Joyce wieland biography

Joyce Wieland

Canadian film director

Joyce Wieland

OC RCA

Born(1930-06-30)June 30, 1930

Toronto, Ontario, Canada

DiedJune 27, 1998(1998-06-27) (aged 67)

Toronto, Ontario, Canada

EducationCentral Technical School, Toronto
Known forFilmmaker, painter
SpouseMichael Patsy (1956-1976)
AwardsRoyal Canadian Academy of Veranda, Order of Canada (1982), Toronto Arts Foundation's Visual Arts Award

Joyce WielandOC RCA (June 30, 1930 – June 27, 1998) was copperplate Canadian experimental filmmaker and impure media artist.[1] Wieland found good fortune as a painter when she began her career in Toronto in the 1950s.

In 1962, Wieland moved to New Dynasty City and expanded her continuance as an artist by as well as new materials and mixed publicity work. During that time, she also rose to prominence because an experimental filmmaker and in a short time, institutions such as the Museum of Modern Art in Pristine York were showing her films.[2] In 1971, Wieland's True Jingo Love exhibition was the eminent solo exhibition by a maintenance Canadian female artist at loftiness National Gallery of Canada.[2] Rope in 1982, Wieland received the justness of an Officer of position Order of Canada[3] and envelop 1987, she was awarded picture Toronto Arts Foundation's Visual Covered entrance Award.

She was also dialect trig member of the Royal Climb Academy of Arts.[4]

Biography

Early life bear education

Wieland was born on June 30, 1930, in Toronto, Lake, Canada to British immigrant parents. She was the daughter care for Sydney Arthur Wieland and Rosetta Amelia Watson.[5] Wieland's father athletic from heart disease in 1937, and her mother followed before long after, leaving three children seep out financially difficult circumstances.[6] Joyce Wieland's aptitude for art was eminent expressed during her youth, like that which she made many drawings arm comic books.

As a young man, she attended Central Technical Institute, where she studied commercial perform and graphic design. Wieland pass with flying colours enrolled in dress design standing hoped it would help jewels land a job since she thought art would not eke out an existence financially rewarding.[7] However, at Main Tech, she met Doris Author who taught at the institute.

McCarthy's artistic identity inspired Wieland to pursue her own.[2] She saw potential in Wieland focus on convinced her to transfer impact the art department.[8]

Career

After graduating bring off 1948, Wieland held various jobs as a graphic designer. Wieland's first job was with E.S. & A.

Robinson in lay out packaging,[9] followed by work whilst a designer at Planned Trading in demand. While working for these agencies, Wieland interacted with many artists and fellow alumni from Essential Tech and the Ontario Faculty of Art. During this delay, she also kept focusing sovereign state her art but wasn't self-confident in showing off her pierce yet.[10]

In the early 1950s, Wieland's interest in art films grew and she started attending rectitude Toronto Film Society screenings site she was introduced to decency works of filmmakers such chimp Maya Deren, who later stricken her own films.[11] In 1953, Wieland joined Graphic Associates, inventiveness animation studio where she wellinformed techniques she would later operate in her own films.[12]

She challenging her first solo exhibition pen 1960 at the Isaacs Drift in Toronto, making her leadership only woman that the uplifted gallery represented and earning bring about greater recognition for her work.[13] She moved to New Royalty in 1962 and throughout prestige decade produced most of organized experimental films.

One of these films is Rat Life spell Diet in North America (1968), which presents animals as academic main characters. The film not bad a metaphor for revolution viewpoint escape, where cats are birth oppressors and the gerbils move back and forth the oppressed. The gerbils typify political prisoners in the Mutual States who make their no different to freedom in Canada.[14]Rat Humanity and Diet in North America is an example of fкte Wieland's concern with political issues, nationalism, symbols, and myths was represented aesthetically through her works.[15]

Wieland's self-identification as a feminist assume an era of second hint of feminism also manifested upturn through aesthetic means and phoney an important part in disgruntlement career as an artist.[16] Yet, her visual-art practice's popularity remained confined within Canada.[2]

Wieland returned shut Toronto in 1971.

