Le Petit Gris / The Grey Guide

The Grey Guide to ArtistRun Publishing and Circulation is composed of a series of seven essays, addressing distribution as a key concern for publishing within artistrun culture, alongside complex issues like conditions of production, copyright and fair dealing, and ethical protocols arising from within a community of practice. The Grey Guide was initially distributed as a serialized biweekly ecampaign, from March 1st to June 21, 2017. A print version is now available as of September 2017.
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Le Petit Gris : guide de l’édition en art et de la distribution autogérée réunit une série de sept rubriques. Continue reading

Complex Networks of Desire: Mapping community in Visual Arts Magazines Fireweed, Fuse, Border/Lines

Las complejas redes del deseo: Trazando las comunidades en revistas de artes visuales Fireweed, Fuse, Border/Lines

Co-presented with Tomasz Neugebauer (Concordia University Library) at DH2018 “Puentes/Bridges” in Ciudad de Mexíco, 27 June 2018.

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Full-size English/Español version of the poster.

We present ongoing research using data visualization and complex network analysis to historicize the production of three periodicals: Fireweed, Fuse, and Border/Lines. Computational methods allow for the visualization of metadata describing these magazine issues as a complex network – but what do these visualizations reveal about real social relations involved in the production and circulation of these magazines? Fireweed, Fuse, and Border/Lines emerged between 1976 and 1986 in Toronto, Canada, from a hotbed of lesbian and gay liberation, feminist and cultural race politics, thereby circulating in relation to transnational social, political and cultural movements (Butling and Rudy, Gonosko and Marcellus, Monk, Robertson). Whereas digital art historical scholarship often applies computational methods to the analysis of visual images (Zorich, Manovich), this paper instead applies complex network analysis to bibliographic metadata describing artist-led magazine publishing. We propose that there is a correlation between the magazine as a site of imagined community (as a discursive site where artistic scenes and poetic community are formed) (Allen, 12-17); and the complex networks visualized from metadata describing production teams and content of each printed issue (Knight, Long, Lincoln, Liu).

To read the rest of this paper, see this extract from the DH2018 book of abstracts: Tayler_Neugebauer_dh2018_abstracts

The entire collection of abstracts is also available.

Toronto’s Urban Imaginaries

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Jon Johnson of First Story Toronto leads
Indigenous Roots and Routes Along the Humber River.
Image courtesy of Luis Jacob.

Throughout the 2017-2018 academic year, I had the pleasure of leading a Jackman Humanities Institute Working Group at UofT, alongside Barbara Fischer and Elizabeth Legge. The official description of the Group is up on the JHI site, but in response to questions I have had, I’ve list a more detailed description our activities here.

Meetings
A series of eight meetings took place as public and invitational events working through different presentation formats, with a rotating attendance. At each meeting, core group members were complemented by invited guests including graduate students, scholars, members of community arts organizations, and major public galleries and museums.

September 19. Introductory Show-and-Tell.
Attendance 25

Presenters: Felicity Tayler outlined the goals, objectives and methods to generate interdisciplinary debate within the group over a series of eight meetings-as-events. Barbara Fisher addressed successes and “lessons learned” from the 2015 This is Paradise conference. Rosemary Donegan, Theresa Enright, Elizabeth Legge, Janine Marchessault, Scott Rayter, Dot Tuer, Rinaldo Walcott each presented physical objects and conceptual issues that they would respond to, and work through, in the context of the group.

October 28. Indigenous Roots and Routes along the Humber River.
Attendance 25

This meeting took place as a public event, promoted through the JHI mailing list. Scholar and guide for First Story Toronto, Jon Johnson (French Canadian, with Haudenosaunee and Kichisipirini ancestry), led a walking tour that engaged Indigenous understandings of sovereignty, space, and place as it intersects with the urban geography and settler history of the GTA. Following the protocols of oral tradition, Johnson conveyed Anishinaabe knowledge to the group through a reading of ResurgeFirst Timeline (2017) murals painted by Philip Cote (with Kwest, Nelly Torossian, and Jarus).

November 14. Round Table: Whose Voice? Politics and Identity.
Attendance: 20
Presenters: Andrea Fatona, Rinaldo Walcott, Felicity Tayler
Respondent: Dot Tuer Continue reading

Finding Fireweed

Presented at the Collections Thinking conference 14 June 2018, Concordia University.

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This paper looked at early issues of Fireweed: A Women’s Literary and Cultural Journal as a way into thinking about collecting and collection practices on two registers: Part 1, addressed the magazine as a medium for collecting material in a particular temporal moment, and Part 2, discussed the subsequent act of indexing, or gathering the metadata for the magazine, as another instance of collecting, with a disjunctive temporal relationship to past technologies and organizing practices.

Profile: Jason Baerg

I had the pleasure of writing this profile of Jason Baerg for issue 93 of esse arts+opinions Sketch/Esquisse

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Jason Baerg is a Cree Métis artist of international reputation working at the intersection of painting, digital media, and installation. He works from a double-consciousness that can be related to the Woodlands School, as Indigenous cultural signifiers are deeply embedded in the process and creative outcomes of his studio practice. Like writer Leanne Betasamosake Simpson, Baerg is part of a generation that deliberately creates work on visual and linguistic terms recognizable to Indigenous viewers and readers. Non-Indigenous publics are attracted to the works through their own uptake of worldviews that are coded within the visual forms. Woodlands stands as a multigenerational reference for visual artists who have worked in this manner. Norval Morrisseau, Daphne Odjig, Alex Janvier, and their peers adopted the so-called universalism of modernist abstraction as a vocabulary within which they could express an internal landscape of spiritual, cultural, and political affirmation.

