User:Hadger/Adoption Program/Aeron10
This page has been made for my adoption of Aeron10. If you have any questions or need help, ask on my talk page or here. --Hadger 20:32, 8 August 2010 (UTC)
- Hi Hadger. I'm in town for a 2 days break of my holidays. As English is not my mother tongue, please can you check the first part of this page I have already published on wikipedia.it: http://it.wikipedia.org/wiki/Sarah_Jeanette_Sherman_Jackson ?
- As to the bibliography, I have found the template cite book, but which is the template for the reviews, magazines and newspapers ? Thanks a lot! --Aeron10 (talk) 12:15, 19 August 2010 (UTC)
Sarah Jeanette Sherman Jackson | |
|---|---|
| Nationality | Canadian |
| Occupation | Artist |
| Partner | Anthony Jackson |
Sarah Jeanette Sherman Jackson (Detroit, November 13, 1924 – Halifax, May 18, 2004) was a Canadian artist, who continually experimented with new technologies and became one of the most important representatives of digital art of the XX century.
She was born in Detroit in 1924, only daughter of Jewish emigrants from Poland.
At Wayne State University in Detroit, she studied Humanities, receiving a BA and a MA degree.
Her interests at the time were mainly dance, poetry and music.
In New York she met British poet W.H. Auden who encouraged her to develop her imagery in sculpture and in painting.
She graduated in 1948, discussing a thesis on colour and texture in primitive and contemporary sculpture and she left for Mexico City where she taught English and Sculpture at Mexico City College.
In 1949 she went to Paris with a letter of introduction from muralist painter Diego Rivera to be passed on to Pablo Picasso.
In Paris Sarah Jackson met sculptor Costantin Brancusi and novelist Henri Pierre Roché (author of Jules and Jim). H. P. Roché helped her to arrange her first important plaster sculpture exhibition al Salon des Réalités Nouvelles.
After her marriage with architect Anthony Jackson, the couple lived in London, where Sarah’s first solo show took place at the Apollinare Gallery in 1951.
In London she also met Henry Moore who explained her the importance of form in a true personal lesson.
In 1956 Sarah and Anthony Jackson participated with the Italian painter Emilio Scanavino in the exhibition This is Tomorrow at the Whitechapel Art Gallery.
During the same year the couple moved to Canada, where Sarah Jackson continued to work on her abstract sculptures, beginning to use wax to mould her works, before their transformation into bronze in a New York based foundry.
In 1961 she met multimillionaire American collector Joseph H. Hirshhorn , who purchased her drawings and sculptures, which are now in the Hirshhorn Museum, in Washington, D.C.
In 1963, the Jacksons moved to Halifax, where Anthony was appointed a professor of Architecture at the Nova Scotia Technical College (Dalhousie University).
At TUNS Sarah Jackson taught courses on art and technology and became first artist-in-residence from 1978 to 1989.
Continually looking for what new technologies could offer, in the mid ‘70s she started to explore the artistic possibilities of the common photocopier machine and to produce black-and-white and coloured abstract works. She used the photocopier to shift forms that seemed to meld in a harmonic fusion.
In 1975 she was already internationally recognized as a pioneer of copy art.
While artist-in-residence at TUNS, Sarah Jackson arranged copy-art festivals and mail art exhibitions, as she thought mail art could be an ideal democratic interchange between the artists and the public, without regard to political, economic or cultural barriers.
In the meanwhile she didn’t give up with sculpture and switched to create mixed media works with polyurethane foam.
Since the 90s to 2004 (the year of her death) she worked exclusively with a computer, creating digital paintings through a graphic programme, and in a few years she became one of the most interesting and innovative representatives of digital art.
In Italy she took part in two mail art exhibitions arranged at Giuseppe Perotti School (Torino, 1987 and 1990) and collaborated with Lidia Chiarelli and British poet Aeronwy Thomas in developing IMMAGINE&POESIA, the project that a few years later became the international artistic literary movement, well-known in several countries.
Awards[edit]
- Award of excellence, Art Museum Association of America, 1985
- Grant, Nova Scotia Government, 1990
Bibliography[edit]
- "El arte abstracto de Jeanette Sherman". La Propiedad, Mexico. 4: 9. February 1, 1949.
- "The New Sculptors". Harper’s Bazaar. 46: 33–34. January, 1952.
{{cite journal}}: Check date values in:|date=(help) - "Sculpture de Sarah Jackson". Prisme des arts. 6: 42. November, 1956.
{{cite journal}}: Check date values in:|date=(help) - "Eros et humour chez Sarah Jackson". Vie des Arts. 20: 30–31. Spring, 1975.
{{cite journal}}: Check date values in:|date=(help) - "Sarah Jackson". Visual Arts News. 1: 6–7. Fall, 1977.
{{cite journal}}: Check date values in:|date=(help) - "Sarah Jackson". National Film Board of Canada. video 16 mm: 10 minutes video. 1980.
- "Sarah Jackson's Eyeconography". Atlantic Provinces Book Review. 12: 16. May - June 1985.
{{cite journal}}: Check date values in:|date=(help) - "Digital Colours: Sarah Jackson's Copier Art". ArtsAtlantic. 8: 37–40. Winter, 1988.
{{cite journal}}: Check date values in:|date=(help) - "Who's Who in American Art". R. R. Bowler U.S.A.: 588. 1995 - 1996.
{{cite journal}}: Check date values in:|date=(help) - "What happened to the Pioneers ?". Artfocus: 20–23. Winter, 1996.
{{cite journal}}: Check date values in:|date=(help) - "Sarah Jackson: Spirit Journey / Bodies of work". Art Gallery of Nova Scotia. 2001.
External links[edit]
- (in English) Digital art
- (in English) Life and works
- (in Italian) /Projects with Italian schools
- This is pretty good. However, you might want to use sources for things such as her awards, her birth, and her death, and instead of having a section for a bibliography, you can use those books in the section for the sources. If you need help with making sections for sources, I'll tell you how. You should also move most of the top into a different section. Hopefully this helps. :) --Hadger 04:52, 22 November 2010 (UTC)