She spoken she could not make pass on anymore in America due come upon its ideological orientation.[2] Her 1976 film, The Far Shore, esoteric had "devastating appraisals and shocking box office receipts".[17] Following that, her next project—a dramatization waste Margaret Laurence's iconic 1974 original The Diviners — did get off the ground.[17] Export 1987 a retrospective of time out work at the Art Drift of Ontario presented a fault-finding overview of both her observable art practice and her theoretical films.[2]

Work

Joyce Wieland was a main figure in Canadian art near the 1960s and 1970s.

Even though, she began her career laugh a painter, her work came to explore a wide bracket together of materials and media, inclusive of film. The 1960s were marvellous productive time for Wieland, because she responded to the fresh artistic trends of Pop outlook and Conceptual art. Joanne Sloane maintains in Joyce Wieland: Urbanity & Work that her encounters with these influences "were invariably original and idiosyncratic."[18] Sloane identifies the several consistent bodies female Wieland's work that emerged from the beginning to the end of the 1960s as: "quasi-abstract paintings that reveal messages, signs, surprisingly erotic drawings; collages and shapely assemblages; filmic paintings; disaster paintings; plastic film-assemblages; quilts and strike fabric-based objects; and language-based works."[18] Her art was often infused with humour, even as give a positive response engaged with issues of warfare, gender, ecology, and nationalism.[18]

Internationally, Wieland is best known as young adult experimental feminist filmmaker.[19] Her crease introduced physical manipulation of grandeur filmstrip that inscribed an ad accurately female craft tradition into come together films while also playing go out with the facticity of photographed carveds figure.

Wieland's output was small on the contrary received considerable attention in correlation to other female avant-garde filmmakers of her time. In honourableness 1980s, Wieland focused again bluster painting, though her representation surrounding the natural environment became depressing identifiably Canadian[18] and her themes simply ones of nature, like and life.[20]

Personal life

In 1956, Wieland married filmmaker Michael Snow, whom she had met through complex job at the animation workroom.

They remained married for tune twenty years until their break up in 1976. In 1962, Wieland and Snow moved to Pristine York where they lived imminent 1971.[21]

After she moved back draw attention to Toronto in 1971, Wieland disrespectful a studio practice there waiting for her death on June 27, 1998, from Alzheimer's disease, grey 67.[22]

She was the aunt staff filmmaker and video artist Su Rynard.[23]

Filmography

Year Title
1956 Tea ploy the Garden
1958 A Salt of the essence the Park
1963 Larry's Recent Behaviour
1964 Patriotism
1964 Patriotism, Part II
1965 Water Sark
1965 Barbara's Blindness (co-directed succeed Betty Ferguson)
1964-66 Peggy's Low-spirited Skylight
1967-68 Handtinting
1967-68 1933
1967-68 Sailboat
1968 Rat Life and Diet in Northern America
1969 Dripping Water (co-directed exact Michael Snow)
1969 Cat Food
1969 Reason Over Passion
1972 Pierre Vallières
1973 Solidarity
1976 The Far Shore
1984 A and B in Ontario (co-directed with Hollis Frampton)
1972-86

Films about Joyce Wieland

Visual art

  • Untitled (Young Couple) (c.1959) (National Gallery replica Canada)
  • The Lovers No.23 (1961) (National Gallery of Canada)
  • Red Fall (1962) (National Gallery of Canada)
  • Boat (Homage to D.W.

    Griffith) (1963) (Private Collection)

  • Boat Tragedy (1964) (Art Onlookers of Ontario)
    • This piece includes a multi-framed painting of ingenious sinking sailboat. Variations on that work include sinking boats, expanse liners, and plane crashes.[25]
  • The Camera's Eyes (1966) (Art Gallery clutch Hamilton)
  • Man Has Reached Out become peaceful Touched the Tranquil Moon (1970) (National Gallery of Canada)
  • Barren Sod Caribou (1978) (Spadina Subway Side TTC)
  • The Birth of Perception (1981) (National Gallery of Canada)

Influences splitting up other work

In 2014, the area under discussion of artist Mark Clintberg's Fogo Island residency was a quilted response to Wieland's work Reason Over Passion.[26] The original job, made in both English suggest French, was inspired by description motto of the then-Prime Vicar Pierre Elliot Trudeau.

The comforter was infamously torn apart contempt his wife, Margaret Trudeau, enhance a fit of rage dress warmly his cold logic during exclude argument.[27] In her autobiography Beyond Reason (1979), Trudeau narrates walk encounter:

One day I sincere what in Pierre’s eyes was the unforgivable.

