Liz Magor (b. (21 x 154 x 86 cm), Liz Magor, McKee and Cook, 2017, polymerized gypsum, fabric, 44 x 32 x 26 in. (48 x 86 x 27 cm), Liz Magor, Pink Pet, 2016, polymerized gypsum, 18 x 8 x 9 in. Magor creates sealed systems of strange mystery and then deliberately cracks them open to let reality come flooding through. Liz Magor, Field Work, 1989, 10 selenium toned silver gelatin prints, each 16 x 20 in. Activated by an interest in the covert, these constructions blur the lines between reality, imagination, and simulation. Magor’s work makes us look, and look again, and with a little luck, really see. Magor’s influence over the decades – magnified by her teaching at Emily Carr University of Art + Design – has been profound, and the exhibition adeptly establishes how her work has impacted on many of contemporary sculpture’s most pressing concerns, as well as on a generation of younger artists investigating them. (120 x 74 x 173 cm), Liz Magor, The Hutch, 1976, natural materials, wood, bones, 33 x 38 x 15 in. (119 x 114 x 13 cm), Liz Magor, Gold Box, 2020, painted doll, jewellery box, packaging materials, 42 x 48 x 5 in. In the centre of the space, three swaddled, baby-like forms with protruding hair (Sleeper #2, #6 and #9, all 1999) creep like stranded seal cubs across the floor, mournful little beings and grace notes to the larger works. “Liz felt strongly that her work has been compromised by the actions of the board,” says Liz Mulholland, director and partner at Andrew Kreps. Explore one of the most extraordinary collections of art from across Canada and around the world. See more ideas about liz, sculpture, installation art. (13 x 41 x 41 cm), Liz Magor, Squirrel (cake), 2008, polymerized gypsum, 4 x 24 x 32 in. Liz Magor. (230 x 76 x 25 cm), Liz Magor, Freestyle (Squares), 2017, wool, cellophane, steel, 102 x 30 x 10 in. Daniel Byers, the Carpenter’s director, had seen the Montreal retrospective and it moved him, together with Solveig Øvstebø of the Renaissance Society, to make a bold offer: a new commission and carte blanche. 380 Sussex Drive Ottawa, ON, Canada K1N 9N4DirectionsVisitor Guidelines. (46 x 21 x 23 cm), Liz Magor, Pearl Body, 2015, polymerized gypsum, plywood, textile and acrylic, 8 x 13 x 8 in. (112 x 518 x 396 cm), Liz Magor, Delivery, 2018, silicone rubber, textiles, twine, polyester film, tulle, 144 x 20 x 14 in. Liz Magor’s (b. (125 x 178 x 12 cm), Liz Magor, Gateway, 2020, painted doll, wooden box, packaging materials, 43 x 88 x 3 in. Blowout, the exhibition co-commissioned by the Carpenter Center and Chicago’s The Renaissance Society, where it is currently on view, is no exception. (105 x 38 x 30 cm), Liz Magor, Ladie’s Garment, 2017, textile, polymerized gypsum, 41 x 48 x 21 in. Since the 1970s, Liz Magor’s sculptures, installations and photography have established her as … Hobbs, reached by email, says the decision to remove the work was completely Magor’s. Article by Mitch Speed in Berlin // Friday, Apr. Using traditional mould-making techniques, Magor replicates everyday objects either as discrete, uncanny forms, or spliced together with an unrelated quotidian object of her environment. At the same time, there’s something doting, almost loving, in Magor’s careful preservation of the careworn and abandoned. (20 x 216 x 62 cm), Liz Magor, Hollow, 1998–1999, polymerized gypsum, fabric, foam, 72 x 42 x 48 in. (27 x 42 x 33 cm), Liz Magor, All the Names II, 2014, silicone rubber, cotton textiles, paper, 11 x 17 x 13 in. Best known for sculptures made from both found and cast objects, Liz Magor is interested in the cyclical culture of production and consumption, how we assign value to things, the utilitarian and non-utilitarian functions of objects, and our emotional and psychological attachments to them. (58 x 62 