+ Programming + Archives Décades + News + Publications + Support Optica + Info

Décades

Exhibition

Years
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 |

Index of artists, authors and curators

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

OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees





Robert McNealy
From April 5th 1984 to April 25th 1984
La deuxième traversée

Artist Robert McNealy, native of Western U.S.A., now lives and works in Toronto. He will be presenting a recent installation work including sculptural and painted elements at Optica between April 5th and 25th.

Critic, Richard Rhodes, says about McNealy’s show at Mercer Union, Mercer Mnemonic: sample, size + relativity, (1982):
The new work seems to place a certain value on the inarticulate. All those gaps between things, those gaps in the line, I tend to see as spaces where works aren’t; it puts you between the names of things restored to a largesse that’s independent from all authority except intuition and imagination. It’s as if McNealy was engaged in a kind of space retrieval, in finding a way to remind us of the original breadth of things and not the self same tight crisis of newspaper pictures. His title says mnemonic, or reminder, ad it is that looseness which I think he wants to remind us of. It is work about freedom… - Vanguard, February 1983, p 39

Toronto’s Globe & Mail critic, John Bentley-Mays, describes some of the attitudes at work in McNealy’s YYZ installation as such:
This strategy of simplicity, materialism and disorientation has been commonplace for a long time, and is tricky; like so many sophisticated-sounding projects, it can easily become the occasion for much posturing and pomposity. McNealy’s piece is free of pretension, and is kept that way by the open-handed respect of the artist for his viewer as well as for his artistic traditions.
- The Globe & Mail, December 10th, 1983

Robert McNealy himself states:
What I am attempting here is to present work that can convey the associative elements of what might be considered disparate events/subjects and thereby make parallels between my activity and the socio/political climate of the times. I see the assembled situation as ecosystems wherein the exhibit/event and the gallery/place coexist.

Because some of the elements cease to exist when the exhibition closes, they emphasize the temporal nature of art, or of all things. What survives is documentation, which, like history, tells of a past event from which certain material parts continue to exist- an allegory for all culture.
- Press release (Optica)