHARINES — What happens when Brock University visual arts students work alongside a celebrated New York photographer? A special collaborative gallery show.

    In Light and Darkness: A Camera Obscura Project will hang at the Marilyn I. Walker School of Fine and Performing Arts’ art gallery from Nov. 22 to Dec. 9, featuring the work of Brock’s visual arts students along with photos from Liz Sales’ camera obscura series The Weather Inside. Camera Obscura, sometimes referred to as a pinhole image, is a natural optical phenomenon that occurs when light from an external scene passes through a device – usually a box – and strikes a surface inside, reproducing the scene inverted and reverse while preserving the colour and perspective.

    As part of the Walker Cultural Leader Series, students from Brock participated in a workshop with Sales, a New York artist from the International Centre for Photography. The students worked with Sales to construct a camera obscura for the production of their work on the grounds of the downtown performing arts school. The work being displayed as part of the series is the students’ response to those workshops. An artist talk is taking place Nov. 24 from 6-7 p.m. in Foundation Studio at the school, with the opening reception to follow from 7-9 p.m. The art gallery is located at the Marilyn I. Walker School of Fine and Performing Arts at 15 Artists’ Common. Gallery hours are Tuesday to Saturday, 1-5 p.m.

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  • Visa Photography Instructor Amy Friend mounts exhibition.

    Tuesday, November 01, 2016 | By

    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.

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  • Presence: Large Drawings by Lorène Bourgeois

    Wednesday, October 26, 2016 | By

    (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.

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  • Lorène Bourgeois: Large Drawings

    Wednesday, October 12, 2016 | By

    Media Release
    Marilyn I. Walker School of Fine and Performing Arts
    906.688.5550 x 4765

    Lorène Bourgeois: Large Drawings
    October 18 – November 18, 2016
    Opening Reception: Thursday, October 20, 5 – 8 pm

    The Art Gallery at the Marilyn I. Walker School of Fine and Performing Arts is pleased to present “Large Drawings” by Lorène Bourgeois.  The artist and Brock University instructor will present a series of large-scale representations of humans, animals, clothing and nakedness. The exhibition will include 10 – 12 highly detailed drawings mounted directly on the wall. The artist will attend the opening reception and thereafter be available by appointment.

    Born in France, Lorène Bourgeois completed her training in Paris, Philadelphia, and Halifax. A Fulbright recipient, she holds an MFA from NSCAD University. Her artwork has been exhibited widely in Canada as well as in France, Korea, Russia, and the United States.  Her work is held in numerous collections, including 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.  Lorène Bourgeois lives and works in Toronto, and she teaches drawing in the Department of Visual Arts at Brock University.

    To view Lorène Bourgeois’ website, click here
    Free Community Event
    Art Gallery Hours: Tuesday – Saturday, 1 – 5 pm
    Lorène Bourgeois gratefully acknowledges the support of the Ontario Arts Council.

    Marilyn I. Walker School of Fine and Performing Arts, 
15 Artists’ Common,
St. Catharines, ON L2R 0B5

    – 30 –

    Media inquiries:
    Marie Balsom, 905.688.5550 x 4765,
    or email: mbalsom@brocku.ca

    Visit our website: brocku.ca/miwsfpa

    Video Coverage:

     

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