Search results for ""Author Philip Monk""

Remember radicalism? A time when the Toronto art scene was in formation - and destruction? When there were no models and anything was possible? The late 1970s was a key period when Toronto thought itself Canada's most important art centre, but history has shown that the nascent downtown art community - not the established uptown scene of commercial galleries - was where it was happening. It was a political period. Beyond the art politics, art itself was politicised in its contents and context. Art's political dimension was continually polemically posed - or postured - by artists in these years. Beyond politics, posturing, in fact, was a constant presence as the community invented itself. It was also a period rich in invention of new forms of art. Punk, semiotics, and fashion were equally influential, not to mention transgressive sexuality. It was the beginning of the photo-blowup allied to the deconstructed languages of advertising. Video and performance aligned in simulations of television production as the "underground" mimicked the models of the mainstream for its own satiric, critical purposes. With no dominant art form and the influence of New York in decline, there were no models and anything was possible: even the invention of the idea of an art community as a fictional creation. Is Toronto Burning? takes you on a journey through this period rich in invention of new forms of art. It brings together artworks by Susan Britton, David Buchan, Colin Campbell, Elizabeth Chitty, Carole Conde and Karl Beveridge, Judith Doyle, General Idea, Isobel Harry, Ross McLaren, Missing Associates (Peter Dudar & Lily Eng), Clive Robertson, Tom Sherman, and Rodney Werden alongside archival documents. The artworks were all shown at the exhibition of the same name at the end of 2014 at The Art Gallery of York University, curated by Director Philip Monk. In partnership with The Art Gallery of York University.

Read more less

From its origins in the mail art movement through to its “destruction” of The 1984 Miss General Idea Pavillion in 1977, the Canadian collective General Idea constructed a comprehensive body of work as a performative fiction. Glamour Is Theft examines this “pageantry of camp parody” through the logic of its mythic system. The book reconstructs this system from statements that were dispersed and disguised within General Idea’s work and writing as a whole, including the publication FILE Magazine. In General Idea’s system, there is one concept: Glamour; one operation: reversibility; one technique: cut-up; one strategy: theft; one tactic: camouflage. Following the collective’s strategies, the book in turn mimics the language of structuralist and semiological publications of the 1970s while also considering the influences of Roland Barthes, William Burroughs, Guy Debord, Claude Lévi-Strauss and Marshall McLuhan on General Idea’s work.

Read more less