Pam Patterson in Positive Masculinity

Friday, September 14, 2018 - 11:00am to Tuesday, October 16, 2018 - 6:00pm

Positive Masculinity

Maison Depoivre Art Gallery

Loch Sloy, Barrack #3, Picton, Prince Edward County

Sept 14-Oct 15, 2018

Opening Sept 16, 4-7PM

 

slit (Pam Patterson and Natalie Piper) hearken to the historical, and reach for the progressive, icons of masculinity. They attempt to critically conflate the gallantry of armoured knights, with self- amending “male” portraits of Frida Khalo. In doing so, they delightfully fail, as so many have, in finding the essence of what is understood as masculine: they view and inhabit it, as does ARTIFACTS (Pam Patterson & Leena Raudvee) in their presented performance documentation, as women who yearn for its un/expectedly positive entitlements. 

Venue & Address: 
Maison Depoivre Art Gallery Loch Sloy, Barrack #3, Picton, Prince Edward County
poster with morphed figurative image

the past whispers ARTIFACTS Pam Patterson & Leena Raudvee

A photo of Pam Patterson in a garden pointing a camera phone
Saturday, April 14, 2018 - 11:00am to Thursday, May 31, 2018 - 6:00pm

the past whispers     ARTIFACTS (Pam Patterson & Leena Raudvee)

Event: April 21, 3 PM – 7PM

Exhibit runs: April 14 - May 31, M-S - 11AM - 6PM, Sun. - 12PM – 1PM

Fleishman Gallery @ WONDERWOKS, 25 Baldwin Street, Toronto. 

the past whispers           ARTIFACTS (Pam Patterson & Leena Raudvee) ever cognizant of gender politics and cultural normalization, engages in deconstructing various contemporary societal issues by exploring women’s bodies across speculative edges and in liminal spaces.

In the past whispers, ARTIFACTS uses performativity as a touchstone to relocate and restory culture, artefacts, intentions, and memory. In making this work, we entered the space of the walled garden, as tourist, traveler, and pilgrim. The “entering” was originally an unintentional act. We had been performing in a little village, La Romieu, in France in 2017 and, when finished, had travelled to stay for a few days in Lectoure. Tucked against a high stone wall on the main street, we came across a long-standing herb garden that had been established in the 1200s.

The panoramic images we took of each other in this small walled medieval garden spoke to our own searching and a momentary fleeting sense of displacement and loss. In making this exhibition, through the use of photo image and archival maps of medieval gardens and cities, we searched for traces of the past. We fantasized a touch, a fragrance, a quietude that might be found in a sacred place of contemplation and cultivation. In juxtaposing this sense of place with a perhaps equally imagined life of women in a convent and the use and value of a convent garden we asked: Who were, and how were “holy sisters”?

We invite you to play here within the metaphor of this medieval garden. To be in such a garden is to stand in the middle of a vision of the world – the garden is in itself a cosmological statement where within its symmetrical plan and ordered framework, particularity is varied, fertile and hospitable.  

Venue & Address: 
Fleishman Gallery @ WONDERWOKS 25 Baldwin Street, Toronto, ON

Lillian Allen & Joanna Black: Learning for Social Change

photo of performers on stage from behind
Monday, February 5, 2018 - 5:00pm

Lillian Allen & Joanna Black: Learning for Social Change

Opening Feb. 5, 5.30 - 7 pm. Conversation 6 pm
CWSE Hallway Gallery
OISE/UT, 252 Bloor Street West (just east of St. George & Bloor), 2nd Floor, Toronto
FREE and accessible.

Curator: Pam Patterson

Associate Curator & Installation: Leena Raudvee

Designer: Julia Pereira

While socially engaged art, as a category of practice, is still a working construct, the artist who identifies as such is an individual whose specialty includes working professionally with/in society. Writes Pablo Helguera (2011) in Education for Socially Engaged Art, “Standard education practices – such as engagement with audiences, inquiry-based methods, collaborative dialogues, and hands-on activities – provide an ideal framework for process-based and collaborative conceptual [creative] practices (p. xi).” “Students” facilitated by socially engaged artists/educators become aware of why they are acting and learn how to act in an effective way.