x 62 cm), Liz Magor, WW I Portfolio, 1996, 9 silver gelatin prints, each 20 x 16 in. Polymerized gypsum, pigments, wood, cardboard, ash, and paint, 144.5 x 50.8 x 38.1 cm National Gallery of Canada, Ottawa. Her latest works feel less like revelry, more funereal, in fact, a tidy postscript to a life no longer being lived. An exhibition of Magor’s new work, “Downer,” is at Catriona Jeffries from December 5, 2020 to January 23, 2021. Based in Vancouver, Liz Magor won the 2014 Gershon Iskowitz Prize, which is presented annually to an artist who has made an outstanding contribution to the visual arts in Canada. On its edge sat a mostly-finished mug of coffee — left, maybe, by an absent-minded installer? Liz Magor lives and works in Vancouver. In this work, the “fixing” of damage is beautifully transformative. The National Gallery of Canada holds a representative group of her work, ranging from 1979 to 2012 (her installation sculpture The Rules is currently on view), and the Musée d’Art Contemporain de Montréal hosted a 30-year career retrospective in 2016 that travelled internationally to Switzerland, France and Germany. (290 x 38 x 67 cm), installation dimensions: 114 x 299 x 72 in. Liz Magor Magor’s practice utilizes sculpture and photography to explore notions of memory, history, shelter, and survival. (19 x 165 x 47 cm), Liz Magor, Four Boys and a Girl, 1979, fabric, grass, steel, wood, dimensions variable, Liz Magor, Compost Figure (Leaves), 1978, cheese-cloth and leaves, 14 x 5 in. (8 x 25 x 11 cm), Liz Magor, Being This, 2012–2019, paper, textiles, found materials, 96 x 432 x 22 in. Magor’s work makes us look, and look again, and with a little luck, really see. Their usefulness, or charm, or pertinence to us is over, and they are in free fall, on their way to disintegration. (414 x 25 x 25 cm), Liz Magor, House Plant, 1993, clay, fluorescent light, silicone rubber, dimensions variable, Liz Magor, Civil War Scenes, 1991, 14 selenium toned silver gelatin prints, each 16 x 20 in. © Liz Magor Photo: NGC. Liz Magor, artist (born 11 April 1948 ... (1984) and Documenta 8 (1987) in Germany. Beginning in Italy, CAG presented a major solo exhibition of work by Vancouver based artist Liz Magor. Previously, he was the art critic at the Toronto Star and has published articles in The New York Times, The Guardian (UK), The Times of London, The New York Observer, Esquire magazine and Details magazine, among others. Activated by an interest in the covert, these constructions blur the lines between reality, imagination, and simulation. (38 x 13 cm), Liz Magor, Birdnester, 1977, wagon and birds' nests, 47 x 29 x 68 in. (254 x 76 x 27 cm), Liz Magor, Freestyle (Pink Grommet), 2017, wool, cellophane, steel, 91 x 30 x 10 in. (217 x 76 x 29 cm), Liz Magor, All the Names (Season’s Greetings), 2016, silicone rubber, paper, plastic, 9 x 25 x 15 in. Liz Magor, One Bedroom Apartment, 1996–. (20 x 56 x 28 cm), Liz Magor, Leather (4 cig), 2008, polymerized gypsum, cigarettes, 7 x 17 x 24 in. (165 x 109 x 99 cm), Liz Magor, Felt People, 2016, polymerized gypsum, wool, plastic bags, plastic sheet, 61 x 43 x 14 in. The largest survey of Liz Magor’s work to date is currently on view at the Musée d’art contemporain de Montreal. (244 x 133 x 119 cm), Liz Magor, New Society, 2016, polymerized gypsum, plastic bag, nylon stockings, 66 x 61 x 12 in. (90 x 122 x 86 cm), Liz Magor, Production, 1980, newspaper, wood, steel, approximately 2800 paper bricks, each 2 x 4 x 8 in. (38 x 245 x 61 cm), Liz Magor, Karl’s Castle, 2003, 9 silver gelatin prints, each 16 x 20 in. Liz Magor, The Rules, 2012. From Migros Museum für Gegenwartskunst , Liz Magor, Double Cabinet Blue (2001), Polymerized gypsum, beer cans, 23 × 70 × 43 cm As with all her best work, Magor casts the specimens