Today marks the release of War Art in Canada: A Critical History by Dr. Laura Brandon. The book is now live and can be read for free online, with access to a downloadable PDF here. I am honoured to have my work ÖDE featured alongside such artists as Edward Burtynsky, Gertrude Kearns, Adrian Stimson, and Althea Thauberger. Dr. Brandon also wrote a fantastic article about ÖDE that you can read here.
Since becoming a mom I’ve struggled to get back to the studio. Pandemic life with a new pandemic baby in the mix has stolen the last of the solo hours reserved for my practice.
The same day Station Gallery’s Olexander Wlasenko asked me to contribute to ‘Drawing for Art’ I read about the death of Lauren Berlant, a cultural theorist with whom I was unfamiliar. Intrigued by her work, her quote ‘We refuse to be worn out’ immediately connected with me.
I created this piece over the past three weeks in fits and starts, once my little ones were asleep, dedicating my domestic labour to her words as if a mantra. Made from materials around my home I stitched the quote into an old pillowcase each night before I lay down for my few hours of sleep. It was made as a dogged, domestic and exuberant endurance work.
Materials: Pillowcase, left over thread, recycled frame and oval mats.
‘Drawing For Art’ takes place September 30th and you can learn more about it and how you can scoop up this baby on the gallery’s website.
OK, it isn’t ready yet, but soon, so please stay tuned…..
Last week I had the pleas
ure of speaking with Doug Dirks from CBC Radio’s Homestretch. We had a chance to discuss the inspiration behind ÖDE.
Calgary – you can still catch the exhibition at The Military Museums.
Dr. Laura Brandon, former curator of the Canadian War Museum, has written an insightful article on ÖDE titled ‘Art as Prescience’ in which she reflects on the history of the work. You can read it here.
ÖDE is a company that produces affordable weapons using inexpensive materials. The weapons can be purchased in seasonal colours and assembled using an allan key. It is currently on view at its new home in Calgary at The Military Museums.
Hey Calgary – free tonight? Adad Hannah and I are speaking at 7pm at The Military Museums located at 4520 Crowchild Trail SW.
Info: https://www.facebook.com/events/486432555093377/
I am more than a little excited to announce that the ÖDE tank will be moving to its new home in Calgary this summer at The Military Museums.
The Military Museums’ award-winning facility is dedicated to representing Canada’s Army, Air Force, and Navy and to educating the public, particularly youth, about Canada’s military….a perfect fit!
You will be able to see and visit starting June 22nd. It will remain on display until September 24th.
It’s finally upon us! Waiter’s Hourglass will be on display starting tomorrow night at The Art Gallery of Windsor as part of The Sandwich Project. The exhibition considers the ways in which food is a metaphor for economic consciousness. Through the themes of food sustainability, consumerism, and consumption, the exhibition considers the effects of food on a community, a culture’s economic growth, and the overall well-being of the body.
Oh, and did I mention I will be showing alongside Andy Warhol?!
June 1 – September 30, 2018.
The opening reception will take place June 1st, at 7pm.
Also, June 2nd at 1pm I will be participating in a panel. Other panelists include Elizabeth Buset, Dr. Adam Lauder, and Dr. Robert Nelson. We will be reflecting on how we depict food, theorize food, and engage with food in a material fashion. I will be sharing an excerpt from my novel Currency.
Photo Narratives is featuring a series of my images titled ‘Passing‘. I began my career as a photographer, then found my way to installation and sculpture. I can’t say how refreshing it was to sort through my endless photo library to put a series together – never forget your first love.
I was delighted to receive word that Waiter’s Hourglass will be featured in the upcoming issue of Room Magazine. Room is Canada’s oldest feminist literary journal showcasing fiction, poetry, reviews, art work, interviews and profiles about the female experience.
Waiter’s Hourglass, as you can imagine, was inspired by my years of working in the service industry. According to the last census Canada has more artists than auto workers. Many of us seek work as servers and bartenders to subsidize our practices and provide us with flexibility. While a waitress I was often engaged in menial tasks, watching the hours drain away, wishing I was instead in my studio doing work for myself. Waiter’s Hourglass is an ode to this experience, illustrated by the materials of the trade – two ketchup bottles.
Sarah Beck 