Toronto, dub poet, activist and writer Lillian Allen and Manitoba artist, researcher and educator Joanna Black, as socially engaged cultural workers, facilitate artists'/educators' creative work that deals with diverse issues. Both women are professors at universities and value partnerships, process, and collaboration toward action-in-community. Their students’ creative activity has been animated, shared and presented locally and internationally.

Each woman mentors young adult students: Lillian Allen works with artists, designers and writers in liberal studies at OCAD University and Joanna Black facilitates emergent teachers in visual art teacher education at University of Manitoba. Their teaching encourages students to focus not only internally in critical and creative making, but also outward among each other and in company with community. A complex dialogue ensues where social critique, understanding, and engagement are valued. 

Black’s digiART project provides a venue where emergent teachers, mostly young adults, can examine human rights issues through the creation of new media texts ranging from photographs, videos, and animations to graphic novels and performance art; while Allen’s students develop and facilitate interactive creative writing and art workshops to connect youth to their creative power in context of developing a collective voice. Allen's projects are in collaboration with the Winsom Foundation in Belize and the Hamilton Youth Poets. 

These education–as–art projects aim to democratize viewers, making them partners, participants, or collaborators in the construction of the works. “This is a powerful and positive re-envisioning of education that can only happen in art, as it depends on art’s unique patterns of performativity, experience, and exploration of ambiguity (Helguera, 2011, p. 81).” It is a productive and transformative activity.

Venue & Address: 
CWSE Hallway Gallery OISE/UT, 252 Bloor Street West (just east of St. George & Bloor), 2nd Floor, Toronto
Cost: 
FREE and accessible
digital artwork

Pam Patterson to receive the C.D. Gaitskell Memorial Award

Thursday, October 26, 2017 - 11:30am

Pam Patterson PhD, TIS, Faculty of Art, is being given the C.D. Gaitskell Memorial Award this academic year by the Canadian Society on Education through Art (CSEA). This award recognizes excellence in teaching and research and an outstanding contribution to art education in Canada.  Patterson was a past Director of Research for the CSEA and is Director for WIAprojects an arts-informed, community-based, feminist-inspired research program at the Centre for Women’s Studies in Education (CWSE) at the Ontario Institute for Studies in Education (OISE) at the University of Toronto. She will give the Gaitskell Address this coming spring at the Canadian Human Rights Museum in Winnipeg.

Pam Patterson: ARTIFACTS ARTEFACTS

Pilots at work
Wednesday, November 8, 2017 - 10:00am to Sunday, November 19, 2017 - 6:00pm

Pam Patterson & Leena Raudvee

ARTIFACTS ARTEFACTS

Process Gallery, Gallery 1313, 1313a Queen Street West, Toronto

Exhibition dates: Nov 8, 2017 to Nov 19, 2017.

Gallery hours: 1PM to 6PM Wednesday to Sunday.

Reception: Nov 9th 7PM

 

In the Gallery 1313 Process Gallery exhibit, ARTIFACTS explores in ARTIFACTS ARTEFACTS detritus-as-performance. Our original intention was to gather over 30 years of performance detritus into a retrospective; this though has not been the case.

The idea of performance detritus remains but is now reconfigured. In the process of exploring performative ideas around the military, we went to The National Air Force Museum of Canada where we surreptitiously donned military uniforms on display and photographed each other in situ – posed and in the various aircraft on exhibit. This was an informal performance where we acted on the edge, delightfully fearful of being discovered.

After a performance, we usually have photo-documentation by a photographer which then can be exhibited. Here though we lacked such a photographic witness.

In preparing for the Gallery 1313 exhibit, we found ourselves caught up yet again in this performative “militaristic” action and we began to purposely and playfully generate objects and images. In the process of doing so, we realized we were making an ironic comment on the historic value of artefacts and indirectly on ourselves as older disabled women artists.

