News & Events
GS/ARTH6020 and GS/VISA6020 - Summer Institute - May 15 - 25, 2017
Public Art: New Ways of Thinking and Working
Professors Brandon Vickerd and Sarah Parsons
The 2017 Goldfarb Summer Institute graduate course will focus on contemporary issues in public art. Within Canada, ideas of public art have evolved in recent decades, largely due to the role of new programs, policies, festivals, and initiatives that are challenging notions of temporality, spectacle, interventions and participation. While reflecting upon historically significant achievements, this seminar will take an inclusive approach to exploring current topical issues and innovations in order to expand the discourse surrounding public art in Canada and beyond, encouraging criticality and moving the field forward.
The graduate seminar will coincide with the symposium Public Art: New Ways of Thinking and Working that will be hosted by the Department of Visual Art and Art History in conjunction with the various partner organizations (May 18, 19 and 20). Public Art: New Ways of Thinking and Working will offer a forum for emerging research, challenging debate and the establishment of a sustained dialogue around public art from the perspective of both studies and practice. This will be accomplished by including a wide range of cultural, political, social, and pedagogical perspectives across the disciplines of visual arts, architecture, art history, city planning, engineering and urban studies. Students enrolled in the institute will participate in the symposium events.
The symposium will bring together international academics, critics, curators, practitioners and enthusiasts to explore the shifting role of contemporary public art and consider the accomplishments of various innovators working in the public sphere. The goal of this symposium is to critically examine the current state of Canadian contemporary public art practices and processes in the context of innovations happening internationally. Through critical examination of the artistic practices, successes and challenges, theories and impacts of the field, and by inviting multiple perspectives, Public Art: New Ways of Thinking and Working will further the discourse surrounding the role of public art and its continued redefinition. It will be organized around three key conference themes: News Ways of Thinking and Working, Duration, Policies and Processes.
Both the symposium and the seminar acknowledge multiple shifts in public art while questioning: ideas of the creative city, the ways in which artists work, how the work is being made, and the role of curation, audience, discourse and criticality in public art. Public Art: New Ways of Thinking and Working is an opportunity to bring together broad perspectives which have contributed to driving this change, to reflect on and challenge how we define and talk about public art, at a time in the field when reflection and deeper understanding is needed in the face of its mass proliferation.
May 15 - 17 - afternoon meetings
May 18 - afternoon meeting and evening lecture
May 19 and 20 - all day symposium
May 23 - afternoon meeting
May 24 - morning and afternoon downtown
May 25 - morning meeting - final class
June 26 - final papers due
The 2016 Joan & Martin Goldfarb Summer Institute in Visual Arts
Slowness, not Sedation
GS/ARTH/VISA 6020; GS/VISA 6030
The Institute will develop aesthetic models through which slowness, sleep and even boredom may be interpreted in modern and contemporary art. We will theorize based on case studies of artistic projects that manage to critically carve out spaces—or strive to stake a claim—within hegemonic environments of acceleration. Focusing on specific works will allow us to reflect on how artists create singular or alternate temporalities and durations which—partly due to their slowness—are resistant to the systems and economies of control that depend on accelerated speeds of processing.
In partnership with the Art Gallery of Ontario and the Toronto International Film Festival’s Higher Learning program, the Goldfarb Summer Institute presents a series of public talks by its featured guests. In addition the morning seminar on May 10 will be led by a special guest, acclaimed Toronto-based media artist David Rokeby.
Now in its eighth year, the Joan & Martin Summer Institute in Visual Arts offers York University graduate students and the wider community the opportunity to engage with prominent international artists, curators, critics and theorists through seminars, workshops, courses and public lectures. Previous guests include art theorists Manuel De Landa and Thierry De Duve, media arts specialists Christine Ross and Douglas Kahn, art historian and curator Sarat Maharaj, and the Singh Twins. The summer institute is named in recognition of Joan and Martin Goldfarb, longstanding supporters of York’s School of the Arts, Media, Performance & Design, whose generous gift has made this annual residency program possible.
2015 Summer Institute
SIGHTS + SITES:
MEMORY, MONUMENTS and PLACE AFTER THE DIGITAL TURN
THE 2015 JOAN & MARTIN GOLDFARB SUMMER INSTITUTE
SCHOOL OF THE ARTS, MEDIA, PERFORMANCE AND DESIGN
PROFESSOR SHELLEY HORNSTEIN
Room GCFA: TBD
The annual Joan & Martin Goldfarb Summer Institute in Visual Arts, now in its seventh year, offers York University graduate students and the wider community the opportunity to engage with prominent international theorists, artists, curators and critics through seminars, workshops and public lectures. This intensive format is an opportunity for graduate students to engage deeply with each other, Professor Hornstein, and international guest faculty for a two-week period from May 4 - May 15, 2015. This course will explore the writings of our distinguished speakers to investigate the assumed invisibility or heightened visibility of the material and digital presence of communities, performers and things, and the inevitable and multiple interfaces between them.
The theme of this summer institute will explore the pervasiveness and shifting landscape of screen-based images in our everyday lives and the feverish pace at which we create, disseminate, upload, download, remember, forget, save and delete them. Concurrently, we will examine what monuments, memorials and public art mean as material objects in urban and rural space. Can we seek new identities and cultural contexts through mediated images on screens? What does it mean to recognize the mobility of the image and its autonomy from physical place and material culture? How does a digital or virtual image situate people and place: networks, context, cities, and geographies? What is the relationship between an ephemeral image and a material one? When images disappear, what do we remember? Are we and our images and places, truly mobile and connected? What is the enduring relationship of tangible to intangible heritage? And what constitutes our cultural and collective memory? Can digital images trigger memory as effectively as physical objects in land- and cityscapes?
The reading list will draw largely from texts written by our esteemed guests. Students will be required to produce written responses to the readings and to take turns presenting in class. Dialogue among seminar participants will continue online through Moodle after May 10 in part to provide support as students develop their own research papers that will be due at the beginning of June.
(Responsive Architecture at Daniels)
PRELIMINARY EVENT: MARCH 12, 5PM – SHIMON ATTIE
Goldfarb Annual Lecture - Room 312 GCFA
Shimon Attie, a New York-based, internationally renowned visual artist, will present and discuss selected art projects, including early site-specific installations across Europe and the United States, as well as more recent works that involve multiple-channel immersive video installations. He will also show images from his most recent project, “Facts on the Ground”, a series of site-specific installations that he created across Israel and Palestine.
In many of these projects, Attie draws upon a wide variety of media to re-imagine new relationships between space, time, place and identity. He also often engages local communities in the creation of these works. Attie is particularly concerned with issues of loss, communal trauma and the potential for regeneration.
In addition to presenting his works, Attie will touch upon themes related to ephemeral versus material images, and how this relates to the process of remembering and forgetting. He will also through his presentation suggest broader parameters of what constitutes “site”, context, culture and politics.
2014 Summer Institute
VISUAL ART AND ART HISTORY ▪ FACULTY OF FINE ARTS ▪ YORK UNIVERSITY