Sara Angelucci: Undergrowth / Broussailles
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About this ebook
For more than 20 years, Toronto photo-based artist Sara Angelucci has transformed found photographs and created images exposing the cultural and historical conditions outside the image frame. Her work brings attention to the social forces that generate the language of photography. Her series Aviary — which morphs extinct and endangered birds with 19th-century cartes-de-visite portraits — reveals the colonizing role the camera played in capturing animals for consumption. In her current work, Nocturnal Botanical Ontario, images of entwined native and invasive plants — made with a digital scanner — pay homage to photography as a tool of scientific inquiry. These complex botanical compositions uncover the impacts of settler colonialism and global trade on our ecology. Through acts of empathy, embodiment, and envisioning, the images and essays in Undergrowth seek to reconcile our fraught relationship with the natural world, addressing one of the most critical issues of our time.
Undergrowth is a co-publication with Art Gallery Sudbury | Galerie d’art de Sudbury.
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Sara Angelucci - Sara Angelucci
Land Acknowledgement
Français
This book has been assembled through partnerships with Sara Angelucci, Art Gallery of Sudbury | Galerie d’art de Sudbury, and ECW Press, who work and live throughout Ontario. Each is grateful to share this land and would like to acknowledge the Indigenous Peoples who live and care for it:
Sara Angelucci
I would like to acknowledge that the area around Nottawasaga Bay on which I have been living is the traditional land of the Iroquoian-speaking Petun Nation and several Ojibwa bands who thrived here before European settlement. I also live and work in Toronto, the Dish with One Spoon Territory.
The Dish with One Spoon is a treaty between the Anishinaabe, the Mississaugas, and the Haudenosaunee that bound them to share the territory and protect the land.
Subsequent Indigenous Nations and Peoples, Europeans, and all newcomers have been invited into this treaty in the spirit of peace, friendship, and respect. As a settler and descendent of Italian immigrants, I want to express my gratitude to be able to share in the beauty and bounty of this land, and the responsibility I bear in its stewardship and care for all its creatures.
Art Gallery of Sudbury | Galerie d’art de Sudbury
The Art Gallery of Sudbury | Galerie d’art de Sudbury operates in Robinson-Huron Treaty territory. We acknowledge that the lands on which we gather are the traditional lands of the Atikameksheng Anishnawbek and that the large area considered as Greater Sudbury also exists within and adjacent to the territorial lands of the Wahnapitae First Nation and the Sagamok Anishnawbek First Nation.
ECW Press
The ECW office is situated the traditional territory of many Indigenous nations including the Wendat, the Anishinaabe, Haudenosaunee, Chippewa, Métis, and the Mississaugas of the Credit, the latter of whom completed the negotiation of a Treaty No. 13 known as the Toronto Purchase
begun in 1787, negotiated in 1805, and renegotiated in 2010. It was a sandy, oak savannah on a hill rising westward from Heward Creek, one of Toronto’s lost ravines. We are grateful for the opportunity to work on this storied land and thank those who cared for it before us.
Reconnaissance des territoires
English
Le présent ouvrage est le fruit d’un partenariat entre Sara Angelucci, la Galerie d’art de Sudbury | The Art Gallery of Sudbury et ECW Press. Tous ces partenaires sont basés dans différentes régions de l’Ontario, et tous sont reconnaissants de pouvoir partager la beauté et les fruits de cette terre. Nous désirons reconnaître les différents peuples autochtones qui ont vécu sur ces territoires et s’en sont occupés.
Sara Angelucci
Je tiens à reconnaître que les terres entourant la baie de Nottawasaga, où je vis, sont les terres traditionnelles de la Première Nation pétun, de langue iroquoienne, ainsi que de bandes ojibwées qui y prospéraient avant l’établissement des Européens. Je vis et travaille également à Toronto, le « territoire du bol à une seule cuillère », en référence au pacte en vertu duquel les Anishinaabe, les Mississaugas et les Haudenosaunee s’engageaient à partager le territoire et à protéger ces terres.
