Jaime Angelopoulos’ large-format drawing,���ճ󾱱��,��and Julieta Maria’s four-minute digital video,��Soil, are now part of this outstanding collection of works created by then-emerging artists, reflecting ��the evolution of artistic sensibility, technology and expression over the past 35 years.

Right: "Thief" by Jaime Angelopoulos

Toronto philanthropist Samuel Sarick established the Purchase Award in1976 – just two years after��91��ɫ's Graduate Program in Visual Arts was established. Each year since then, one or more works have been selected for acquisition from the thesis exhibitions of students graduating from the program. In addition to serving as a showcase of the leading edge of contemporary work, the collection is an important component of the historical record of the visual arts department and its alumni.

(MFA ‘10) identifies herself as a sculptor who also works in installation and large-scale drawing.

“My drawings often depict aspects of my sculptural forms, while also informing the sculpture-making process,” she said. “My current drawings combine graphic geometric fragments and bright color hues with organic shapes and textures evocative of animals. To reconcile oppositional elements within a drawing is to discover a balance between contradictory ideas.”

Angelopoulos has an upcoming solo show May 4 to 21 at Toronto’s , located at 401 Richmond St. W. The opening reception takes place Friday, May 4 from 8 to 10pm.

Angelopoulos has presented her work across Canada and beyond. Her solo exhibitions and performances include venues such as Parisian Laundry in Montreal, Stride Gallery in Calgary, Anna Leonowens Gallery in Halifax, Meadows School of the Arts in Dallas, Texas, and at the Banff Centre for the Arts.

In contrast to Angelopoulos’ physical art-making, (BFA ‘04, MFA ‘10) is a new media artist working in a variety of media including video, interactive video installations and web. Soil is a prime example of her recent work, which centres on video documentation of staged actions.

Soil shows the artist’s face in profile, open-mouthed, lying horizontally against a white background. Soil starts pouring down from the upper side of the frame, gradually filling her mouth.

“Closeness to the earth implies being close to life and death, to the visceral,” said Maria.

Left: A scene from "Soil" by Julieta Maria

“In the video, I take the soil trying to engage in minimal movement or expression. The openness of the mouth, however, gives a sense of willingness to receive the dirt. It’s a situation that is not resolved, as the soil keeps falling and accumulating. The soil comes from above, as a kind of fate.”

Maria is a co-founder of in Toronto, where she currently serves as executive director. She has participated in several international screenings and exhibitions, including Scope Basel in Switzerland in 2010, the Hemispheric Institute of Performance and Politics in Colombia in 2009, and the Interactiva Biennale in Mexico 2009, among others.

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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The (IJS) is the world’s foremost archive and research facility in the field of jazz. Its comprehensive holdings comprise original scores, recordings, personal papers, photographs and memorabilia from a host of leading jazz artists, as well as archives of record companies and jazz-related institutions and organizations from 1920 to the present. In support of its mission to document, preserve and disseminate the history of jazz, the IJS develops conferences, broadcasts, publications, exhibitions and educational programs, and supports the work of individual researchers through the Morroe Berger – Benny Carter Jazz Research Fund.

Brett, who recently returned from her trip to Rutgers, and Bruce, who visited last fall, found the experience invaluable. They had high praise for both the IJS collections and the staff who assisted them in their research.

For Brett, a well-known performer and recording artist who has taught jazz vocals in the Department of Music at 91��ɫ, the IJS’s Ella Fitzgerald collection was a treasure trove. The iconic singer is one of several performers Brett is researching as part of her studies on the great American songbook. Her dissertation will focus on transcriptions and analyses of Fitzgerald’s first four full-length scat solos.

In the Ella Fitzgerald collection, Brett found boxes of scores and sheet music, and many packages from hopeful songwriters begging Fitzgerald to perform their work. Brett was also able to touch the gown Fitzgerald wore for her legendary performance with Tommy Flanagan at the 1977 Montreux Jazz Festival, a show that was recorded on video.

“I know how the gowns I wear for my own performances hold my energy before and after a gig,” Brett said. “It was deeply moving to be in such close proximity to her personal belongings.”

Bruce spent five days immersed in the archives, shuttling between the stacks, files and photocopier, and bringing home a full dossier of materials to review.

“The librarians were incredible,” Bruce said. “They would always come up and ask about my work, run back to storage, and return with additional materials they thought might help. As a research trip, it was exciting and inspiring – and a lot of fun!”

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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