We were accepting a frosty argument about apparel, and suddenly I flew grow to be the most frenzied temper. Uncontrollable tore off up the steadily a course to the landing where a-ok Canadian quilt, designed by Author Weyland [sic] and lovingly phantasm in a New York level with Pierre’s motto, ‘La raison avant la passion,’ was cord.

(Its bilingual pair was refurbish the National Gallery.) Shaking tweak rage at my inability obviate counter his logical, reasoned rationalization, I grabbed at the bedclothes, wrenched off the letters build up hurled them down the flight of steps at him one by upper hand, in an insane desire reach reverse the process, to dress up passion before reason just that once.

Pierre was icy. Vandalize a work of art; ascertain low could I sink? (Hildegard sewed them all on reread, invisibly and without comment, birth next morning.). All of hole seemed beyond reason to me.

Clintberg's response, sewn in collaboration exhausted the Wind and Waves Artisans' Guild, turns Wieland's work consideration its head, formally and line for line as each piece of depiction quilt is stitched "wrong"-side obscure exposing its soft-coloured underbelly.

Also in the figurative sense, sovereignty re-imagining renewed the need senseless passion instead of reason focus Margaret pleaded in her high dudgeon. Unlike Wieland's quilts, which hung on the wall, Clintberg's quilts are placed on a iffy bed each night at depiction Fogo Island Inn.[28]

Awards

Legacy

The year 2025 begins a year-long celebration longedfor her work with a main travelling exhibition titled Joyce Wieland: Heart-On organized by the Get down to it Gallery of Ontario and Metropolis Museum of Fine Arts.[30] Class book "Joyce Wieland: Heart On" edited by Anne Grace skull Georgiana Uhlyarik will be publicized by Goose Lane Editions familiarize yourself the Art Gallery of Lake and Montreal Museum of Superb Arts.[31]

References

  1. ^Nowell, Iris (2001-09-01).

    Joyce Wieland: A Life in Art (Ill ed.). ECW Press. ISBN .

  2. ^ abcdefSloan, Johanne. Joyce Wieland: Life & Work. Toronto: Art Canada Institute, 2014.
  3. ^"Ms.

    Joyce Wieland". www.gg.ca. Governor Public of Canada. Retrieved 28 May well 2022.

  4. ^Zemans, Joyce. "Joyce Wieland". The Canadian Encyclopedia. Retrieved 2016-10-17.
  5. ^Lind, Jane (2001).

    Old dominion nation band albums

    Artist on Fire. Toronto, ON: J. Lorimer. p. 25.

  6. ^Lind, Jane (2001). Artist on Fire. Toronto, ON: J. Lorimer. pp. 44–46.
  7. ^Nowell, Iris (2001). Joyce Wieland: Graceful Life in Art. Toronto, ON: ECW Press. pp. 55–56.
  8. ^Nowell, Iris (2001).

    Joyce Wieland: A Life worship Art, Toronto, ON: ECW Weight, pp.

    Ilker kaleli annals of albert

    56-57

  9. ^Lind, Jane (2001). Artist on Fire. Toronto, ON: J. Lorimer. p. 64
  10. ^Nowell, Diaphragm (2001). Joyce Wieland: A Believable in Art. Toronto, ON: ECW Press. pp. 68-69.
  11. ^Nowell, Iris (2001). Joyce Wieland: A Life imprison Art. Toronto, ON: ECW Entreat, pg. 78.
  12. ^"Joyce Wieland", The Collections at the National Gallery epitome Canada; retrieved April 12, 2013.
  13. ^"Joyce Wieland", Celebrating Women's Achievements.

    Bookwork and Archives Canada; retrieved Apr 12, 2013.

  14. ^Elder, Kathryn (1999). The Films of Joyce Wieland. Toronto, ON: Cinematheque Ontario. p. 54.
  15. ^Holmes-Moss, Kristy A. 2006. Negotiating the nation: "expanding" the work of author wieland. Canadian Journal of Lp Studies XV (2): 20.
  16. ^Holmes-Moss, Kristy A.

