Vikky Alexander (born January 30, 1959) is a Canadian contemporary artist based in Vancouver, British Columbia. He has been on display internationally since 1981. Working in various media he is a prominent practitioner in the field of photo-conceptualism and is known as an installation artist who uses photography, drawing, and collage. She is one of Canada's most famous contemporary artists and has been recognized in Japan, Korea, Europe, New Zealand and the United States. His work includes mirrors, landscape photo mural, postcards collected on his journey, as well as his own photography and videos.
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Vikky Alexander was born in Victoria, British Columbia, Canada and is a graduate of the Nova Scotia College of Art and Design. Alexander received his Bachelor of Fine Arts in 1979 from Nova Scotia College of Art and Design in Halifax. He is known for the installation of large-scale mural photos and multimedia works that combine photography with sculptures. It works ahead of a strong interest in architectural history, the field of design and fashion is supported by the production of drawings and collages. Alexander's use of modernist architecture and industrial design has explored the issues of intelligence and representation. The work originally informed the Appropriation Art movement in the early 1980s that has historically been recognized as the youngest innovator of the shared tendencies of Richard Prince, Louise Lawler, Barbara Kruger and Sherrie Levine. Alexander's newer body uses collage technology and digital transfer to the print canvas. Since 1992 Alexander has been a professor of photography at the Department of Visual Arts at Victoria University in Canada.
She has been exhibited internationally in solo exhibitions including "CEPA", Buffalo 1983, New Museum, New York City 1985, Kunsthalle Bern, Bern 1990, Vancouver Art Gallery, Vancouver 1992, Mercer Union, Toronto 1993, House Presentation Gallery, Vancouver 1996, Art Gallery of Windsor, Windsor 1998, Gallery of Contemporary Art, Vancouver 1999, Jeffrey Catriona Gallery, Vancouver, National Gallery of Canada, Ottawa 2000, State Gallery, Vancouver 2004, Trepanier Baer Gallery, Calgary 2009, Massey University, Wellington 2010. She has participated in various exhibit groups: Whitney Museum of American Art, New York, Dia Art Foundation, New York, Yokohama Art Gallery, Yokohama, Barbican Art Gallery, London, Museum of Fine Arts Taipei, Taipei, Seattle Art Museum, Seattle.
He was also included in the comprehensive Intertidal exhibition of Vancouver School artists held at MuHKA in Antwerp in 2004. The significance of this exhibition draws attention to its influence on two leading movements in the production of contemporary art, one in New York and others in Vancouver. The earlier body anticipated the appropriation of art while his work later deepened the language of Photo-conceptualism, which became a larger trend of the Vancouver School internationally. Collections of his work can be found at the Los Angeles Contemporary Art Museum, Los Angeles, International Photography Center, New York City, National Gallery of Canada, Ottawa and Deste Foundation, Athens. Vikky Alexander is represented by Trepanier Baer Gallery, Calgary, Wilding Cran, Los Angeles, Cooper Cole, Toronto, and Downs & amp; Ross, New York.
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Artist and author of the Vancouver School of pioneering Ian Wallace recounts how his work is "an imaginary expression, where fantasy of hope and utopia is done in daydreams that call reality in question.This is a collective fantasy and associated with popular tastes for images that transcends the everyday beauty of Fig. extreme beauty, which is ubiquitous in the culture of commodities, serves as a cult to escape from everyday life. While the ideals of many conceptual arts are presenting critical images that contradict and destroy these fantasies with power reality, the work of Vikky Alexander projected the raw pleasure that exists in these fantasies, raising our fears and anxieties from within. "
Conceptual artist and critic Dan Graham has commented on the design context in his work and his relationship with audiences in the 1980s. "Two-dimensional designs can be used to reflect corporate identity, social/political identity and individual identity.Examples of graphic markers of individual identity (which often serve to link that identity to corporate or social/political interests) are personalized T-shirts, stationery personal and business cards, greeting cards and the like. (T-shirts printed with logotypes are good examples of corporate or social identities used by individuals as a mark of individual identity.) This "personal" item marks an "individual" determined by conventions and commercial exchange systems.Recently, artists like Louise Lawler, Kim Gordon, Michael Asher and Vikky Alexander have designed cards, interiors and matches for individual clients. " Product "is not part of mass production advertising or is not designed for gallery and sales exhibitions as art objects. They form a strange and ambivalent relationship between artist and client.Thus the kind of inherently-built client-designer relationship questions the good values ​​of" design "and curatorial art, in psychological and social/aesthetic terms."
The American Curator And Cameron cited review of a large-scale installation work entitled Lake of the Woods from 1986: "The narrow gallery environment of Vikky Alexander consisting of a beautiful photographic diptych, overlooking a large prefabricated wall unit, this in turn supports a row of shoulder-length mirror panel.Only standing at one end of the room, one can take the whole part: nature as a decorative carving, a figment of universal synthetic consciousness. "
Publications
- Alexander, Vikky, and Ian Wallace. Vikky Alexander: Panorama Vaux-Le-Vicomte . Vancouver: Contemporary Art Gallery, 1999.
- Alexander, Vikky. Vikky Alexander: Lake in the Forest . Vancouver: Vancouver Art Gallery, 1992.
- Alexander, Vikky. Under the Paving Stones . Vancouver: Charles H. Scott Gallery, 1994.
- Augaitis, Daina. Reconnaissance: Three Panoramic Sights: Vikky Alexander, Ray Arden, Jamelie Hassan . Banff: Walter Phillips Gallery, 1987.
- Cameron, Dan. "Post Feminism". Flash Art. February/March 1987.
- Ferguson, Bruce W., and Gary Dufour. Pastifuture: Vikky Alexander, Kari CavÃÆ' nà © n, Ronald Jones, Rui Sanches, Erwin Wurn, Klaus Von Bruch, David Diao, Jac Leirner, Barbara Todd . Winnipeg: Winnipeg Art Gallery, 1990.
- Ferguson, Bruce W. Vikky Alexander: The Glass Statue . Bern: Kunsthalle Bern, 1990.
- Graham, Dan. "Signs." Artforum. April 1981
- Hagen, Charles. "Commodity Drawings." New York Times . 1993.
- Linker, Kate. "Review." Artforum . March 1985.
- O'Brien, Melanie, and Vikky Alexander. Vikky Alexander . Vancouver, B.C.: Catriona Jeffries Gallery, 2000.
- Solomon-Godeau, Abigail. Photography in the Dock: Essays on History, Institutions, and Photography Practices . Media & amp; community, 4. Minneapolis: University of Minnesota Press, 1991.
- Wallis, Brian. Vikky Alexander . Calgary: Stride Gallery, 1989.
- Watson, Scott, and Dieter Roelstraete. Intertidal: Art of Vancouver & amp; Artist . Vancouver: Morris and Helen Belkin Art Gallery, 2005.
References
External links
- http://hereelsewhere.com/see/vikky-alexander/
- http://www.flaskpublishing.com/flask.html
- CCCA Vikky Alexander's Profile
- Trepanier Baer Profile from Vikky Alexander
- University of Victoria Professor Profile
- http://huffingtonpost.com/annabel-osberg/the-collages-of-vikky-alexander_b_5907910.html
- http://museumofnonvisibleart.com/interviews/vikky-alexander/
Source of the article : Wikipedia
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