Optica

+ Programmation + Archives Décades + Nouvelles + Publications + Soutenez Optica + Info

Décades

Expositions

Année
1972 | 1973 | 1974 | 1975 | 1976 | 1977 | 1978 | 1979 | 1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | 1987 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 |

Liste des artistes, auteurs et commissaires

| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | R | S | T | U | V | W | Y | Z |

Fonds documentaire OPTICA (Service des archives de l'Université Concordia)

Ouvrages aidant à la consultation des archives

Droits électroniques





Artistes : Nathalie Alpers, Susan Bennett, Gerry Bergstein, Laurent Bouchard, Aaron Fink, Bernard Gamoy, Suzanne Grisé, Judy Haberl, Magnus Johnstone, Denis Lebel, Janet Logan, Steve Picker, Violaine Poirier, Suzanne Roux
du 22 mars 1990 au 22 avril 1990
Montréal / Boston

Ce document est uniquement disponible en anglais:
More than a year ago the Conseil des Artistes Peintres du Québec (CAPQ) and The Artists Foundation of Boston agreed to collaborate on an exchange exhibition of painters from Montreal and Boston.

After successfully securing research funds, each organization hired a guest curator – Lorne Falk from Montreal and Helen Shlien from Boston. […]

Artists from Montreal:
Laurent Bouchard, Bernard Gamoy, Suzanne Grisé, Denis Lebel, Janet Logan, Violaine Poirier, Suzanne Roux.

Artists from Boston:
Natalie Alpers, Susan Bennett, Garry Bergstein, Aaron Fink, Judy Haberl, Magnus Johnstone, Steve Picker.

In the final exhibition, each artist will be represented by three works selected by the curators after a second studio visit. The 14 artists will be exhibited together. The show is scheduled for January, 1990 in Boston and for March/April, 1990 in Montreal.

The Orientation of the Exhibition:
[…] The exhibition focuses on figuration, although the legacy of abstraction is evident in several instances. The content of the work addresses two general concerns. First, there is a consideration of what the social relation of contemporary painting might be. This is variously represented by political, feminist, scientific and historical / mythical orientations. The second preoccupation addresses the relation of the individual to his or her natural environment. This is evidenced by the presence of subjects such as the landscape, maps, still life motifs and viruses.

Notwithstanding the concurrence of content, there are notable formal differences between Boston and Montreal painting. Painters in Boston work in a more classical style that can be identified with the legacy of Philip Guston, who taught there for many years. They tend to work within the tradition of the stretched, rectangular canvas and the paint is thick and richly textured. By contrast, Montreal painters tend to employ collage processes, to break with the tradition by shaping the canvas and / or replacing the canvas with materials such as wood or metal. There is a strong surreal element in Montreal painting, whereas Boston painters are inclined to a more expressionist mode.

These similarities and differences will be elaborated by the juxtaposition of different works in the installation and, of course, by the curators catalogue texts.
- Document interne (Optica)