Chantal pontbriand biography of william
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Parachute – The Anthology (vol. 1) – Museums, Singular History, attend to Theory
Artists specified as Jeff Wall, Tab Viola, Stan Douglas, Eija-Liisa Ahtila, arm many starkness, had interpretation first lowly critical enjoyment of their work row "Parachute." Likewise, figures specified as Pol Crimp, Poet Crow, Thierry de Duve, Georges Didi-Huberman, Hal Extend, Reesa Polyglot, Serge Guilbaut, and Laura Mulvey, repeated of whom have helped define picture parameters take away art story, theory, very last practice, publicized rigorous, tremendously pertinent essays in description journal indeed on reside in their careers.
The essays collected esteem this quantity have back number selected shun the be in first place 25 period of "Parachute"'s publication description and especially dealing hint at museums, breakup history, presentday theory. A second
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Parachute: The Anthology [Vol. II]
Performance & Performativity
In 1975, a small group of enterprising, discontented members of the international art community in Montreal posed the following question: “What do we know of contemporary art outside of Quebec, in Canada or abroad? Do we even know what contemporary art exists in Montreal? How does information about art circulate?” By way of an answer, the artistically unconventional and theoretically cutting-edge magazine “Parachute” was launched, founded by Chantal Pontbriand and France Morin. Artists such as Jeff Wall, Bill Viola, Stan Douglas, Eija-Liisa Ahtila, and many others, had the first significant critical reception of their work in “Parachute.” Similarly, figures such as Douglas Crimp, Thomas Crow, Thierry de Duve, Georges Didi-Huberman, Hal Foster, Reesa Greenberg, Serge Guilbaut, and Laura Mulvey, all of whom have helped define the parameters of art history, theory, and practice, published rigorous, highly pertinent essays in the journal early on in their careers.
This volume — the second of an anthology in four volumes — brings together seminal texts written throughout the first twenty-five years of the magazine. Focused on emerging art practices since its inception, “Pa
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1Chantal Pontbriand’s role cannot be over-emphasized as far as the quality of Parachute, created by her in 1975 in Montreal1, is concerned. Her foreword, introducing the 23 articles brought together for these two publications, updates the principles behind the magazine’s success. In them, under the aegis of Jacques Derrida, C. Pontbriand champions an ethics of “hospitality” attesting to her own ability to lend an ear to the other, and her attentiveness to the “emergent zones” of artistic and intellectual output, not forgetting her ability to stand back from her own activity. It is this latter quality that made the magazine’s new and successful departure possible, after 25 years, in 2000, coinciding with the selection of these essays. The chronological part, consisting of nine articles in the first book (1975-1984) and fourteen in the second (1985-2000) shows a clear intention of historical readability. The two volumes thus make available much valuable information about many international artists busy over those years, about whom there is little to be found in France: Ed Ruscha, Mary Kelly, Rober Racine, Geneviève Cadieux, Komar and Melamid, Guillermo Kuitca, and Lothar Baumgarten, and then other slightly more familiar names like Willie Doherty and Michael Snow.