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{{Infobox artist
'''Eleanor King''' (born 1979) is a Canadian Artist from [[Hubbards, Nova Scotia]]. She received a BFA from [[NSCAD University]] in 2001<ref> http://www.eleanorking.com </ref>
| bgcolour = #6495ED
| name = Joyce Wieland
| image = Joyce Wieland.jpg
| caption = Joyce Wieland
| birth_date = <!-- {{Birth date and age|1931|06|30}} -->
| birth_place = [[Toronto, ON]]
| death_date = <!-- {{Death date and age|1998|06|27}} -->
| death_place = [[Toronto, ON]]
| nationality = [[Canadian]]
| spouse = [[Michael Snow]] (1956-1970)
| field = [[Film]], [[painting]]
| training = Central Technical School
| movement = Avant-Garde, [[Postmodernism]]
| awards = {{awd|[[Royal Canadian Academy of Arts]]}}{{awd|[[Order of Canada|Officer, Order of Canada]]|1982|}}
}}
'''Joyce Wieland''', [[Order of Canada|OC]] (June 30, 1931 &ndash; June 27, 1998) was a [[Canada|Canadian]] [[experimental film]]maker and mixed media artist.


==Notes==
==Life==
Wieland was born in [[Toronto]] in 1931. Wieland's aptitude for art was first expressed during her childhood, when she made many drawings and comic books to help her cope with the death of her parents.<ref name="National Gallery">{{cite web|title=Joyce Wieland|url=http://www.gallery.ca/en/see/collections/artist.php?iartistid=5908|work=The Collections|publisher=National Gallery of Canada|accessdate=April 12, 2013}}</ref> As a teenager, she attended [[Central Technical School]], where she studied commercial art and graphic design.<ref name="National Gallery" /><ref name="Canadian Encyclopedia">{{cite web|last=Zemans|first=Joyce|title=Joyce Wieland|url=http://www.thecanadianencyclopedia.com/articles/joyce-wieland|work=The Canadian Encyclopedia|accessdate=April 12, 2013}}</ref> After completing her schooling, she worked at an animation studio, where she learned techniques she would later apply in her own films.<ref name="National Gallery" />
{{reflist}}


In 1956, Wieland married filmmaker [[Michael Snow]], who she had met through her job at the animation studio.<ref name="National Gallery" /><ref name=Archive>{{cite web|title=Joyce Wieland|url=http://www.collectionscanada.gc.ca/women/030001-1173-e.html|work=Celebrating Women's Achievements|publisher=Library and Archives Canada|accessdate=April 12, 2013}}</ref> She had her first solo exhibition in 1960 at the Isaacs gallery in Toronto, making her the only woman that the prestigious gallery represented and instantly earning her greater recognition for her work.<ref name="Archive" />


In 1962, Wieland and Snow moved to [[New York City|New York]] where they lived until 1971.<ref name="Canadian Encyclopedia" /> She attracted critical recognition of her work, including her 1971 solo show at the [[National Gallery of Canada]], the first for a living female artist.<ref>{{cite journal|last=Angel|first=Sara|title=True Patriot Love: A landmark show turns 40|journal=Canadian Art|date=Fall 2011|volume=28|issue=3|pages=104–110}}</ref> Eventually, she moved back to [[Toronto]]. Wieland later divorced Snow and maintained a studio practice in Toronto until her death on June 27, 1998 from [[Alzheimer's]] disease.<ref>{{cite journal|last=Johnson|first=Brian D.|title=ADIEU TO TWO PIONEERS: Joyce Wieland 1931-1998, Bill Reid 1920-1998|journal=Maclean's|date=July 13, 1998|volume=111|issue=28}}</ref> She was made a member of the [[Royal Canadian Academy of Arts]].<ref name=RCA1880>{{cite web|title=Members since 1880|url=http://www.rca-arc.ca/en/about_members/since1880.asp|publisher=Royal Canadian Academy of Arts|accessdate=11 September 2013}}</ref> She was made an Officer of the [[Order of Canada]] in 1982.


