The National Gallery of Canada acquires works by Andrew Wright

Very pleased to announce that two (2) major works of mine were recently purchased by The National Gallery of Canada and now are a part of their permanent collection.  The works are from the Data Trespass series.  Data Trespass: Illegal Photographs is a conceptual suite of panoramic photographic images that antagonize a recent Wyoming statute that makes outdoor photography an illegal and indictable form of data collection. Also acquired is a video work, similarly titled Data Trespass: Wyoming v. Wright, that derives its footage from a mock trial where I was prosecuted for my apparent contravention of the Wyoming ‘no photography’ law.  More information about these works can be found here: Illegal Photographs and Data Trespass

Data Trespass: Illegal Photograph #24  , 1 of 9 images comprising a single panoramic work, 2016 (printed 2018).  Purchased by  The National Gallery of Canada,  July 2018.

Data Trespass: Illegal Photograph #24, 1 of 9 images comprising a single panoramic work, 2016 (printed 2018).  Purchased by The National Gallery of Canada, July 2018.

Landscape Into Eco Art: Articulations of Nature Since The 60s

Cover Image:  Reinhard Reitzenstein, Transformer , 2000. Cime et Racine Symposium, La Gabelle, near Trois Rivières, Québec. By kind permission of the artist.

Cover Image: Reinhard Reitzenstein, Transformer , 2000. Cime et Racine Symposium, La Gabelle, near Trois Rivières, Québec. By kind permission of the artist.

"Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues.  In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting.

Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists’ films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today’s debates on climate science, government policy, and our collective and individual responsibility to the planet.

An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham’s work valuable and invigorating."

Humbled that a lengthy consideration of my work is included in Mark's new book among artists such as Robert Smithson,  Olafur Eliasson, Nancy Holt, Mark Dion, Shelley Niro, James Nizam, Abelardo Morell, Roni Horn, Isabelle Hayeur, Sharon Switzer, Paul Walde, Mariele Neudecker, Arthur Renwick, Dennis Oppenheim and many more.

Buy it here: http://www.psupress.org/books/titles/978-0-271-08003-1.html#

Mark writes of The Photograph: Suspended Tree, 2016:

"....Wright emphasizes the profound difference between image making as a creative exercise and its much more common commercial deployment. In one, the camera conforms to what it pictures; in the other, the object that generates the image conforms to the technology so that the camera’s activities are emphasized. Put otherwise, just as the container turned camera obscura inverts both image and a viewer’s expectations, so too it constructs a composition inside the box that insists on the conditions of viewing and image making rather than on a result, an image as commodity in the way that cars are products..."

Making Art At The Mall

Sometimes, you just plain forget you've made something.  Here's a work called Ether Fever:The Very Thing:The Theory Of Everything from 2012.  It's a video of engraving a stainless steel business card case that contains an SD card, upon which is a copy of the video that shows the engraving of a stainless steel business card case...

Finalists for the 2017 Mid-Career Artist Award

I'm totally honoured to be included in such illustrious company for this award: Maura and Jesse are stunningly great artists! 

The Ottawa Arts Council would like to thank RBC Royal Bank, RBC Foundation, Mann Lawyers LLP, GGFL Chartered Accountants, Ian Capstick and Shawn Dearn, and the City of Ottawa for their support of the Ottawa Arts Council Awards Program.

The awards recipients will be announced at the Arts Awards Presentation on Tuesday,May 9th in the Arts Court Theatre. The recipient in each category will be awarded $5,000 and the finalists will each receive $1,000.

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Maura Doyle

Maura Doyle lives and works in Ottawa. Her multidisciplinary practice has included video, ceramics, sculpture, book works, printed matter and drawing. Her recent work focuses on the medium of clay, prehistoric pottery and processes, which includes the traditional techniques of hand building and pit firing. Her work has been exhibited across Canada in artist-run centres and art institutions, and internationally in New York, Japan, Sweden and Vienna. She received her MFA from the University of Guelph and is represented by Paul Petro Contemporary Art in Toronto (http://paulpetro.com)

 

 

Jesse Stewart

Jesse Stewart is an award-winning composer, percussionist, artist, instrument-builder, and educator. His music has been documented on over twenty recordings including Stretch Orchestra’s self-titled debut album, which was honoured with the 2012 “Instrumental Album of the Year” JUNO award. He has performed and recorded with musical luminaries from around the world, and has been widely commissioned as a composer and artist. He is a professor of music in Carleton University’s music program and an adjunct professor in the visual arts department at the University of Ottawa. In 2015, OttawaJazzScene.ca described him as “one of the most innovative musicians in Canada."


Andrew Wright

Andrew Wright's work is described as multi-tiered inquiries into the nature of perception, photographic structures and technologies, and the ways we relate to a mediated and primarily visual world. He has exhibited widely, both nationally and internationally, with exhibitions in London, UK, Vancouver, Toronto, Korea, Oakville Galleries, Madrid, to name of few. Wright is the recipient of numerous grants and awards. Nominated six times for the Sobey Art Award he was a semi-finalist in 2007. In 2016 he was nominated for the Premier’s Awards for Excellence in the Arts. In 2011 he won the inaugural Gattuso Prize at CONTACT Photography Festival in Toronto. He is Chair of Visual Arts at the University of Ottawa.