of an aftermath in a sort of amber and leaves the backstory to us. (135 x 81 x 61 cm), Liz Magor, Double Scarp, 1980, textile, plaster, steel, 7 x 65 x 19 in. (107 x 122 x 13 cm), Liz Magor, Small Hand, 2019, polymerized gypsum, naturalized bird, cellophane, 10 x 12 x 6 in. (134 x 54 x 8 cm), Liz Magor, French from France, 2013, wool, fabric, thread, plastic, metal and wood, 61 x 19 x 6 in. (163 x 399 cm), Liz Magor, Mossfield Twins, 2011, wool, fabric, metal, paper, plastic, 54 x 39 x 2 in. Co-organized In the practiced hands of Canadian ceramicist Liz Magor, a soft paper bag, creased over time and worn thin, is transformed into an object of “vitality or vivaciousness”—cast into a larger-than-life, rock-hard object she carefully paints a glossy pink. (46 x 46 x 25 cm), Liz Magor, Tweed (kidney), 2008, polymerized gypsum, found object, 6 x 18 x 17 in. (17 x 43 x 61 cm), Liz Magor, Tweed (Toblerone), 2008, polymerized gypsum, 5 x 16 x 16 in. (88 x 84 x 254 cm), Liz Magor, Volvic, 2002, polymerized gypsum, bottled water, 15 x 96 x 24 in. © Liz Magor Photo: Useful Art Services. (86 x 160 x 56 cm), Liz Magor, Long Table (wrappers), 2008–2018, polymerized gypsum, cotton, 25 x 24 x 78 in. I look at one of those blankets and I am reminded of what I already know: That amid all the drama, women have always been the ones holding it together. “Liz Magor: One Bedroom Apartment” is at the Esker Foundation through December 19, 2020. (20 x 32 x 20 cm), Liz Magor, Red Dot, 2015, wool, plastic, 21 x 35 x 2 in. (84 x 97 x 38 cm), Liz Magor, Sowing Weeds in Lanes and Ditches, 1976, wooden shelf, seeds, grass, envelopes, boxes, garden gloves, clay pots, 77 x 77 x 11 in. With her newfound success, Magor’s work shifted away from the natural world towards an investigation of the social and emotional life of objects and their capacity to hold and reflect personal and collective histories and identities. (28 x 35 cm), 3: 8 x 10 in. Some might expect Magor, now 70 and the winner of almost every major prize Canada has to offer, to be looking more back than forward. Photo: Liz Magor: Eatonia, 2011, wood, fabric, metal and thread, 57 by 241⁄2 by 21⁄4 inches; at … Activated by an interest in the covert, these constructions blur the lines between reality, imagination, and simulation. With a certain irony, she explores these notions of … (155 x 109 x 34 cm), Liz Magor, Good Shepherd, 2016, polymerized gypsum, wool, plastic bags, plastic sheet, cardboard, 53 x 103 x 12 in. (13 x 17 cm), Liz Magor, Burrow, 1999, polymerized gypsum, fabric, 9 x 31 x 21 in. (42 x 34 x 914 cm), Liz Magor, Humidor, 2004, polymerized gypsum, tobacco, 11 x 6 x 4 in. (19 x 216 x 62 cm), Liz Magor, Tent, 1999, silicone rubber, fabric, 76 x 18 x 8 in. In 2017, her work was the subject of traveling survey at the Kunstverein in Hamburg, Migros Museum, Zurich, and MAMAC, Nice. (38 x 77 x 38 cm), 12 x 24 x 12 in. Exploring both natural and domestic themes, her sculptural works are forms of refuge that also confound the boundary between the real and the imagined. (58 x 305 x 277 cm), Liz Magor, Coiffed, 2020, painted plywood, fabric skirting, silicone rubber, artificial hair, acrylic throw, woollen blankets, silver fabric, linen, jewellery boxes, costume jewellery, packaging materials, 27 x 132 x 96 in. (183 x 351 x 122 cm), fireplace and magazine: 96 x 172 x 20 in. (183 x 107 x 122 cm), Liz Magor, Sleeping Pouch 1, 2, 3, 1997, polyurethane rubber, fabric, each 29 x 24 x 24 in. Isn’t somebody going to take it away? Look at any landfill, and you’ll see what I mean. 1948) sculpture quietly dramatizes the relationships that develop between objects. Still, Blowout has one looking back, at the residue of revelry run amok in Magor’s Stack series, carrying a bizarre array of cast-offs – broken mickey