Marla Hlady

Als Überblick über die Karriere der in Toronto lebenden Künstlerin Marla Hlady dokumentiert dieser Katalog zwei Ausstellungen von Hladys Werken: eine Ausstellung von Klangskulpturen im The Power Plant und die zweite eine Ausstellung ihrer Zeichnungen in der Galerie der University of Toronto at Scarborough. Der Katalog untersucht Hladys Auseinandersetzung mit dem Verhältnis von Klang und Form. Enthalten sind drei kritische Essays von Xandra Eden, Barbara Fischer und Nancy Campbell sowie farbige Reproduktionen der Werke in den Ausstellungen und eine Bibliographie.

Rooms and Walls. The multidisciplinary practice of Toronto-based artist Marla Hlady is characterized by playful explorations into the mechanics and expressive possibilities of structure and sound. This publication documents new work inspired by the acoustic nature of the gallery itself which was once a private residence. By constructing three-dimensional scale models of each room in the building, Hlady provides visible analogies for the gallerys architecture that also serve as sound objects, emitting recordings of each spaces unique tones.

"This was several times with that damn cribbage board. I hate cribbage boards to this very day. They never beat us on the arms or legs or stuff, it was always on the bottom of the feet, I couldn't figure it out." Brian L., Huronia Regional Centre Survivor Over the past two decades, the public has borne witness to ongoing revelations of shocking, intense, and even sadistic forms of violence in spaces meant to provide care. This has been particularly true in institutions designed to care for people with disabilities. In this work, the authors not only describe institutional violence, but work to make sense of how and why institutional violence within care settings is both so pervasive and so profound. Drawing on a wide range of primary data, including oral histories of institutional survivors and staff, ethnographic observation, legal proceedings and archival data, this book asks: What does institutional violence look like in practice and how might it be usefully categorized? How have extreme forms violence and neglect come to be the cultural norm across institutions? What organizational strategies in institutions foster the abdication of personal morality and therefore violence? How is institutional care the crucial "first step" in creating a culture that accepts violence as the norm? This highly interdisciplinary work develops scholarly analysis of the history and importance of institutional violence and, as such, is of particular interest to scholars whose work engages with issues of disability, health care law and policy, violence, incarceration, organizational behaviour, and critical theory.

This comprehensive book, marking the New York gallery's 50th anniversary, documents the Zabriskie style through essays by those who have known her best. Also included is an exhaustive, abundantly illustrated chronology of exhibitions held at both galleries.

In this book, Barry and Gail Lord focus their two lifetimes of international experience working in the cultural sector on the challenging questions of why and how culture changes. They situate their discourse on aesthetic culture within a broad and inclusive definition of culture in relation to material, physical and socio-political cultures. Here at last is a dynamic understanding of the work of art, in all aspects, media and disciplines, illuminating both the primary role of the artist in initiating cultural change, and the crucial role of patronage in sustaining the artist. Drawing on their worldwide experience, they demonstrate the interdependence of artistic production, patronage, and audience and the remarkable transformations that we have witnessed through the millennia of the history of the arts, from our ancient past to the knowledge economy of the twenty-first century. Questions of cultural identity, migration, and our growing environmental consciousness are just a few examples of the contexts in which the Lords show how and why our cultural values are formed and transformed. This book is intended for artists, students, and teachers of art history, museum studies, cultural studies, and philosophy, and for cultural workers in all media and disciplines. It is above all intended for those who think of themselves first as audience because we are all participants in cultural change.

Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971.