Michael Snow, {1967} Standard Time

Joyce Wieland O Canada 1970

“Two African American women working at OZALID machines to make positive copy prints using the ozalid process. In this process, patterns to be copied were put on translucent material, covered with diazo coated paper, exposed to ultraviolet light, and developed with ammonia fumes.” (c/o PHIL)

AND Joyce Wieland’s "PATRIOTISM", 1965, an OZALID print, or that it what one wall panel says, though pockets of the internet dispute this...

portrait of Joyce Wieland in NYC taken by John Reeves in 1964 and one work from her True Patriot Love exhibition in 1971

Joyce Wieland, Heart on, 1962 Red electrical tape, chalk, crayon, and ink, with linen and wool on unstretched linen

Studio work 30/1/24

Today I experimented with layering type over the prints I made yesterday. The statements relate to societal expectations of women and also empowerment.

I also took inspiration from Joyce Wieland's lipstick prints and made some of my own. The prints above are me practising saying different things.

This print is of me saying 'I Will Never be at Your Mercy'.

It relates to not being submissed or oppressed by anyone and striving to be independent.

You see nothing but a white, crystal white plate, and water dripping into the plate, from the ceiling, from high, and you hear the sound of the water dripping. The film is ten minutes long. I can imagine only St. Francis looking at a water plate and water dripping so lovingly, so respectfully, so serenely. The usual reaction is: ‘Oh, what is it anyhow? Just a plate of water dripping.’ But that is a snob remark. That remark has no love for the world, for anything. Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him; it can open his eyes to the phenomenal world. And how can you love people if you don’t love water, stone , glass?” - Jonas Mekas, New York Times, 1969

Michael Snow with the machine he and Pierre Abeloos designed to film La Région Centrale. The photo was taken by Joyce Wieland in October 1969 on the fifth and final day of the crew’s presence on the mountaintop in northern Quebec where the film was shot.

RIP Michael Snow (10 December 1928 - 5 January 2023)

Joyce Wieland (Canadian 1930-1998). Wieland seems better known for her experimental films and mixed media work, but I thought these two early paintings, which were described as having been made using Frankenthaler’s stain technique, were a nice contrast to the Frankenthaler and Louis works above. Much of this artist’s output is politically engaged and explicitly feminist. I think the 1963 exhibition poster is amazing.

Balling 1961. Oil on canvas, 76 x 92 inches. National Gallery of Canada, Ottawa.

Time Machine Series 1961. Oil on canvas, 80 x 106 1/4 inches. Art Gallery of Ontario, Canada. Source.

Poster for a 1963 exhibition of Wieland’s work. Source.

Screening at Moberly Fieldhouse: ANTHROZOOLOGY: CATS & DOGS Saturday, September 17: 7:30 – 10 PM Join us as we have the pleasure of welcoming our friends from Fillip back for another night of films under the stars! Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.   Anthrozoology: Cats & Dogs continues Fillip’s investigation into documentary, narrative, and formalist film, presenting a program of shorts that include film, digital video, hand- drawn animation, and collage. These works meditate on the domestic lives and bodily experiences of animals"human and non-human" with a particular focus on interactions with the animals often considered to be our closest friends. Initially developed out of our ongoing E.S.P. screening series, the first Anthrozoology screening was programmed in 2021 by guest curator April Thompson.   This year’s program includes Margaret Dragu & Kate Craig: Breath, Lily Jue Sheng & Antonia Kuo: Seeing Double, Shaun Syed: Two Dogs and Joyce Wieland: Cat Food plus many more! Entrance to this screening is free but an RSVP is requested. Vegetarian snacks will be served before the screening at dusk.

Joyce Wieland, Rat Life and Diet in North America (1968)

Who wore it better?

cat food (can, wieland 69)

A & B in Otario (Joyce Wieland y Hollis Frampton, 1984)

Artist Research - Joyce Wieland

Barbara's Blindness (1965), dir. Betty Ferguson, Joyce Wieland