Joyce Wieland

Joyce Wieland (1934-98) was an extraordinary artist/filmmaker who began her career as a painter, but during the 1960s and 70s began to experiment with a wide range of materials to address questions of politics, nationhood, gender, language, and ecology.  Although she was in New York City for a good part of the 1960s, her importance is in part due to the aesthetically complex and politicized way she regarded what it meant to be a "Canadian artist" in the 20th century. I have written articles about Wieland’s countercultural politics and her conceptual approach to landscape; a monograph on her 1976 film The Far Shore (which she described as the culmination of her entire art practice), and in a 2014 e-book produced for Art Canada Institute, an overview of her career.  Recently, a younger generation of artists has been paying homage to Wieland’s inventiveness, humour, and political convictions – in the form of quilts and banners, paintings, performances, and music; I am currently writing about this phenomenon.

Publications

"Joyce Wieland: Life and Work." Art Canada Institute Online Project, 2014. WEB

Joyce Wieland’s The Far Shore. Toronto: University of Toronto Press, 2010. PDF

"Joyce Wieland and Michael Snow: Conceptual Landscape Art." In Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary Art. Edited by John O’Brian and Peter White. Montreal and Kingston: McGill-Queen’s University Press, 2007. 73-84. PDF

"Joyce Wieland at the Border: Nationalism, the New Left, and the Question of Political Art in Canada, circa 1971." Journal of Canadian Art History, Vol. 26 (2005): 80-107. PDF

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