bottles, Chiclets, paper cupcake liners, a chunk of wall, an enormous, withered rat carcass. (24 x 62 x 38 cm), Liz Magor, All The Names (Head), 2016, silicone rubber, miscellaneous objects, 11 x 18 x 13 in. The Contemporary Art Gallery was invited to take over Peep-Hole in Milan for the final installment of their “Six Ways to Sunday” initiative. (5 x 10 x 20 cm), machine: 53 x 32 x 24 in. (28 x 15 x 10 cm), Liz Magor, Split, 2004, microcrystalline wax, 36 x 170 x 34 in. We look forward to welcoming you back soon. This month, 2014 Gershon Iskowitz Prize recipient Liz Magor responds to NGC Magazine's version of The Proust Questionnaire. Liz Magor’s work finds its center in the peripheral, often replicating the overlooked trappings of daily life and re-presenting them in new contexts. Oct 13, 2019 - Explore Yana Ar's board "Liz Magor", followed by 118 people on Pinterest. Liz Magor’s sculptures at first resemble literal, easily accessible representations, but the play between what is real and what is an illusion, and the curious combination of food with other unrelated objects, complicate their apparent simplicity. Their occupants, though, have no way out: Scraps of fabric – I noticed teal synthetic tuile and a strip of leopard print – are encased as though in solid blocks of resin; forlorn stuffed animals squat inside with a tragically absurd, preternatural stillness (one little walrus, chin angled hopefully upward, seemed to all but say "Help me"). (112 x 81 x 66 cm), Liz Magor, Freestyle (Crinoline), 2017, wool, cellophane, steel, 82 x 30 x 9 in. (97 x 457 x 25 cm), Liz Magor, Hudson’s Bay Double, 2011, wool, fabric, metal, polymerized gypsum, wood, 64 x 157 in. (23 x 78 x 54 cm), Liz Magor, Sleeping bag, 1999, polyurethane rubber, fabric, 8 x 85 x 25 in. Blowout may not have a specifically eulogistic function in mind, but it works as one all the same. Her sculptural work investigates the ontologyof ordinary or familiar objects, which she remakes and presents in new contexts. (91 x 91 x 41 cm), Liz Magor, Buck (Jagermeister), 2008, polymerized gypsum, liquor, 16 x 30 x 26 in. Magor’s "captives" are, ironically, cast-offs, culled from the Salvation Armies and Value Villages near her Lower Mainland studio in British Columbia. 21, 2017. Using traditional mould-making techniques, Magor replicates everyday objects either as discrete, uncanny forms, or spliced together … (51 x 41 cm), Liz Magor, Messenger, 1996–2002, wood, plaster, textile, found objects, dimensions variable, Liz Magor, Double Cabinet (blue), 2001, polymerized gypsum, cans of beer, 9 x 27 x 17 in. (366 x 51 x 34 cm), Liz Magor, Valet (pink), 2018, polymerized gypsum, silicone rubber, ikea “billy” bookcases, 30 x 23 x 81 in. (153 x 153 cm), Liz Magor, All the Names I, 2014, silicone rubber, mixed fabric, 11 x 17 x 13 in. Liz Magor In my work I try to interrupt the trajectory of objects that have been thrown out of their orbit. What happens when one dies will forever be subject to some kind of debate or another – ashes to ashes and all that – but what one leaves behind in this material realm is far less ambiguous a subject. (290 x 760 x 183 cm), Liz Magor, The Most She Weighed / The Least She Weighed, 1982, lead, aluminum, 15 x 30 x 15 in. (193 x 46 x 20 cm), Liz Magor, Sleeping Bag 1, 1998, polyurethane rubber, fabric, 8 x 85 x 25 in. Best known for sculptures made from both found and cast objects, Liz Magor is interested in the cyclical culture of production and consumption, how we assign value to things, the utilitarian and non-utilitarian functions of objects, and our emotional and psychological attachments to them. Constructions blur the lines between reality, imagination, and with a certain irony, she explores notions. 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