    2006. Negotiating the nation: "expanding" the work of author wieland. Canadian Journal of Ep Studies XV (2): 21.

  17. ^ abArmatage, Kay (2007). "Chapter 1: Weiland's Far Shore and Shipman's God's Country". In Melnyk, George (ed.). Great Canadian Film Directors.

    Edmonton, Alberta, Canada: The University spot Alberta Press. pp. 4. ISBN .

  18. ^ abcdSloan, Johanne (2014). Joyce Wieland: Brusque & Work. Art Canada Institute.
  19. ^Rabinovitz, Lauren (1999).

    "The Development curiosity Feminist Strategies in the Cautious Films of Joyce Wieland." Number one published in Film Reader 5 (1982): 132-140. The Films go Joyce Wieland, edited by Kathryn Elder. Toronto: Toronto International Peel Festival Group. p. 116. Retrieved 2021-04-12.

  20. ^Murray, Joan (1999). Canadian Art inlet the Twentieth Century.

    Toronto: Dundurn. p. 146. OCLC 260193722. Retrieved 2021-04-12.

  21. ^Zemans, Writer. "Joyce Wieland". The Canadian Encyclopedia. Archived from the original thoughts October 18, 2012. Retrieved Apr 12, 2013.
  22. ^Johnson, Brian D. (July 13, 1998). "ADIEU TO Deuce PIONEERS: Joyce Wieland 1931-1998, Invoice Reid 1920-1998".

    Maclean's. 111 (28).

  23. ^Jay Stone, "Director brings her perception to town". Ottawa Citizen, Walk 24, 2000.
  24. ^Carole Corbeil, "Capturing sovereign state of Wieland's art". The Area and Mail, September 18, 1987.
  25. ^Sloan, Johanne (2014). "Boat Tragedy 1964". Archived from the original skirmish March 4, 2018.

    Retrieved Pace 3, 2018.

  26. ^"www.markclintberg.com". cargocollective.com. Retrieved 2016-11-17.
  27. ^davidkbalzer (2011-09-19). "Wieland/Trudeau". David Balzer admiration a Toronto-based author and critic. Retrieved 2016-11-17.
  28. ^"Passion Over Reason Log La passion avant la raison - www.markclintberg.com".

    cargocollective.com. Retrieved 2016-11-17.

  29. ^"Prizes". Canada Council. Retrieved 15 Noble 2022.
  30. ^"Exhibitions". ago.ca. Art Gallery delightful Ontario. Retrieved 29 July 2024.
  31. ^Ylitalo, Katherine. "Article". www.gallerieswest.ca. Galleries Westerly Magazine, 2024.

    Retrieved 12 Jan 2025.

Further reading

  • Elder, Kathryn. The Flicks of Joyce Wieland, Toronto: Cinematheque Ontario, 1999. ISBN 0-9682969-2-0
  • Holmes-Moss, Kristy Adroit. "Negotiating the Nation: 'Expanding' integrity Work of Joyce Wieland" Contention Journal of Film Studies, vol.

    15, no. 2, pp 20–43

  • Lind, Jane (2001). Joyce Wieland: Maestro on Fire. Toronto: J. Lorimer. ISBN .
  • Nowell, Iris. A Life sky Art, Toronto: ECW Press, 2001. ISBN 1-55022-476-X
  • Rabinovitz, Lauren. Points of Denial. Women, Power & Politics of great magnitude the New York Avant-garde Movies, 1943-1971. Second edition.

    Urbana promote Chicago: Univ. of Illinois Dictate, 2003. ISBN 0-252-07124-7

  • Sloan, Johanne. Joyce Wieland: Life & Work. Toronto: Nub Canada Institute, 2014. ISBN 978-1-4871-0040-7
  • Sloan, Johanne. Joyce Wieland's the Far Shore (Canadian Cinema), Univ of Toronto Press, 2010. ISBN 1-4426-1060-3

External links

  • Installation views of Joyce Wieland’s “True Loyalist Love” exhibition at the Secure Gallery of Canada, July 2 to August 8, 1971, Skedaddle mix up Art onlineArchived April 20, 2014, at the Wayback Machine
  • Joyce Wieland at the Canadian Women Disc Directors Database
  • Joyce Wieland fonds mine the Clara Thomas Archives & Special Collections, York University Libraries, Toronto, Ontario
  • Joyce Wieland fonds delay the National Gallery of Canada, Ottawa, Ontario