成人黑料

In culmination of two years of extraordinary perseverance and dedication, thirty three Visual Arts students present their work in the gallery and the exterior vitrines.

Opening Events Friday, May 28th:

5 pm: Zoom Awards Ceremony: https://dawsoncollege.zoom.us/j/92470440611

5:30 pm:聽 Digital exhibition vernissage: /vernissage/

ABOUT THE ARTIST

Nad猫ge Grebmeier Forget’s distinguished interdisciplinary聽practice unfolds via durational, live, live-streamed, and private聽performances at times resulting in drawings,聽photographs聽or聽installations. In these performances, she models and hybridizes herself to defuse expectations of beauty and explore the effects (and affects) of the concerned gaze on an unfolding identity as it is observed and analyzed by herself and others. Seeking to confront desires and ideals (aesthetic, commercial, sexual, etc.) through an empowered and performative manipulation of her own image, she intrinsically questions the labour of making and becoming;

Thirza Cuthand: Reclamations brings together a selection of work by this acclaimed artist, writer, and performer spanning over two decades and exploring with brutal honesty the humour and pathos in her life as a ‘bipolar butch lesbian of Plains Cree and Scottish descent.’聽 聽Since her first film about life as a lesbian in her Saskatoon high school drew international success, her short, low-budget, experimental videos explore autobiography and identity, the effects of racism and colonization, sexism, ageism, and issues surrounding mental health.

The works in this exhibition, The Weight of Delirium, were selected from two different bodies of my art of the last decade: 聽Delirious at the Borderlines (2012-13), a series consisting of both drawings and digital prints, and The Weight (2016-17), a collection of more than fifty iterative mixed-media drawings.

It seems appropriate to combine the two for this exhibition because both collections of work rely on metaphor and allegory to portray crisis. 聽

The Warren G. Flowers Art Gallery is pleased to host the Fine Arts Faculty Biennial 14, opening January 23 and on view until February 19, 2020. The exhibition displays a uniquely broad range of contemporary practices and themes, from nineteen leaders of Montreal鈥檚 art and academic communities.

In 1992, Andres Manniste initiated the first Fine Arts Faculty Biennial exhibition at 成人黑料. A highly respected senior member of the faculty, Manniste was motivated by the desire to share the rich and varied visual arts practices of the fine arts department with the Dawson community.

Graduating students of the AEC Commercial Photography Program will be revealing their portfolio images for public view on December 17th in the Warren G. Flowers Gallery. The vernissage begins at 6:30 pm. Everyone is invited to meet, greet, marvel and celebrate. Graduates include Laith Al-Omaishi,Fabiane Amorim, Julia Brailovski, Alan Busch, Jonathan Chang, Julien Frechet, Seyedamir Ghazimirsaeid, Yuefeng Jiang, Ava Kiaie, Tim Laur, Gwendal Lemarchand, Maryam Lolo, Willfrance Louisaint, Ann McCarthy, Ludwing Montoya, Roshayne Morrison, Zaafir Pondor, Yana Povelytsya, Ao Shi, Kaven Tremblay, and Carolina Perez Zapata.

Eighteen Dawson Professional Photography students present the best of their final-year works. With: Victor Ahn-Royer, Andriana Alevizos, Megan Antonucci, Jamie Baibos, Laurie Coronel, Xavier De Belle, Cedric De Ocampo, Janelle Fermin, Angela Harvey, Kayla Lacasse, Martin Loh, Dalia Nardolillo, Argyro Quatredeniers, Kaitlynn Rodney, Vu Myl猫ne Tat, Brandon Tran, Natasha Villeneuve, and Erika Violo.

Reclaiming My Place is a group exhibition featuring the work of Sharon Norwood (Toronto/Savannah), Shanna Strauss (Montreal/Bay Area,CA) and Cedar-Eve (Tiohti脿:ke/Toronto).聽Curated by C茅cilia Bracmort, their works聽present strategies to combat structural oppression from a feminist and decolonial perspective.聽A blend of resistance and resilience, the works of these artists push back representational boundaries and decompartmentalize the imaginary landscape. Heeding the call of this inner voice, they intercept the messages of their ancestors, transmitting them to future generations through their artistic practices.

With the twentieth century鈥檚 latter decades came the arrival of the humble remote-control handset, elevating consumers of media to new heights of power over their T.V. sets, VCRs, DVD players, and other electronic devices. With their sleek lines and crisp designs, remote controllers translated a Cold War-era, militarist command-and-control ideology into an aesthetic form and infiltrated it into the world鈥檚 living rooms. With remotes in hand, consumers became armchair emperors and generals. In his exhibition Remote, artist Edwin Janzen turns the spotlight onto these consumer electronic artifacts to investigate the shadow-world of humankind鈥檚 obsession with technologies of control.

Rebellion of my Ancestors is infused with Jobena Petonoquot鈥檚 familial history and its intersections within the history of colonization in Canada. Petonoquot鈥檚 beaded works record the memories and stories of her family; photographs, sculpture, prints, and installation articulate an uncompromising Indigenous resiliency and cultural continuity.

Jobena Petonoquot was born in Maniwaki, and raised on the Kitigan Zibi reservation, where she currently lives and works. A graduate Concordia University in 2012, Petonoquot majored in art history and completed a minor in photography.