Archive

Writing

Hay in a Haystack :: Du foin dans une meule de foin
crafty excerpts from Artexte’s collection :: extraits artisanaux de la collection d’Artexte
A limited-edition bookwork based on my 2012-2013 research residency at Artexte, available for consultation on-site at Artexte.
A small print-on-demand publication that includes a sampling of the excerpts in the bookwork is also available for purchase.

(La version française suit)

strata; transparencies; bonding; bound and buried cores; nervous energy, work energy, calm; body containing, body projecting; logical secrets; fragments meeting on a grid; progressive processes; repetition of gesture, of form, of line, of activity, of action; repetition in time and as time; serial rhythms flexed and measured; motion, muscle, touch; fetishes dissected and respected; abstract ritual; taut/loose, tension/freedom, part/whole, microcosm, macrocosm, distance/intimacy, interior/exterior; structure stretched, geometry thwarted into growth, memory compacted into layers, indoors outdoors, outdoors indoors; empty centers, open spaces; animal, vegetable, mineral, flesh.

Lucy Lippard, catalogue for Strata, Vancouver Art Gallery, 1977

Central to my research over the past few years has been the issue of how craft is perceived or represented. Rather than being a question of definition (what is craft?), this is a question about how craft or a crafted aesthetic is used to represent certain values or affiliations (more like why craft?). In particular, this line of inquiry has focused on the ways that craft, from its position on the margins of traditional art historical discourse, has often been used as a means to signal an affiliation with alternative lifestyles or politicized art practices.

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mille_feuilles_2
Lancement
Lieu : atelier b. (5758 boul. Saint-Laurent, Montréal)
Date : le vendredi 23 août, dès 17 h.
événement facebook

Les textes de Nicole Burisch et d’Andréanne Godin se rencontrent autour de souvenirs de la maison et du territoire originels, d’où s’étaient tissés des liens solides en apparence qui, avec le temps, se sont fragilisés, dénoués, puis reformés.

Cette publication est la deuxième parution de Mille-feuille, projet de micro-édition de courts textes littéraires et poétiques faisant écho à des œuvres d’arts visuels. Pour cette édition, Nicole Burisch a été invitée à écrire un texte en réponse à l’œuvre de l’artiste Andréanne Godin.

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Launch
Place : atelier b. (5758 boul. Saint-Laurent, Montréal)
Date : Friday August 23, at 5pm.
Facebook event

Texts by Nicole Burisch and Andréanne Godin converge around recollections of home and landscape, places with which seemingly solid ties were woven—ties which over time became fragile, came undone, and then re-formed.

This publication is the second issue of Mille-feuille, a micro-publishing project that presents short literary and poetic texts that respond to works of visual art. For this issue, Nicole Burisch was invited to write a text in response to a work by the artist Andréanne Godin.

renseignements / information
mille-feuilles.ca
info@mille-feuilles.ca

UNIDENTIFIED…ENIGMATIC, PERHAPS EVEN ROMANTIC
(with the Ladies Invitational Deadbeat Society)

This informal exhibition offers up a small selection of documents, photographs, texts, publications, correspondence, and art works chosen by the members of the Ladies Invitational Deadbeat Society during our summer 2012 residency at the John Snow House. Spanning the years of 1974 to 2010, these selections are the result of our collective meanderings through The New Gallery’s archives and library. The title of our exhibition is drawn from a note left in a binder of slides in 1988 by then-administrator Nelson Henricks that reads: “The following slide are unidentified, which is kund of enigmatic, perhaps even Romantic. Nevertheless, I have identified them as Clouds ‘N’ Water because of the remarkable amount of wood paneling…They are coalated into groups that are from the same film, so please don’t mix them up, not that anyone will ever look at them, or even read this.”

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extra_cover“In Craft Hard Die Free: Radical Curatorial Strategies for Craftivism, Anthea Black and Nicole Burisch provide a brief international survey of activities which seek to deploy craft for the purposes of protest. Knitting, and other textile arts traditionally associated with communal crafting, plays the leading role. The concept of the ‘revolutionary knitting circle’ recalls the 1970s feminist use of a similar group exchange as a form of consciousness raising. Black and Burisch also cite the AIDS Quilt project of the 1980s as an important precursor for the present moment. So much for precedents, what about the future? Clearly, efficacy and identity are interwoven in this essay, which takes for granted another 70s concept–that the personal is political–and offers real-world strategies for [maintaining] the efficacy of symbolic craft. It is too early to say whether craftivism will have staying power in the cultural imagination, like the Arts and Crafts, studio and countercultural craft movements before it. But there is little doubt that Black, Burisch and their peers have breathed new life into this old set of ideas.”
-Glenn Adamson, The Craft Reader

Extra/ordinary: Craft and Contemporary Art has been reviewed in BUST Magazine, Bad at SportsAmerican Craft, Liminalities and will go to its second printing at Duke soon.

For a copy: https://www.dukeupress.edu/Extra-Ordinary/