Join Henry Director Sylvia Wolf, Henry Associate Curator Sara Krajewski, and guest artists Elizabeth Zvonar, Holly Ward, Philip Miner, and Anne Mathern on November 19, in the Henry Auditorium, for a conversation about appropriation in contemporary art practice. From European collagists in the early 1900s to contemporary installation artists who cull elements from the garbage bin and the Internet, the recycling of materials and ideas has been a fertile practice in modern and contemporary art. Cubist collage, montage, Pop Art, Assemblage, and Appropriation fractured pictorial conventions and led to the upheaval of aesthetic systems of order. Photography has played a catalytic role in this revolution. Steal This Image! Photography and Appropriation in Cubism and Contemporary Art, was inspired by the SAM exhibition Picasso: Masterpieces from the Musée National Picasso, Paris and the Henry exhibition Image Transfer: Pictures in a Remix Culture.
Elizabeth Zvonar’s works have spanned a variety of mediums, from performances and interventions to installations, and most recently, sculpture, digital collages, and text-based works. Zvonar (b. 1972) BFA, Emily Carr University, Vancouver in 2001. She has since exhibited widely both nationally and internationally at venues such as the Contemporary Art Gallery, Morris and Helen Belkin Gallery, Artspeak, all in Vancouver; Cohan and Leslie, New York; Sign Gaienmae Gallery, Tokyo and at Museum van Hedendaagse Kunst Antwerpen, Mechelen, Belgium. In 2009, Zvonar presented a body of work that loosely referenced Cubism and Surrealism as a starting point to contextualize the research, titled On Time and exhibited at the Contemporary Art Gallery. This past spring 2010, Zvonar participated in the CCA Glasgow symposium, How We Go On Now?, a contemporary examination of Feminism with Faith Wilding and Kate Davis commissioned by Glasgow International Festival for the Visual Arts, 2010. Zvonar lives and works in Vancouver, Canada.
Philip Miner is a Seattle based artist who has shown in a number of solo in group shows both locally and nationally. A graduate from The Milton Avery Graduate School of the Arts, Bard College, Minor has also studied at the School of Visual Arts in New York, The San Francisco Art Institute, and the Studio Art Centers International in Florence, Italy.
Holly Ward is a Vancouver-based interdisciplinary artist working with sculpture, multi-media installation and drawing as means to examine representations of social progress and political power. She received her BFA (interdisciplinary) from the Nova Scotia College of Art and Design in 1999 and her MFA (studio) from the University of Guelph in 2006. She has received numerous awards for her artistic output, including the Joseph Beuys Memorial Scholarship (NSCAD) and The Canada Council for the Arts Creation/Production Grant. Holly Ward has had solo exhibitions across Canada; at the Or Gallery (Vancouver), YYZ Artists’ Outlet (Toronto), Oeil Du Poisson (Quebec), and Struts Artist-Run Centre (Sackville), amongst others. She has been included in numerous group exhibitions in Canada, London (UK), Mexico City, New York, Bergen (Norway) and Seoul (South Korea), and will be exhibiting at the Morris and Helen Belkin Gallery at UBC this summer. _The Shape of Things to Come_ (the title of which is derived from H.G.Wells’ 1933 dystopian novel) is a series of nine unique plexiglass sculptures, each of which contains a digital audio file converted to an electrical signal which triggers a flickering pattern in a grid of LED lights. Each audio file contains a public lecture which has subsequently been disseminated on the internet. Each lecture, the oldest of which dates from 2004, represents a distinct scientific and/or academic discussion of pressing concerns in their respective disciplines, in order to be better capable of adapting to what is discussed as the now ‘immanent’ future
Anne Mathern: Following the relationships of everyday social interaction, my practice shifts the roles of performer, collaborator, and audience, engaging communal culture as artistic discipline. In the resulting temporal, sometimes invisible performances, divisions between collaborator and medium, visual art and music, and performance and social custom are blurred.