==Work==
[[User:Darlakitty|Darlakitty]] ([[User talk:Darlakitty|talk]]) 01:50, 14 January 2014 (UTC)
Joyce Wieland was a central figure in Canadian art during the 1960s and 1970s. Though she began her career as a painter, her work came to explore a wide range of materials and media, including film. The 1960s were an incredibly productive time for Wieland, as she responded to the contemporary artistic trends of [[Pop art]] and [[Conceptual art]]. Joanne Sloane maintains in [http://www.aci-iac.ca/joyce-wieland Joyce Wieland: Life & Work], that her encounters with these influences "were always original and idiosyncratic.”<ref name="aci-iac.ca">{{ cite book | last=Sloan | first=Johanne | title= Joyce Wieland: Life and Work | publisher=Art Canada Institute | date=2014 | page=6 | url= http://www.aci-iac.ca/content/art-books/25/Art-Canada-Institute_Joyce-Wieland.pdf }}</ref> Sloane identifies the several consistent bodies of Wieland's work that emerged throughout the 1960s as: "quasi-abstract paintings that reveal messages, signs, or erotic drawings; collages and sculptural assemblages; filmic paintings; disaster paintings; plastic film-assemblages; quilts and other fabric-based objects; and language-based works."<ref name="aci-iac.ca"/> Her art was often infused with humour, even as it engaged with issues of war, gender, ecology, and nationalism.<ref>{{ cite book | last=Sloan | first=Johanne | title= Joyce Wieland: Life and Work | publisher=Art Canada Institute | date=2014 | page=38 | url= http://www.aci-iac.ca/content/art-books/25/Art-Canada-Institute_Joyce-Wieland.pdf }}</ref>

Internationally Wieland is best known as an experimental filmmaker whose work challenged and bridged boundaries among avant-garde film factions of her time. Her works introduced a kind of manual manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films while also playing with the facticity of photographed images. Wieland's output was small but received considerable attention in comparison to other female avant-garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to cross over between those realms and to garner attention and support in both.

In the 1980s Joyce Wieland focused again on painting, though her representations of natural environments became less identifiably Canadian. With their intense colours and near psychedelic effects, Wieland’s later landscapes seem almost outside of time and place.<ref>{{ cite book | last=Sloan | first=Johanne | title= Joyce Wieland: Life and Work | publisher=Art Canada Institute | date=2014 | page=47 | url= http://www.aci-iac.ca/content/art-books/25/Art-Canada-Institute_Joyce-Wieland.pdf }}</ref>

[[File:Barren Ground Caribou, Spadina TTC.jpg|thumb|240px|''Barren Ground Caribou'', a fabric installation by Joyce Wieland at [[Spadina (TTC)|Spadina subway station]] in [[Toronto]].]]

==Films by Joyce Wieland==
* ''Tea in the Garden'' (circa 1956)<ref>{{cite book|last=Elder|first=Kathryn|title=The Films of Joyce Wieland|year=1999|publisher=Cinematheque Ontario|location=Toronto|isbn=0-9682969-2-0}}</ref>
* ''A Salt in the Park'' (1958)
* ''Larry's Recent Behaviour'' (1963)
* ''Patriotism'' (1964)
* ''Patriotism, Part II'' (1964)
* ''Water Sark'' (1965)
* ''Barbara's Blindness'' (1965) (co-directed with Betty Ferguson)
* ''Peggy's Blue Skylight'' (1964–66)
* ''Handtinting'' (1967–68)
* ''1933'' (1967–68)
* ''Sailboat'' (1967–68)
* ''Rat Life and Diet in North America'' (1968)
* ''Dripping Water'' (1969) (co-directed with [[Michael Snow]])
* ''Cat Food'' (1969)
* ''Reason Over Passion/la raison avant la passion'' (1969) (a meditation on the [[Canada]] of [[Pierre Trudeau]])
* ''Pierre Vallières'' (1972)
* ''Solidarity'' (1973)
* ''The Far Shore'' (1976)
* ''A and B in Ontario'' (1984) (co-directed with [[Hollis Frampton]])
* ''Birds at Sunrise'' (1972–86)

==Films about Joyce Wieland==
* ''Artist on Fire. Joyce Wieland'' (Canada 1987) directed by Kay Armatage

==Influences on other work==
In 2014, the focus of artist Mark Clintberg<ref>http://cargocollective.com/markclintbergcom/</ref>'s [[Fogo Island, Newfoundland and Labrador|Fogo Island]] residency was a quilted response to Wieland's work ''Reason Over Passion.'' The original work, made in both English and French, was inspired by the motto of the then-Prime Minister [[Pierre Elliot Trudeau]] and was infamously torn apart by his wife, [[Margaret Trudeau]], in a fit of rage at his cold logic.<ref>http://davidkbalzer.com/2011/09/19/wielandtrudeau/</ref> Clintberg's response, sewn in collaboration with the Wind and Waves Artisans' Guild, turns Wieland's work on its head, formally quite literally as each piece of the quilt is stitched "wrong"-side up exposing its soft-coloured underbelly, but also figuratively, imagining a renewed need for passion instead of reason. Unlike Wieland's quilts, which hung on the wall, Clintberg's quilts are placed on a random bed each night at the Fogo Island Inn.<ref>http://cargocollective.com/markclintbergcom/Passion-Over-Reason-La-passion-avant-la-raison</ref>