In Baerg’s work a transcultural double-coding takes place as tensions arise between figuration and abstraction, and across physical and digital media. This play across representational and intermedial registers can be seen in two bodies of work: Relations (2010/2018) and Authors and Antidotes(2009). Relations reinvents the Western avant-garde’s break with verisimilitude in portraiture, by looking to Indigenous traditions of abstraction that predate modernism in Eurocentric art-historical timelines. The pairing of oil painting with digital sketches and animations inserts a sense of futurity into this redrawn timeline. Authors and Antidotes combines large-scale, hard-edge abstraction with collage-like strategies reminiscent of concrete poetry and combine paintings. The ASCII character code, which unifies the eclectic visual field, is a transposition of Baerg’s reflective writing practice. While this text addresses personal and community healing, these themes are also echoed in the red, yellow, white, and black colour fields, which correspond to the traditional Cree teachings of the four directions. On one hand the ASCII code can be read through a shared subculture of nostalgia for early computer technologies; on the other, this code and its palette camouflage meanings recognizable to viewers with lived experience of Indigenous traditional knowledge and practices.

For the full article and images: http://esse.ca/en/jason-baerg

 

Réécrire/Rewriting

  

Highlighted as a “must see” by Canadian Art Magazine, my solo show Réécrire/Rewriting was co-curated by Tianmo Zhang and Jean-Michel Ross, and co-produced by Z Art Space and Galerie Tomas Henry Ross. 14 June – 12 July.

Art critic Emily Falvey described the exhibition as “the perfect antidote to the 150 and ’60s nostalgia that has descended upon Montréal of late: an interesting meditation on identity politics, conceptual art, Canadian and Québec nationalism, and collage as an artistic strategy. And there are some fabulous mashups of Tom Thompson landscapes and Playboy magazine.”

Images above are courtesy of Itzayana Gutiérrez, one of several who attended a round table event on June 28. Tianmo Zhang, Jean-Michel Ross and Kanwal Sayed spoke alongside me. Their combined interests in the reception of “Chineseness” in contemporary art in North America, Québécois contemporary art, and contemporary art from Pakistan provided prismatic lenses for interpretation of the collage-based works.

     

Images below courtesy of Jean-Michel Ross.

Libidinal Economies…

Tayler_MainmiseI had the pleasure of organizing (and presenting) on a panel for the SHARP2017 conference at the University of Victoria, 9 – 12 June, 2017.

Libidinal Economies: Networks of Activist
and Countercultural Print Cultures in the Early 1970s
10 June 2017

Recent scholarship in literary studies, art history and history of the book has recognized print culture to be an essential communications technology linking diverse social movements and liberation struggles of the early 1970s. As the civil rights movements and radical nationalisms of the late 1960s adapted to demands for gay and women’s liberation, presses such as Third World Press (Chicago), Broadside Press (Detroit), TISH (Vancouver), Éditions Parti-Pris and Mainmise (Montréal) issued books and magazines which cited textual references and visual imagery drawn from transnational movements. Local content, neo-avant-garde aesthetics and utopian concerns were asserted in relation to these mutable texts and re-contextualized imagery. This panel will take a comparative approach to discussing the network of desires that drive the production of this radical print culture in Canada and the United States. How do aesthetic choices of book design, typography and para-textual elements make visible the conditions of production for these books? What economies of affective labour are (in)visible in this material culture? What modes of affective belonging take form and how does this create new transnational publics and geographies for radical futurities? This panel responds to the SHARP “Technologies of the Book” CFP themes: The role of the book in society and the social history of print and, print cultures and networks.

Chair: Maria Chappell, University of Georgia
Kinohi Nishikawa, Princeton University: “Reframing Blackness: The Installation Aesthetic of In Our Terribleness”
Deanna Fong, Simon Fraser University: ““Oh, that was a nice party”: Listening to Affective Labour in Literary Collectives”
Felicity Tayler, University of Toronto: “Mainmise: Countercultural Geographies in Reproduction”

This paper will propose a single issue of the Québécois countercultural magazine, Mainmise, as a case study of the aesthetics of cheap single-colour printing and remediation, typical of an early 1970s North American “alternative press.” I argue these aesthetics can be read as the material expression of an attempt to achieve cross-cultural solidarity. Issue no. 2, 1971, of Mainmise, features an image captioned, in French, “Tim Leary Alger, aprs son évasion avec Eldridge Cleaver, ministre de l’information des Black Panthers.” Continue reading

Habitat Conversation

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This graphic novella was commissioned in conjunction with Luis Jacob’s exhibition Habitat, May 5 – June 10, 2017, at Gallery TPW. It was also used as a talking point during a Saturday afternoon conversation. The graphic novella weaves together references to the representations of Toronto in Jacob’s work Sightlines, ongoing conversations with the artist, and sociologist Pierre Bourdieu’s explanations of social space. Print versions were distributed throughout the exhibition. A PDF can be downloaded from Gallery TPW.