{"id":20802,"date":"2013-09-20T19:40:59","date_gmt":"2013-09-20T23:40:59","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=20802"},"modified":"2013-09-27T18:21:36","modified_gmt":"2013-09-27T22:21:36","slug":"aimia-ago-photography-prize-panel","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=20802","title":{"rendered":"Aimia | AGO Photography Prize \/ Panel"},"content":{"rendered":"

September 12, 2013, 7 p.m.<\/strong>
\nArt Gallery of Ontario \/ Baillie Court <\/strong><\/p>\n

\"\"<\/a><\/p>\n

The AGO hosted a ticketed event September 12, 2013 with three of the four artists shortlisted for the 2013 Aimia | AGO Photography Prize since Edgardo Arag\u00f3n<\/strong> of Mexico unfortunately couldn’t attend. <\/span><\/p>\n

Panel One: The Image is an Instrument \/ <\/strong>7 p.m.<\/strong><\/p>\n

Moderated by lead juror Elizabeth Smith<\/strong>, Executive Director of the Helen Frankenthaler Foundation,\u00a0and Jennifer Blessing<\/strong>, Senior Curator, Photography at the Guggenheim Museum, featuring the shortlisted artists Edgardo Aragon and LaToya Ruby Frazier. Elizabeth Smith talked about Edgardo Arag\u00f3n<\/strong>‘s work. She said that what she finds interesting is his thought of the change in the landscape in Mexico and of the lives of the people there. Ritualized activities took place surrounding the “War on Drugs” started in 2007 and\u00a0what he documented with digital photography. Power struggles, violence and turbulence took place. His series “Family Effects” shows the changing experience across generations. He keeps his family history alive by thoughtfully recording it. His work is influenced by the golden era of Mexican film which showed a once majestic landscape. Video scenes with planes like the ones used to traffic drugs landing on rural runways were recreated. The video installation, Tinieblas<\/em>\u00a0(photo of installation with viewers) shows separate band members playing a funeral march with their instruments, each in a separate video panel. The sound is mournful, reflecting the passage of time. Personal and political themes combine.<\/p>\n

\"\"<\/a>Edgardo Arag\u00f3n, Tinieblas<\/em>, 2009, 13 channel video, 7:50 min, courtesy of the artist and Proyectos Monclova.<\/p>\n

\"\"<\/a>Visitors with \u00a0Edgardo Arag\u00f3n’s work from his video installation, Tinieblas<\/em><\/p>\n

LaToya Ruby Frazier<\/strong> said that\u00a0she wants to document the social activism surrounding the collapse of the steel town where she grew up, the illness that the environment caused and the closing and demolition of the local hospital. Again the personal and the political themes combined in her photos of her family and the town – sometimes with herself inserted as a witness to history. She is interested in making invisible realities visible, clarifying the false media coverage of the events in her town.<\/p>\n

\"\"<\/a>Artist LaToya Ruby Frazier at the panel conversation<\/p>\n

\"\"<\/a>LaToya Ruby Frazier, Grandma Ruby, Mom and Me,<\/em>\u00a0from the series Notion of Family<\/em>, 2002\u00a0on, gelatin silver print, 50.8 cm x 60.96 cm<\/p>\n

\"\"<\/a><\/strong>Visitors with LaToya Ruby Frazier’s work<\/p>\n

Panel Two: The Image is a Fragment<\/strong> \/ 8 p.m.<\/strong><\/p>\n

Moderated by\u00a0Sophie Hackett<\/strong>, Associate Curator, Photography at the AGO and\u00a0Helga Pakasaar<\/strong>, Curator at Presentation House Gallery, Vancouver, featuring shortlisted artists\u00a0Chino Otsuka\u00a0<\/strong>and \u00a0Erin Shirreff.<\/strong><\/p>\n

Chino Otsuka<\/strong>‘s work is series of mostly small photographs depicting scenes from her childhood into which she has Photoshopped pictures of herself as an adult in those same locations. The image manipulation is well done –\u00a0and when you know the story behind pictures and that\u00a0her adult image\u00a0is beside her childhood self – you get an eerie feeling looking at them.<\/p>\n

\"\"<\/a>Artist Chino Otsuka at the Panel discussion<\/p>\n

\"\"<\/a>Chino Otsuka, Tokyo 4-3-4-506<\/em>, 1999, C-type, 101.6 cm x 152.4 cm diptych<\/p>\n

\"\"<\/a>Visitors viewing Chino Otsuka’s work<\/p>\n

Erin Shirreff<\/strong> considers her photography and video work (Moon<\/em>) as sculptural and is interested in the themes of stillness, flatness, distance and the divide between you and object. She\u00a0also emphasized\u00a0that when you look at such work you are drawn in as in a dream then pushed out again like\u00a0when waking up.<\/p>\n

\"\"<\/a>Artist Erin Shirreff at the panel conversation<\/p>\n

\"\"<\/a>Erin Shirreff, Moon<\/em>, videostill, 2010, color video, silent, 32 minute loop<\/p>\n

The curators seemed most interested in the historical time based aspect and story telling qualities\u00a0in all the artist’s work. No mention was made of the quality of the work or it’s aesthetic qualities as art. The work is very journalistic and seemed to be treated as such, rather than as fine art. It was the story that was behind the pictures that was talked about the most.<\/p>\n

Text and photo: Margaret Irving<\/p>\n","protected":false},"excerpt":{"rendered":"

September 12, 2013, 7 p.m.<\/p>\n

Art Gallery of Ontario<\/strong><\/p>\n

The AGO hosted a Panel Discussion with three of the four artists shortlisted for the 2013 Aimia | AGO Photography Prize<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":1,"featured_media":20809,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41,135,1],"tags":[],"class_list":["post-20802","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-margaret-irving","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/20802","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=20802"}],"version-history":[{"count":12,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/20802\/revisions"}],"predecessor-version":[{"id":20811,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/20802\/revisions\/20811"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/media\/20809"}],"wp:attachment":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20802"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=20802"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=20802"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}