MADE HERE: Graven Feathers Residency Exhibition

Saturday, June 29, 2013 - 4:00am to Saturday, July 27, 2013 - 4:00am

Exhibition including work by IAMD Graduate Student Rawaa Bakhsh

Graven Feather is delighted to present an exhibition of new work developed and produced on site during it's recently established Artist Residency program. Emerging artist's Madelaine Lyons Cooper, Sarah Sands Phillips, Rawaa Bakhsh and Julie Pasila each visited and worked independently at Graven Feather over a period of 4 weeks during the winter and spring of 2013, using equipment in studio and frequently incorporating the use or integration of printmaking techniques and ideas into existing and familiar media.

While each of the artists arrived at Graven Feather separate from each other, certain commonalities can be identified and together create a sense of interwoven elements and relatedness within material and conceptual themes. Layering and Installation of form are strongly present, as is a sense of play, modular shift, and fluidity of texture.

Residencies are all about creating opportunities and making room. They incorporate learning, new environments, and create open time and space to encounter unfamiliar modes and methods. In studio with other artists and context, a nebulous combination of stimuli will inevitably generate associations, reconsiderations, and an evolution and integration of new ideas into practice. The addition of Artist Residencies is part of Graven Feather's initiative to widen its community and share artistic experiences.

Sarah Sands Philips
Madelaine Lyons Cooper
Rawaa Bakhsh
& Julie Pasila

Rawaa Bakhsh is currently a masters candidate at OCAD University in Interdisciplinary Art. She graduated from Jeddah in Saudi Arabia with a bachelors in Graphic Design. She recently finished a residency where she studied two forms of Arabic Caligraphy in Turkey.




Venue & Address: 
Graven Feather 906 Queen St West Toronto, Ontario

Common Pulse: Symposium

Common Pulse: Symposium
Friday, September 27, 2013 - 5:30pm

Creation and Research

Emily Cook
Grahame Lynch
Nancy D-Halifax
Kim Jackson

Artists and Researchers Discuss Art and Disability

The coupling of disability art with emerging research practices allows for a comparison of the values of embodied experience in academic and studio-based activities and a new formulation of their intersection.
The hybrid work being done by practitioners, both artists and researchers, describes a further shift away from the centre towards inclusive and experiential processes and results. Methodologies are likewise being expanded that transform the functions of research in ways that makes it more responsive to the complexities of the subject. This fusion of research and creation is evident in the work being done in the fields of art production, Disability Studies and Disability Art and Culture by all of the participants invited to the symposium. Their contributions to the dialogue will address the applicability of a research/creation model in the ongoing effort to bring more light and understanding to our evolving conception of disability and the contributions that disability culture brings to society generally.

Emily Cook, OCAD University
Emily Cook holds a MFA in Printmaking from

Louisiana State University (2008) which she undertook after completing her BFA at OCADU in 2005. Over the past ten years, her work has been included in over 30 group exhibitions in the United States and Canada. Her most recent solo exhibition, Dextrocardia, was presented at Lennox Contemporary in Toronto (2012). Since 2008, Cook has held the position of Sessional Instructor in papermaking and printmaking at OCADU. Her accomplishments have been recognized by nine different awards and scholarships, and her work can be found in both private and public collections, including the Toronto Reference Library Rare Books Collection.

Grahame Lynch, Ryerson University

Experiencing Art: Enhancing Experience for Extended Audiences with Transmedia Communication

For those members of the public whose capacity for direct experience of artwork is limited for reasons of ability or location, the means of exposure to cultural productions is often based in descriptive practice. This research project proposes a communication strategy aimed at enhancing public engagement and connecting audiences through nuanced multi-modal experiences. This transmedia model does not attempt to recreate the direct experience of an artwork; rather it encourages the development and sharing of new and highly individualized experiences that are accessible to members of the public with a diverse range of abilities.

Nancy Davis Halifax, Graduate Program in Critical Disability Studies, York University

Disability as Difficult Knowledge: A
Phenomenology of Undecidability

"Disability as undecidability is deeply unsettling to the cultural imaginary, particularly one that incorporates an image of the embodied self as whole, separate and invulnerable." - Shildrick, 763
The artist's embodiment of disability as "undecidability" unsettles and leaks through a cultural imaginary that requests a whole, separate and invulnerable embodiment. How does uncertain or undecidable embodiment effect artistic production? The proposed presentation addresses ordinary experiences of disability embodiment and their effects on the practices of art within community when they are made explicit.



Venue & Address: 
Durham Town Hall 185 George Street West Durham, Ontario

Amos Kennedy - Printmaking Artist in Residence Program at OCAD University

Amos Kennedy - Printmaking Artist in Residence Program at OCAD University
Thursday, November 28, 2013 - 6:00pm

Printmaking at OCAD University invites everyone to this letterpress demonstration by Amos Kennedy

Amos Kennedy is a letterpress printer using a distinctive voice to create posters, artists' books and publications. Through his strong graphics and bold typography, Kennedy pushes issues of race, freedom, and equality, often incorporating proverbs and tales of the Kuba and Yoruba people of Africa, as well as the work of African-American poets such as Paul Laurence Dunbar. Amos quit his corporate job at the age of forty to become, as he calls himself, "a humble negro printer". He received his MFA from the University of Wisconsin, has taught workshops in over seven countries and is currently spearheading the Detroit Printing Plant.
-Darmouth College Library and Friends of the Library




Venue & Address: 
Room 284 100 McCaul St. Toronto, Ontario