Subséquemment, plusieurs nations et peuples autochtones, ainsi que des Européens et de nombreux autres nouveaux arrivants ont été invités à participer à ce traité dans un esprit de paix, d’amitié et de respect. En tant que descendante d’immigrants italiens, je suis reconnaissante de pouvoir partager la beauté et les fruits de ces terres, et je reconnais ma responsabilité envers son intendance et toutes les créatures qui y vivent.
Galerie d’art de Sudbury | The Art Gallery of Sudbury
La Galerie d’art de Sudbury | The Art Gallery of Sudbury se trouve sur le territoire du traité Robinson-Huron; nous tenons à souligner respectueusement que l’endroit où nous sommes rassemblés est le territoire traditionnel de la Première Nation anichinabée Atikameksheng, et que le plus vaste territoire connu sous le nom du Grand Sudbury se trouve sur et à proximité du territoire de la Première Nation Wahnapitae et de la Première Nation Sagamok Anishnawbek.
ECW Press
Les bureaux d’ECW Press se trouvent sur le territoire traditionnel de plusieurs nations autochtones, y compris les Wendat, les Anishinaabe, les Haudenosaunee, les Chippewas, les Métis et les Mississaugas de Credit, ces derniers ayant parachevé la négociation du Traité no 13, connu sous le nom de « l’achat de Toronto », qui fut entrepris en 1787, négocié en 1805 et renégocié en 2010. Cette savane sablonneuse où poussaient des chênes occupait une colline montant vers l’ouest à partir de la crique Heward, un des ravins disparus de Toronto. Nous sommes reconnaissants d’avoir la possibilité de travailler sur ces terres pétries d’histoire et remercions ceux qui en ont pris soin avant nous.
English: A digital rendering of a 19th century cabinet card with a forest. Français: Rendu numérique d’une photo de format cabinet du XIXe siècle représentant une forêt.Arboretum (Man/Woman/Pines), 2016 (detail)
Arboretum (homme/femme/pins), 2016 (détail)
Expand / Développer
Faint silhouettes of a man and woman posed on either side of a stone post are overlaid in the centre of the photograph so that the trees seen within the silhouettes appear darker and brighter.
On discerne à peine les silhouettes d’un homme et d’une femme posant de chaque côté d’un poteau de pierre. Ils sont superposés au centre de l’image, de façon à ce que les arbres que l’on voit à l’intérieur de leurs silhouettes nous paraissent plus sombres et vifs.
English: A cluster of foliage and flowers. Français: Une grappe de feuilles et de fleurs.Black Flowers (Lady Slipper), 2017
Fleurs noires (sabot de la Vierge), 2017
Expand / Développer
Layered black-and-white lantern slides featuring a cluster of foliage and flowers, with yellow and purple streaks.
Diapositives sur verre noir et blanc superposées, représentant une grappe de feuilles et de fleurs, striées de jaune et de pourpre.
For Clara
After you left us, I looked at life differently.
I noticed small things and saw their beauty,
And told myself — from now on, I’m seeing for two.
And for Carla
Your strength is an inspiration.
And for Lou
My favourite brother.
Pour Clara
Lorsque tu nous as quittés, j’ai commencé à regarder la vie différemment.
Je me suis mise à remarquer les petites choses et à en apprécier la beauté,
et je me suis dit : désormais, je vois pour deux.
Et pour Carla
Ta force est une source d’inspiration.
Et pour Lou
Mon frère préféré.
English: A tree covered in small white blossoms. Français: Un arbre couvert de petits bourgeons blancs.Ghost Orchard, 2022, video still
Verger fantôme, 2022, plan fixe
Expand / Développer
A symmetrical, mirrored image of a tree covered in small white blossoms. The tree is brightly lit, contrasting with the black background. The mirrored silhouette of a person is overlaid on top of the tree.
Image symétrique reflétée représentant un arbre couvert de petits bourgeons blancs. L’arbre est bien éclairé, contrastant avec l’arrière-plan noir. La silhouette reflétée d’une personne est superposée sur celle de l’arbre.
