Papers by Johanne Lamoureux
Presses de l'Université du Québec eBooks, Feb 22, 2023
Canadian Journal of Communication, 2002
In June 2001 an item on CBC Radio Two's The Arts Report included a sound bite from the B... more In June 2001 an item on CBC Radio Two's The Arts Report included a sound bite from the Banff television festival. It was of an award presenter rhyming off the countries - at least half a dozen - involved in one of the many co-produced winning programs. "Can anybody think of any ...
Noting a general shift in installation practice, Lamoureux outlines various issues raised through... more Noting a general shift in installation practice, Lamoureux outlines various issues raised throughout Cohen's photographs: place vs. décor, found place, indexed space. Reference is made to issues of simulation and an impaired sense of relation suggested by the artist's images of deserted sites
Stedelijk Studies Journal, 2017
Today’s museums are using their collections in new ways, most notably as event resources for inst... more Today’s museums are using their collections in new ways, most notably as event resources for institutional programming. The current context of collection repurposing is a phenomenon much broader than the logic exposed by François Mairesse under the rubric of “the museum as spectacle.”[1] It participates in the larger paradigm of what we call the “museum as event.” [2] The high point of the museum as spectacle was emblematized by the rise of the blockbuster exhibition and the multiplication of museum buildings erected as grand architectural gestures: these involved programming and expansion. The museum as event is a logic that permeates every part and aspect of the institution, including the collections that the spectacular museum rather took for granted and often neglected. It appears important, therefore, when addressing the issue of the relations between a museum and its collections, not to focus exclusively on the renewal of permanent displays, but to also question how collection...
De quel lieu, l'effritement ? J ® L y effritement des valeurs. La formule en ' appelle à une scén... more De quel lieu, l'effritement ? J ® L y effritement des valeurs. La formule en ' appelle à une scénographie de la mise en ruine. On les voit, les valeurs, séchées, craquelées, leurs couleurs réduites au pigment, leur liant gras évanoui, et ce poudroiement léger par lequel elles se défont du support. Mais de quoi parlons-nous au juste ? Les valeurs s'effritent ? Bien sûr. Quelles valeurs ? La famille, la patrie, la foi d'un côté, l'action politique, l'engagement social, le progrès, la démocratie... On imagine aisément l'émission d'information «Montréal Ce Soir» demandant aux citoyens de la rue : «Quelles sont vos valeurs ?», et le bon public d'énumérer son REER et ses placements.
Tous droits réservés © Revue d'art contemporain ETC inc., 1987 Ce document est protégé par la loi... more Tous droits réservés © Revue d'art contemporain ETC inc., 1987 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
Analyse du role reserve par la poetique des ruines de diderot au plan plastique du referent. Comm... more Analyse du role reserve par la poetique des ruines de diderot au plan plastique du referent. Comment l'"imperatif ruiniste" ("il faut ruiner un palais pour en faire un objet digne d'interet") permet-il une mediation entre peinture et architecture dont les principes sont incompatibles selon diderot? elaboration d'une conception alternative du tableau chez h. Robert a partir du jardin pittoresque ou se revele l'impossibilite de satisfaire aux exigences autarciques du "tableau ideal" de diderot des lors qu'il s'agit de transposer cet ideal sur un site reel: les determonations des accidents de terrain et la mobilite du spectateur menacent l'integrite et la stabilite du "tableau". Par pratique pittoresque de la peinture, s'entend donc ici une pratique picturale motivee par son insertion syntagmatique dans un lieu donne: le salon, les salons, le jardin, l'exposition au musee. Analyse de cas en seconde partie: proj...
Profession historienne de l’art
Le chapitre précédent n’avait pas pour but d’expliquer de quelle façon je me serais convertie à l... more Le chapitre précédent n’avait pas pour but d’expliquer de quelle façon je me serais convertie à l’histoire sociale de l’art, mais de montrer comment la réception et l’interprétation d’un mouvement artistique s’inscrivent elles-mêmes dans l’histoire. À ce titre et au fil d’une période de temps plus ou moins longue (mais en l’occurrence assez courte, en ce qui concerne la démonstration faite plus tôt autour de l’impressionnisme), elles peuvent modifier significativement le regard porté sur un c..