==References==
{{Reflist}}

==Further reading==
*Johanne Sloan: ''Joyce Wieland's the Far Shore'' (Canadian Cinema), Univ of Toronto Press, 2010, ISBN 1-4426-1060-3
*Iris Nowell. ''A Life in Art'', Toronto: ECW Press, 2001. ISBN 1-55022-476-X
*Kathryn Elder. ''The Films of Joyce Wieland'', Toronto: Cinematheque Ontario, 1999. ISBN 0-9682969-2-0
*{{Cite book
| publisher = J. Lorimer
| isbn = 9781550286953
| last = Lind
| first = Jane
| title = Joyce Wieland: artist on fire
| location = Toronto
| year = 2001
}}
*Kristy A. Holmes-Moss. "Negotiating the Nation: 'Expanding' the Work of Joyce Wieland" Canadian Journal of Film Studies, vol. 15, no. 2, pp 20–43

==External links==
* [http://www.collectionscanada.gc.ca/women/030001-1173-e.html Collections Canada: Celebrating Women's Achievements], Joyce Wieland biography
* [http://cfmdc.org/user/9119 Joyce Wieland Films at Canadian Filmmakers Distribution Centre]
* [http://www.canadianart.ca/features/2011/09/08/joyce_wieland-2/ Installation views of Joyce Wieland’s “True Patriot Love” exhibition at the National Gallery of Canada, July 2 to August 8, 1971, Canadian Art online]
* [http://femfilm.ca/director_search.php?director=joyce-wieland&lang=e Joyce Wieland] at the [http://femfilm.ca/index.php?lang=e Canadian Women Film Directors Database]

{{Authority control}}

{{Persondata
| NAME = Wieland, Joyce
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = Canadian film director
| DATE OF BIRTH = June 30, 1931
| PLACE OF BIRTH = [[Toronto, ON]]
| DATE OF DEATH = June 27, 1998
| PLACE OF DEATH = Toronto, ON
}}
{{DEFAULTSORT:Wieland, Joyce}}
[[Category:1931 births]]
[[Category:1998 deaths]]
[[Category:Officers of the Order of Canada]]
[[Category:Canadian women film directors]]
[[Category:Canadian experimental filmmakers]]
[[Category:Deaths from Alzheimer's disease]]
[[Category:Canadian mixed media artists]]
[[Category:Artists from Ontario]]
[[Category:Canadian women artists]]
[[Category:Members of the Royal Canadian Academy of Arts]]
[[Category:20th-century women artists]]

Revision as of 00:44, 2 February 2016

Joyce Wieland
Joyce Wieland
Born
Toronto, ON
Died
Toronto, ON
NationalityCanadian
EducationCentral Technical School
Known forFilm, painting
MovementAvant-Garde, Postmodernism
SpouseMichael Snow (1956-1970)
AwardsRoyal Canadian Academy of Arts

Officer, Order of Canada
1982

Joyce Wieland, OC (June 30, 1931 – June 27, 1998) was a Canadian experimental filmmaker and mixed media artist.

Life

Wieland was born in Toronto in 1931. Wieland's aptitude for art was first expressed during her childhood, when she made many drawings and comic books to help her cope with the death of her parents.[1] As a teenager, she attended Central Technical School, where she studied commercial art and graphic design.[1][2] After completing her schooling, she worked at an animation studio, where she learned techniques she would later apply in her own films.[1]

In 1956, Wieland married filmmaker Michael Snow, who she had met through her job at the animation studio.[1][3] She had her first solo exhibition in 1960 at the Isaacs gallery in Toronto, making her the only woman that the prestigious gallery represented and instantly earning her greater recognition for her work.[3]

In 1962, Wieland and Snow moved to New York where they lived until 1971.[2] She attracted critical recognition of her work, including her 1971 solo show at the National Gallery of Canada, the first for a living female artist.[4] Eventually, she moved back to Toronto. Wieland later divorced Snow and maintained a studio practice in Toronto until her death on June 27, 1998 from Alzheimer's disease.[5] She was made a member of the Royal Canadian Academy of Arts.[6] She was made an Officer of the Order of Canada in 1982.

Work

Joyce Wieland was a central figure in Canadian art during the 1960s and 1970s. Though she began her career as a painter, her work came to explore a wide range of materials and media, including film. The 1960s were an incredibly productive time for Wieland, as she responded to the contemporary artistic trends of Pop art and Conceptual art. Joanne Sloane maintains in Joyce Wieland: Life & Work, that her encounters with these influences "were always original and idiosyncratic.”[7] Sloane identifies the several consistent bodies of Wieland's work that emerged throughout the 1960s as: "quasi-abstract paintings that reveal messages, signs, or erotic drawings; collages and sculptural assemblages; filmic paintings; disaster paintings; plastic film-assemblages; quilts and other fabric-based objects; and language-based works."[7] Her art was often infused with humour, even as it engaged with issues of war, gender, ecology, and nationalism.[8]

Internationally Wieland is best known as an experimental filmmaker whose work challenged and bridged boundaries among avant-garde film factions of her time. Her works introduced a kind of manual manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films while also playing with the facticity of photographed images. Wieland's output was small but received considerable attention in comparison to other female avant-garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to cross over between those realms and to garner attention and support in both.