Foreword
Elegiac Beyond Their Original Illustrative Intent
Français
The Art Gallery of Sudbury | Galerie d’art de Sudbury is honoured and privileged to present Sara Angelucci: Undergrowth. The project includes two components, the mid-career solo exhibition of Sara Angelucci’s work, curated by Shannon Anderson, and this publication, its companion book. The opportunity to work with artist Sara Angelucci and her deeply elegant, moving, and resoundingly plaintive body of work has been extraordinary for the Art Gallery of Sudbury | Galerie d’art de Sudbury, a process spanning four years. When I first reached out to the artist in December 2018 about a possible exhibition, the timing was kismet: Sara Angelucci was already in process of conceptually developing her (long overdue) mid-career survey with curator Shannon Anderson.
In August 2019, Sara and Shannon conducted a research trip and site visit. The Art Gallery of Sudbury | Galerie d’art de Sudbury, formerly the Laurentian University Museum and Arts Centre, has always been housed within the 1907 stone mansion of William J. Bell, who built the house and made his living from harvesting the area’s pine forests in his work with the Spanish River Lumber Company. Ours has been a charged and multivalent occupation, not the least because the building is 115 years old, and comes with a ghost.
Subsequently, the proposal for placing the exhibition here resolved more fully into situational focus; it responded a bit more to the place-ness and story of the Bell Mansion. Midwinter 2021, the global pandemic (again) intervened, with all its complications and disruptions of daily life, presence, and being, placing the Gallery in mandatory lockdown until mid-July. Our concession of re-timing the exhibition’s presentation here in Sudbury from fall 2021 to fall 2022, however, opened up the time and opportunity to make a book.
This considered and telescoping engagement represents the enhanced project opportunities we see for the Gallery and our visitors going forward. We are so excited about the multi-sensory presentation of the exhibition and about the accessibility possibilities of the book in its digital form. At the same time, the lovely project of Sara Angelucci: Undergrowth has coincided with a turn in our relationship with the Bell Mansion and grounds — we are forced to concede that soon we will have to say goodbye. That realization aligns with the deeper themes of Sara’s work and has rendered this wonderful experience of co-production more meaningful and timely.
Deepest thanks to artist Sara Angelucci and to curator Shannon Anderson. Thanks again to Sara Angelucci, Shannon Anderson, and to Bénédicte Ramade, Fides Krucker, Kim Fahner, and Lisa Kiss, for their contributions to the book, and to Jennifer Smith, ECW Press, for this marvellous opportunity of co-publication and distribution. Thanks to the other exhibiting galleries: Art Gallery of Mississauga, Tom Thomson Art Gallery, and Varley Art Gallery of Markham. And thanks to the first venue of the show SPAO: Photographic Arts Centre and the Art Gallery of York University for the loan of works from Aviary. Special thanks to our operating funders, the City of Greater Sudbury, Ontario Arts Council, and the Canada Council for the Arts. Finally, thanks to our dynamic board and staff in the realization of this project.
Demetra Christakos
Director | Curator
Art Gallery of Sudbury | Galerie d’art de Sudbury
Préface
Élégiaques au-delà de leur vocation illustrative première
English
C’est pour la Galerie d’art de Sudbury | The Art Gallery of Sudbury un honneur et un privilège de présenter Sara Angelucci : Broussailles. Ce projet a deux composantes : une exposition individuelle de cette artiste à mi-carrière, dont le commissariat est assuré par Shannon Anderson, ainsi que la présente publication accompagnant l’exposition. Ce fut pour la Galerie d’art de Sudbury | The Art Gallery of Sudbury un réel bonheur de travailler avec Sara Angelucci et de présenter un corpus d’œuvres profondément élégantes, émouvantes et vulnérables, un processus qui s’est échelonné sur une période de quatre ans. Lorsque j’ai contacté l’artiste en décembre 2018 pour discuter de la possibilité d’une exposition, je ne pouvais pas mieux tomber. En effet, Sara Angelucci avait déjà commencé à formuler la composition d’une rétrospective de milieu de carrière avec la complicité de la commissaire