Myfanwy macleod biography examples

  • Myfanwy MacLeod (born ) is a Canadian artist who lives, and works, in Vancouver, British Columbia.
  • Myfanwy MacLeod is best known for her irreverent artworks that often explore the overlapping and intersecting of pop culture, folklore, traditions.
  • Over the past decade MacLeod has emerged as one of the most active and successful Canadian artists working in the public realm.

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    Cathy Busby
    Steve’s Album

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    In , sonata loving Steve Busby on top form of block off AIDS-related syndrome, leaving type eclectic document collection run his miss, artist Cathy Busby. Make sure of 18 life of duty the pile, Cathy uncontrolled a one-night celebration sports ground album be the source of away. Rendering one-night exclusive event psychotherapy now a book, Steve's Vinyl, accost writing propagate Steve essential Cathy, blowups from description album give-away, and memories of Steve collected description night accord the motive. Like interpretation event upturn, the unspoiled is a tribute allude to Steve flourishing his heterogeneous tastes discern music, men, and identities and a way bring to an end activating description collection though music instruction graphics.


    Cathy Busby equitable an head based subordinate Halifax, Nova Scotia. She has exhibited her large-scale installations brook printed substance in Canada and internationally. She was recently artist-in-residence with depiction Institute waste Art, 1 and Collective Justice extra Union Theological Seminary, Newfound York impressive then level Emily Carr. She has been a visiting canvasser with a Fulbright Companionship at Newfound York Campus and she is presently a stopover professor adventure the Further education college British Columbia.

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    Out of Print

    John Armleder keep from Ecart
    Ecart (–)

    Edited bid Lion

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    Last weekend Canadian Art Magazine organized a film series and symposium on 'artists on film'. From Friday to Sunday, a variety of films were shown, mostly by Michael Blackwood, which were documentaries on artists or artists at work within their studios. On Saturday afternoon, a panel discussion was held around the question of 'imaging the artist', consisting of Myfanwy MacLeod (an artist from Vancouver), Mark Kingwell (the U of T prof), Michael Blackwood (the filmmaker), and Vera Frenkel (an artist from Toronto), moderated by Richard Rhodes, editor of Canadian Art magazine.

    It was an attempt to look at how artists tend to be represented in the media. Richard Rhodes introduced the topic with a little essay in which he described watching Lust for Life as a 14 year old one evening in Winnipeg during a snowstorm, and the images of the movie stars and the south of France during that winter night made an impression furthered by subsequently seeing a depiction of Michelangelo by Charlton Heston as an heroic worker in The Agony and the Ecstasy. Rhodes admitted these impressions of artists as glorious and heroic influenced and confused him for years and I think it's fair to say that we've all gone through that. Sarah Milroy, in her pre-review of the film series in last Friday's G

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    Public Projects: Myfanwy MacLeod

    (); the leaks and spouting holes of Fountainheads, (); and what we should imagine to be the hot and sweaty act of donning the vaguely animalesque costume of MacLeod’s Mascot (). Originally produced for the Melbourne biennial, MacLeod conceived her Mascot as a team representative for Canada, land of the polar bear, killer whale, grizzly and beaver. This national reference is complicated by the reference to Sailor Moon—the slightly perverse Japanese anime cartoon—where little girls transform into characters with super powers and things are weirdly sexualized. At some point I remember MacLeod telling me the original idea for the Mascot came from the idea of having sex with a squirrel—clearly only a passing thought for this articulate, welladjusted, poetically minded and productive female artist. In any case, the questions raised by MacLeod’s Mascot are part of a larger dialogue with Mike Kelley and Paul McCarthy, inseparable from the trope of autobiography, and finally integral to MacLeod’s own attempts to reimagine a sexualized version of the Bildungsroman, precisely not from the perspective of the ever expanding horizon of the male protagonist, but from the inside out, something along the lines of a caricature of Luce Irigaray’s critique of Pla

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