In the 1980s Joyce Wieland focused again on painting, though her representations of natural environments became less identifiably Canadian. With their intense colours and near psychedelic effects, Wieland’s later landscapes seem almost outside of time and place.[9]

Barren Ground Caribou, a fabric installation by Joyce Wieland at Spadina subway station in Toronto.

Films by Joyce Wieland

  • Tea in the Garden (circa 1956)[10]
  • A Salt in the Park (1958)
  • Larry's Recent Behaviour (1963)
  • Patriotism (1964)
  • Patriotism, Part II (1964)
  • Water Sark (1965)
  • Barbara's Blindness (1965) (co-directed with Betty Ferguson)
  • Peggy's Blue Skylight (1964–66)
  • Handtinting (1967–68)
  • 1933 (1967–68)
  • Sailboat (1967–68)
  • Rat Life and Diet in North America (1968)
  • Dripping Water (1969) (co-directed with Michael Snow)
  • Cat Food (1969)
  • Reason Over Passion/la raison avant la passion (1969) (a meditation on the Canada of Pierre Trudeau)
  • Pierre Vallières (1972)
  • Solidarity (1973)
  • The Far Shore (1976)
  • A and B in Ontario (1984) (co-directed with Hollis Frampton)
  • Birds at Sunrise (1972–86)

Films about Joyce Wieland

  • Artist on Fire. Joyce Wieland (Canada 1987) directed by Kay Armatage

Influences on other work

In 2014, the focus of artist Mark Clintberg[11]'s Fogo Island residency was a quilted response to Wieland's work Reason Over Passion. The original work, made in both English and French, was inspired by the motto of the then-Prime Minister Pierre Elliot Trudeau and was infamously torn apart by his wife, Margaret Trudeau, in a fit of rage at his cold logic.[12] Clintberg's response, sewn in collaboration with the Wind and Waves Artisans' Guild, turns Wieland's work on its head, formally quite literally as each piece of the quilt is stitched "wrong"-side up exposing its soft-coloured underbelly, but also figuratively, imagining a renewed need for passion instead of reason. Unlike Wieland's quilts, which hung on the wall, Clintberg's quilts are placed on a random bed each night at the Fogo Island Inn.[13]

References

  1. ^ a b Zemans, Joyce. "Joyce Wieland". The Canadian Encyclopedia. Retrieved April 12, 2013.
  2. ^ a b "Joyce Wieland". Celebrating Women's Achievements. Library and Archives Canada. Retrieved April 12, 2013.
  3. ^ Angel, Sara (Fall 2011). "True Patriot Love: A landmark show turns 40". Canadian Art. 28 (3): 104–110.
  4. ^ Johnson, Brian D. (July 13, 1998). "ADIEU TO TWO PIONEERS: Joyce Wieland 1931-1998, Bill Reid 1920-1998". Maclean's. 111 (28).
  5. ^ "Members since 1880". Royal Canadian Academy of Arts. Retrieved 11 September 2013.
  6. ^ a b Sloan, Johanne (2014). Joyce Wieland: Life and Work (PDF). Art Canada Institute. p. 6.
  7. ^ Sloan, Johanne (2014). Joyce Wieland: Life and Work (PDF). Art Canada Institute. p. 38.
  8. ^ Sloan, Johanne (2014). Joyce Wieland: Life and Work (PDF). Art Canada Institute. p. 47.
  9. ^ Elder, Kathryn (1999). The Films of Joyce Wieland. Toronto: Cinematheque Ontario. ISBN 0-9682969-2-0.
  10. ^ http://cargocollective.com/markclintbergcom/
  11. ^ http://davidkbalzer.com/2011/09/19/wielandtrudeau/
  12. ^ http://cargocollective.com/markclintbergcom/Passion-Over-Reason-La-passion-avant-la-raison

Further reading

  • Johanne Sloan: Joyce Wieland's the Far Shore (Canadian Cinema), Univ of Toronto Press, 2010, ISBN 1-4426-1060-3
  • Iris Nowell. A Life in Art, Toronto: ECW Press, 2001. ISBN 1-55022-476-X
  • Kathryn Elder. The Films of Joyce Wieland, Toronto: Cinematheque Ontario, 1999. ISBN 0-9682969-2-0
  • Lind, Jane (2001). Joyce Wieland: artist on fire. Toronto: J. Lorimer. ISBN 9781550286953.
  • Kristy A. Holmes-Moss. "Negotiating the Nation: 'Expanding' the Work of Joyce Wieland" Canadian Journal of Film Studies, vol. 15, no. 2, pp 20–43

External links


Template:Persondata

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