Mes signetsShaared links2023-10-06T22:33:21-04:00Mes signetshttps://signets.aubry.org/https://signets.aubry.org/ShaarliIntelligence artificielle : un robot britannique crée des œuvres d’exceptionhttps://signets.aubry.org/shaare/_eBV-w2023-10-06T21:54:18-04:002023-10-06T22:19:31-04:00— Permalink]]>Controverse sur l'usage de livres aux Jardins de Métis - Le cycle de vie du livre | Le Devoirhttps://signets.aubry.org/shaare/riigdw2023-08-14T16:48:53-04:002023-10-06T22:19:57-04:00— Permalink]]>Le monastère - Danielle Boutet - Vimeohttps://signets.aubry.org/shaare/RhSJ5w2023-08-09T11:23:43-04:002023-10-06T22:19:58-04:00— Permalink]]>Après les Eurockéennes, l'artiste Saype dessine une fresque géante en Russiehttps://signets.aubry.org/shaare/llL0-w2023-06-06T16:12:32-04:002023-10-06T22:20:42-04:00— Permalink]]>Limited Edition Paper Reproductions Archives - John M. Horton C.S.M.A. F.C.Ahttps://signets.aubry.org/shaare/nUG58A2023-04-28T11:18:05-04:002023-10-06T22:21:01-04:00— Permalink]]>Sell Media Documentationhttps://signets.aubry.org/shaare/3FFPeQ2023-04-17T17:05:05-04:002023-10-06T22:21:13-04:00— Permalink]]>Sell Media – Extension WordPress | WordPress.org Françaishttps://signets.aubry.org/shaare/ImklyA2023-04-17T15:28:09-04:002023-10-06T22:21:13-04:00— Permalink]]>Galerie UQO | Clément de Gaulejachttps://signets.aubry.org/shaare/G6rgZA2023-03-19T12:12:10-04:002023-10-06T22:21:30-04:00— Permalink]]>Le Centre Pompidou passe à l'heure NFT - Magazine - Centre Pompidouhttps://signets.aubry.org/shaare/jH7BrA2023-02-16T09:18:17-05:002023-10-06T22:21:54-04:00https://www.centrepompidou.fr/fr/magazine/article/le-centre-pompidou-passe-a-lheure-nft
— Permalink]]>Affaire Bastien Vivès : réflexions sur l’art, la morale, la vérité et sur le fantasme - L'Incorrecthttps://signets.aubry.org/shaare/tXpDAA2023-01-29T09:18:55-05:002023-10-06T22:22:03-04:00— Permalink]]>Imaginative Project Fuses Photography and Art to Create Cloud Charactershttps://signets.aubry.org/shaare/SK-zjA2022-10-04T01:56:21-04:002023-10-06T22:23:00-04:00— Permalink]]>L'Art public à Rimouskihttps://signets.aubry.org/shaare/MljewA2022-07-20T12:21:51-04:002023-10-06T22:23:33-04:00— Permalink]]>Conférence inaugurale - contagion de la terreurhttps://signets.aubry.org/shaare/065w2A2022-01-07T12:35:01-05:002023-10-06T22:27:21-04:00— Permalink]]>Tracker Ten for Arthttps://signets.aubry.org/shaare/zfNUuQ2021-09-13T23:45:43-04:002023-10-06T22:29:16-04:00— Permalink]]>ArtCloud | All in one art management system for artists and gallerieshttps://signets.aubry.org/shaare/n9sItQ2021-09-13T23:24:30-04:002023-10-06T22:29:17-04:00— Permalink]]>Videomuseum - Réseau des collections publiques d'art moderne et contemporainhttps://signets.aubry.org/shaare/s0VCnQ2020-03-07T12:43:48-05:002021-03-03T17:58:23-05:00— Permalink]]>Elegant and mysterious images of a dancer in motion by Shinichi Maruyamahttps://signets.aubry.org/shaare/KbYJjw2020-02-20T01:06:57-05:002021-03-03T17:59:17-05:00— Permalink]]>Oleg Holosiy. Non-stop Painting | Арсеналhttps://signets.aubry.org/shaare/vnBuvQ2019-07-09T05:57:14-04:002021-03-03T18:09:07-05:00— Permalink]]>Elizabeth Wyn Wood (1903-66) | Flickrhttps://signets.aubry.org/shaare/CEDXsg2016-12-02T01:16:02-05:002016-12-02T01:16:02-05:00— Permalink]]>UnderHill Review - Debating the Function of Art and Artist in Social Reconstruction (Elizabeth Wyn Wood)https://signets.aubry.org/shaare/NTM16A2016-12-02T00:57:10-05:002016-12-02T00:57:10-05:00
Sculptor Elizabeth Wyn Wood, herself a regular contributor to The [Canadian] Forum, assailed Underhill for the way in which he erroneously applied political theory to the function of the arts in society. (...) Wyn Wood was convinced that Canadian artists must respond contextually to the conditions of their own time and geographies. “If a great art is to grow up in Canada,” she noted, “it is likely to come from our natural lives as from hysteria.” She pointed out that Canadian artists weren’t necessarily “unaware” of the world around them and the conditions that often beset it, but chose to reside in the “deep passion for the slow and solid life this continent gives.” She reminded Underhill that “Canadian artists are mostly sons of pioneers who left the old lands with their unhappy civilizations, outworn customs, hatreds, oppressions, and prestige manias to come to a wilderness, free and hopeful, and who have found peace and some measure of fulfilment along with the half–civilization they have made.” Finally, she noted:
I proclaim the long stride, the far vision, the free spirit...let us have criticism that is sound and technical, let us have sincere, understanding receptivity. Let us not fear simplicity. Some day we may have to take in the refugees from a smouldering civilization. We may have to offer them more than bread. We may have to offer them the spiritual sustenance of an art which grows on the bare rock and bare chests.
Wyn Wood was adamant that art would survive and flourish under any conditions.
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"In his essay 'Art and Society,' in Yearbook of the Arts in Canada (1936), Brooker again decried the 'demand for meaning or moral in a work of art' as well as 'propagandists art in the service of a cause.' He reaffirmed his belief that art's concern was solely with perfection and 'the holiness of beauty.'
Reviewing the Yearbook in The Canadian Forum, Frank Underhill, the Forum's editor, criticized this attitude, commenting, 'European artists have been compelled to rethink the whole question of the relation of the artist to society, and the finer spirits among them are deciding one after another that in our troubled generation the artist must be red or dead.'
This review raised a blistering attack from the sculptor and Group associate Elizabeth Wyn Wood, who characterized Underbill's attitude as a 'mild epidemic of the Early Christian Martyr – Communist – Oxford Group fever which demands the consecration of all talent to the services of a readily recognizable cause... What should we do instead? Paint castles in Spain – crumbling? Paint the Russian proletariat standing on the fallen Cossack, a modern Saint George and the Dragon?... Such things are not authentic stimuli to the Canadian Artist... Let us [instead] camp for a while on our northern pre-Cambrian shield... [so that] we may offer [the refugees from a smouldering civilization] the spiritual sustenance of an art which grows on the bare rock and bare chests.'
To this, Paraskeva Clark cried, 'Come out from behind the Pre-Cambrian Shield,' denouncing Elizabeth Wyn Wood's 'exaltation of the individual [which blinds] an artist to the forces which approach to destroy that relative security in which he is permitted to exercise his individuality.' She affirmed that 'those who give their lives, their knowledge and their time to social struggle have the right to expect great help from the artist,' and finished with an impassioned plea that artists leave the unreality of the barren rocks and identify with the struggle of their fellow men."
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