The exhibit responds to contemporary “hipster” nostalgia:  the “authentic” consumer item, the aura of the “working” uniform, and, in addition, the absurdity of aged women with disabilities as military generals!  Focused around gilt-framed photo portraits of each of us in WWII military dress attire and in action in the cockpits of aircraft, the exhibit uses over a hundred cardboard model planes, and over a thousand cards which speak to our authenticity. A written text backstory is provided (all fictitious but immeasurably seductive) as part of the exhibit to provide context and embed it (us) ever deeper into the idea of the contemporary seductive artefact.

 

 

Venue & Address: 
Process Gallery, Gallery 1313, 1313a Queen Street West, Toronto, ON

Cellu(h)er Resistance: The Body with/out Organs?

fado: pam patterson
Wednesday, February 27, 2008 - 5:00am to Sunday, March 2, 2008 - 5:00am

After decades of dis-ease and illness, the pain of poverty, dis-ability and being reconfigured by surgery my hands now make another body for my body.....there are sounds, images, becomings....it is accomplished the moment I undertake it. It isn't the case that the body/I like(s) pain per se; rather, the body/I like(s) being a Body without Organs, and the pain is the price the body/I is/am willing to pay for that.

From February 27-March 2, Fado is proud to present a new performance work by Toronto artist, educator and cancer survivor, Pam Patterson. Cellu(h)er Resistance: The Body with/out Organs? is an epic 5-day performance-as-installation process piece that combines sound, drawing, action, video and collaborative writing examining the artist's body, the body with disease and the body without organs.

Fado is pleased to acknowledge the Canada Council, the Ontario Arts Council, the City of Toronto through the Toronto Arts Council, and the Department of Canadian Heritage for their support of our ongoing activities.

For more information on Fado and artists' bios please see

www.performanceart.ca

416-822-3219

Venue & Address: 
XPACE Cultural Centre 58 Ossington Ave., Toronto, Ontario
Email: 
xpace@xpace.info
Cost: 
Free

Research Rendezvous

Image of an eye, an ear and a hand
Image of a graph
Image of a graph
Image of data
Image of data
How are you OCAD U?
Image of a filing cabinet
Image of graphs
Monday, May 11, 2015 - 4:00pm to 5:00pm

The Office of Research Services will be hosting a Research Rendezvous with research presentations by the following two faculty members:

Peter Coppin, Faculty of Design
"What is Lost in Translation from Visual Graphics to Text for Accessibility (with implications for the picture perception debate and the graphic-linguistic distinction)"

Pam Patterson, Faculty of Art, with OCAD U Art & Design Education student Meaghan Barry
"How Are U OCAD U?"

Please join us for this one-hour session and feel free to bring your lunch!

Dr. Peter Coppin is an Assistant Professor of Design at OCAD University. He is a core Program Faculty member in the Master of Design (MDes) in Inclusive Design program. During his PhD, Peter developed a perceptual-cognitive model for understanding how graphics afford actions, a theme that cuts across inclusive design, human-computer interface design, visual art-design, and learning technology research. Prior to this, Peter developed ‘remote experience’ systems that delivered data from remote rovers operating in extreme environments to science teams and the general public as Principal Investigator and Director of the NASA funded EventScope Project at Carnegie Mellon University (CMU). At CMU Peter also directed the BigSignal Project, one of the first telescience interfaces for educational audiences. Prior to BigSignal, Peter was a nationally and internationally exhibiting electronic media artist and designer, operating under the group alias ‘Centre for Metahuman Exploration.’ He developed telerobotic works and interactive television shows that were exhibited in venues such as the Ars Electronica Festival in Linz, Austria; MIR: Art in Space in Bolzono, Italy; and the SIGGRAPH Touchware Exhibition in Orlando, Florida. Peter also directed projects for EventScope’s commercial spin-off, resulting in patented technologies to solve problems for various NASA and university customers. Peter taught human centered art and technology project classes such as ‘Telepresence Art and Applications,’ within multiple departments at Carnegie Mellon.

