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Chapter 6: Curatorial label for "Medusa"
Chapter 6: Curatorial label for "Medusa"
ratings:
Length:
1 minute
Released:
Feb 28, 2023
Format:
Podcast episode
Description
This chapter is the text written by curator Heather Anderson for Medusa. It is a minute and a half minutes long.
Ed Pien drew with a knife to create this shimmering tentacular tree with human figures amongst its branches. In 2004, Pien, who immigrated from Taiwan to Canada as a child, made a research trip to China where he encountered a spectacular cut-paper piece while visiting a temple. He began experimenting with the ancient Chinese art of papercutting, which dates back to the Northern and Southern Dynasties (385-581 AD).
The monumental tree, figures and ropes in Medusa reference La pendaison (1633), a renowned etching by French artist Jacques Callot and American artist Nancy Spero’s Maypole: Take No Prisoners (2008), a sculpture comprising a central pole hung with colourful ribbons and cut aluminum heads. While Medusa shares these artworks’ indictment of violence, Medusa is also inspired by Pien’s experience of fireflies amongst ancient trees in Italy: a captivating homage to trees as more-than-human beings.
Please move to the next stop. It is a straight line to your right for 7 metres. At the stop, turn left.
Ed Pien drew with a knife to create this shimmering tentacular tree with human figures amongst its branches. In 2004, Pien, who immigrated from Taiwan to Canada as a child, made a research trip to China where he encountered a spectacular cut-paper piece while visiting a temple. He began experimenting with the ancient Chinese art of papercutting, which dates back to the Northern and Southern Dynasties (385-581 AD).
The monumental tree, figures and ropes in Medusa reference La pendaison (1633), a renowned etching by French artist Jacques Callot and American artist Nancy Spero’s Maypole: Take No Prisoners (2008), a sculpture comprising a central pole hung with colourful ribbons and cut aluminum heads. While Medusa shares these artworks’ indictment of violence, Medusa is also inspired by Pien’s experience of fireflies amongst ancient trees in Italy: a captivating homage to trees as more-than-human beings.
Please move to the next stop. It is a straight line to your right for 7 metres. At the stop, turn left.
Released:
Feb 28, 2023
Format:
Podcast episode
Titles in the series (39)
Chapter 17: Curatorial Label for "Plans for Tee-pee at the First Native Business Summit": This chapter is the text written by curator Danielle Printup for Plans for Tee-pee at the First Native Business Summit. It is a minute long. Bob Boyer was a renowned Métis artist, art historian, curator and educator who exhibited his work across Canada and internationally. Working across sectors in education, art and community organizations, Boyer was a passionate individual who significantly contributed to Indigenous visual arts in Canada. In 1986 Robert Houle invited Boyer to participate as a special guest artist at the First Native Business Summit in Toronto. This colourful drawing of a tee-pee in diagrammatic form is the design for the interior lining of the full-size tee-pee that Boyer later constructed for New Beginnings, an exhibition he co-curated with Houle for the MacKenzie Art Gallery in Regina. The next artwork is to the right of Boyer’s, so stay here for the next stop. by CUAG Audio Description Tour for Drawing on Our History