Mark Prent: Difference between revisions
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(3) http://www.montrealmirror.com/2007/030107/visualarts.html |
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(4) http://www.pinkhouse.com/Markp.html |
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(5) http://archives.cbc.ca/IDC-1-68-300-1602/arts_entertainment/art_censorship/clip5 |
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(6) http://puretaos.com/artists/PrentMark/index.shtml |
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(7) http://www.roland-collection.com/rolandcollection/section/20/637.htm |
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(8) http://www.cinematographers.nl/PaginasDoPh/burstyn.htm |
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Sculptor Mark Prent emerged upon the Canadian art scene as the master of "Extended Realism" at the close of the last great age of populist art that was the 1960's. The decade before his emergence had brought the edgy imagery of Ed Kienholz, Francis Bacon, Daniel Spoerri and Nancy Gross to a receptive public, already seduced by revolutionary attitudes, feminism, globalism, "op" and "pop." The stage was set to push the exhibition experience even further. |
Sculptor Mark Prent emerged upon the Canadian art scene as the master of "Extended Realism" at the close of the last great age of populist art that was the 1960's. The decade before his emergence had brought the edgy imagery of Ed Kienholz, Francis Bacon, Daniel Spoerri and Nancy Gross to a receptive public, already seduced by revolutionary attitudes, feminism, globalism, "op" and "pop." The stage was set to push the exhibition experience even further. |
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Since his public career began in 1970, Mark Prent has had thirty-one solo exhibitions, including the Stedelijk Museum in Amsterdam, the Akademie der Kunste in Berlin and the Musee d'art contemporain in Montreal, as well as participating in an extensive list of group exhibitions. He has been the recipient of numerous awards including many Canada Council Senior Arts Grants, the Guggenheim Foundation Fellowship, the Ludwig Vogelstein Foundation Fellowship, and Art Matters |
Since his public career began in 1970, Mark Prent has had thirty-one solo exhibitions, including the Stedelijk Museum in Amsterdam, the Akademie der Kunste in Berlin and the Musee d'art contemporain in Montreal, as well as participating in an extensive list of group exhibitions. He has been the recipient of numerous awards including many Canada Council Senior Arts Grants, the Guggenheim Foundation Fellowship, the Ludwig Vogelstein Foundation Fellowship, and Art Matters |
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Revision as of 19:08, 19 February 2008
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This article was last edited by Markprent (talk | contribs) 16 years ago. (Update timer) |
(1) http://www.markprent.com/main.html (2) http://www.saatchi-gallery.co.uk/yourgallery/artist_profile/Mark+Prent/82187.html (3) http://www.montrealmirror.com/2007/030107/visualarts.html (4) http://www.pinkhouse.com/Markp.html (5) http://archives.cbc.ca/IDC-1-68-300-1602/arts_entertainment/art_censorship/clip5 (6) http://puretaos.com/artists/PrentMark/index.shtml (7) http://www.roland-collection.com/rolandcollection/section/20/637.htm (8) http://www.cinematographers.nl/PaginasDoPh/burstyn.htm
Sculptor Mark Prent emerged upon the Canadian art scene as the master of "Extended Realism" at the close of the last great age of populist art that was the 1960's. The decade before his emergence had brought the edgy imagery of Ed Kienholz, Francis Bacon, Daniel Spoerri and Nancy Gross to a receptive public, already seduced by revolutionary attitudes, feminism, globalism, "op" and "pop." The stage was set to push the exhibition experience even further.
Birth and Education
Born in Lodz, Poland in 1947, Prent came with his family to Canada in infancy, and grew-up in Montreal. He was educated at Sir George Williams University in Montreal, earning a Bachelor of Fine Arts degree. In that same year the young sculptor emerged onto the art scene with two uniquely disturbing entries in "Survey '70", a seminal exhibit of Canadian avant garde artists organized by the Montreal Museum of Fine Arts.
Early Career
Prent's surprising impact in Survey '70 led immediately to invitations to participate in exhibitions all across Canada. In 1972 he had what would be the first of many controversial solo exhibitions at the Isaacs Gallery on Yonge St. in Toronto. Responding to a complaint lodged by a right wing organization, the Toronto police attempted to close the exhibition which included a delicatessan, dinner table, and butcher room featuring human body parts as foodstuffs. Rising to protect freedom of expression, a large group of artists, critics and gallery owners came together to fund the successful legal battle in defense of the Isaacs Gallery. This confrontation was repeated in 1974 when Mark Prent's second solo exhibition at the Isaacs Gallery featured controversial room environments including an interactive prison electrocution scene, a voyeuristic glimpse into a handicapped toilet, and an enigmatic operation in progress on a figure with the head of pig and the body of a woman. Once again, the artistic community rallied around the Isaacs Gallery and Prent, to successfully defend their freedom to exhibit.
Mark Prent in Berlin
In 1972, Mark Prent had the good fortune to make the acquaintance of installation artist, Ed Kienholz who was instrumental in securing an invitation for him, in 1974, to live and work in Berlin, Germany as a guest of the DAAD Artist in Berlin Program. Prent and his wife Sue spent nearly two years living and working in Berlin, a period of prolific work for the artist which produced a series of figurative installation sculptures of depicting mythic ordeals that invoked, simultaneously, the superhuman athlete and the merciless warrior. Upon his return to Canada in 1976, Prent embarked on a new series of smaller, more personal sculptures no less biting in impact. Their contained scale allowed him to play even more richly with surface detail than was possible with his large installation works, which he continued to do as well.
Mark Prent's Style
Mark Prent has consistently maintained throughout the years, that his sculptures and installations do not carry intentional messages. Despite the powerfully grotesque imagery that he has employed, interpretation is left to the viewer. Initially working in mixed media, polyester resin and fiberlgass Prent developed his own unique technique of layered coloration which imparts a bizarre impression of heightened realism to his figures; thus giving rise to the label "Extended Realism. When he later became concerned about the toxicity of polyester resin, he began to experiment with other materials, developing innovative techniques for recreating that trademark quality of virulent realism. This venture into new materials led him in many new directions in his own work and ultimately, to become a technical resource for other artists as well.
Mark Prent in the U.S.
By 1983 Prent needed more space to complete his more ambitious projects; so he relocated with his wife to Vermont (U.S.A.) Together, in 1992, they began a life-molding and casting business in Vermont called "Pink House Studios Inc.", producing a highly acclaimed series of technical/educational videos on life-molding and casting topics, and developing a line of unique products which are sold to mold-makers around the world.
New Directions
In 2005, Prent's work took another new direction, when he began a series of video-taped performance pieces in collaboration with videographer/son Jesse Real Prent. In this series, Prent's own body becomes a living, interacting component of his nightmarish scenarios. He continues to produce new sculptures in his Vermont studio.
Career Overview
Since his public career began in 1970, Mark Prent has had thirty-one solo exhibitions, including the Stedelijk Museum in Amsterdam, the Akademie der Kunste in Berlin and the Musee d'art contemporain in Montreal, as well as participating in an extensive list of group exhibitions. He has been the recipient of numerous awards including many Canada Council Senior Arts Grants, the Guggenheim Foundation Fellowship, the Ludwig Vogelstein Foundation Fellowship, and Art Matters