"What is Lost in Translation from Visual Graphics to Text for Accessibility (with implications for the picture perception debate and the graphic-linguistic distinction)"
In this presentation, Peter will describe the progress toward translating ‘visual’ graphics into non-visual perceptual modes such as sound to produce more accessible interfaces. Additionally, he will demonstrate how our design is guided by a provisional model that treats the visual cortex as a spatial cortex that is recruited by sight, sound and touch (cf. Knauff, 2013). The problem: According to WCAG guidelines, a ‘visual’ graphic (i.e., a picture) is considered ‘accessible’ (e.g., to low-vision and/or blind users) if it has been ‘translated’ into a text description (Caldwell, et al., 2008). However, if an author’s intention could be conveyed via text, then why did they create a (visual) graphic? One often cited advantage is that “the eye and the visual cortex of the brain form a massively parallel processor that provides the highest-bandwidth channel into human cognitive centers” (Ware, 2012). In contrast, a screen reader sequentially reads through text descriptions. However, are these advantages only possible though visuals? Sonic interfaces are routinely used for sense making: Doppler ultrasound conveys anatomical structures via audible frequencies and researchers have converted video signals into sound to enable blind audiences to navigate outdoors and to recognize faces (e.g., Levy-Tzedek et al., 2012). Spatial structure seems to transcend the visual: It can be conveyed via sound (e.g., when we hear an echo) or touch. In addition to demonstrating how this provisional model can guide interface design, Peter will also propose how it relates to, and in some cases can help reconcile, classic debates about the ‘unlearned’ (e.g., Gibson, 1978; Kennedy, 1974) versus ‘learned’ (e.g., Goodman, 1976) properties of picture perception between art theory and perceptual psychology and the related graphic-linguistic distinction (Shimojima, 1999).

Dr. Pam Patterson has been active for over 30 years in the arts, academic and women’s communities. Her performances, research, teaching, and curatorial projects focus on embodiment and performativity in art practice, women’s, gender and disability issues, critical pedagogy and art(s) education. She founded an arts-informed feminist research, presentation, and publication program, WIAprojects (www.wiaprojects.com) at the Centre for Women's Studies in Education at OISE/ University of Toronto in 2004 and has been Director of the program since. As a performance and visual artist, she was a founding member of FADO Performance and ARTIFACTS and continues to exhibit and perform internationally. She currently teaches in the Faculty of Art at the Ontario College of Art & Design University. At OCAD U, she has facilitated a number of cross-disciplinary, cross-institutional projects including Food=Need OCAD U. ARTISTS TEACHING ARTISTS, and this recent HOW ARE U OCAD U? As Director, Research for the Canadian Society for Education through Art (CSEA) she is currently co-facilitating national research initiatives groups with CSEA President, Peter Vietgen (Brock University).

"How Are U OCAD U?"
Art and Design Education Lab - Community Leadership mounted a campaign fall 2014 term inviting the OCAD U community to assist them in re-imagining OCAD U for the 21st C. This action was an outgrowth of our deep curiosity about our own complicity in teaching and learning at OCAD U. We wanted to open the Pandora’s Box and excavate the messiness. We all know that we need to dig deep and take risks in studio practice in order to push our work to stronger and richer iterations. But, how can we as educators do the same? How can we define OCAD U as a community: Is it a place of/for community gathering(s)? What is its ethical grounding? What is its reason for being? How can we determine what learning means at OCAD? While our posters are presented as tongue-and-cheek, the data they were derived from was diverse, compelling, and often contradictory. Videos, which accompany this exhibition, provide a more storied response from OCAD U community members. Our devised terms for examination for the survey and Learning Zone (LZ) display are below. Demographics from LZ are also listed. Special thanks to the OCADSU for additional data from their own survey.
Six Terms for Examination:

1. How have you achieved a sense of community at OCAD U?
2. How has your learning experience been? How can it better prepare you for the working world?
3. What teaching methods are you looking for? What teaching methods are actually working for you?
4. How have OCAD U community initiatives improved your experience?
5. How does your experience match your expectations?
6. What have you achieved as a student or faculty or staff at OCAD U?
Survey monkey site: https://www.surveymonkey.com/s/RDW5SDG

Venue & Address: 
Lambert Lounge (Room 187, 100 McCaul)
Cost: 
Free