This publication is the full record (including papers, organizers' commentaries, and discussi... more This publication is the full record (including papers, organizers' commentaries, and discussions transcripts) of a six-day seminar on curating in the visual arts, held in 1994 at the Banff Centre for the Arts and involving 29 (mostly Canadian) participants. Various phenomena and issues that have affected curatorial practices over the last decades are addressed: the local knowledge vs. new internationalism debate; the methodologies involved in producing exhibitions; possible definitions of curatorial practice; and curatorial ethics. Discussions include the impact of new technologies, the status of the independent curator, and the curator/artist relationship. Biographical notes on contributors. Circa 55 bibl. ref.
Profession historienne de l’art
TEI 'I telled Mary how it would be,' he said: 'I knew what Mr Edward' (John was an old servant, a... more TEI 'I telled Mary how it would be,' he said: 'I knew what Mr Edward' (John was an old servant, and had known his master when he was the cadet of the house, therefore he often gave him his Christian name)-'I knew what Mr Edward would do; and I was certain he would not wait long either: and he's done right, for aught I know. I wish you joy, miss!' and he politely pulled his forelock. I put into his hand a five-pound note. Without waiting to hear more, I left the kitchen. In passing the door of that sanctum some time after, I caught the words-'She'll happen do better for him nor ony o' t' grand ladies.' And again, 'If she ben't one o' th' handsomest, she's noan faa\l, and varry good-natured; and i' his een she's fair beautiful, onybody may see that.' I wrote to Moor House and to Cambridge immediately, to say what I had done: fully explaining also why I had thus acted. Diana and 474 JANE EYRE 475 Mary approved the step unreservedly. Diana announced that she would just give me time to get over the honeymoon, and then she would come and see me. 'She had better not wait till then, Jane,' said Mr Rochester, when I read her letter to him; 'if she does, she will be too late, for our honeymoon will shine our life long: its beams will only fade over your
RACAR : Revue d'art canadienne, 1991
This article reflects upon a few pages of Albert Speer’s memoirs on the Third Reich, in which the... more This article reflects upon a few pages of Albert Speer’s memoirs on the Third Reich, in which the man who was Hitler’s first architect from 1934 to 1942, after a twenty-year term of imprisonment, offers his theory on the value of ruins. The architect himself considered this an active factor in establishing his privileged relation to the Führer, a theory that conceived the Reich’s official buildings in view of the beautiful ruins they would produce after centuries of neglect. This projective (instead of retrospective) treatment of the ruins, of which the modern period offers many an example, becomes a pressing issue with such a cumbersome and fundamentally anti-modern heritage as Third Reich constructions. Speer’s anticipation of the Antique-cum-Romantic inspired ruins was to impose stylistic, economic and pragmatic constraints on his projects for which the functional necessities of the present became less important than the programmed revelation of Nazi imperial glory. The counterpa...
Word and Image, 2000
Abstract Pour les non-spécialistes de la peinture du dix-neuvieme siecle, le nom de Delaroche n&#... more Abstract Pour les non-spécialistes de la peinture du dix-neuvieme siecle, le nom de Delaroche n'a pas toujours une grande résonance mais il suffit souvent de rappeler à un interlocuteur qu'il s'agit de ce peintre cense avoir accueilli l'invention de la photographie en declarant: ‘la peinture est morte’, pour qu'aussitôt Delaroche devienne une reference plus familiere. Je souhaiterais en ces pages réfléchir a la teneur de cet énoncé et a son contexte d' apparition.
The beauty and breadth of this book make it the definitive book of Emily Carr, one of twentieth c... more The beauty and breadth of this book make it the definitive book of Emily Carr, one of twentieth century art's most innovative outsiders. An ambitious and groundbreaking book revisits Carr and her world through the eyes of three distinguished senior curators, and seven critics and essayists. Featuring over 250 colour images, which form a vivid narrative. Never before has Carr's life, and her place at the centre of the Canadian imagination, been so vividly explored.
Analysing the works of ten artists, Lamoureux's essay centres on language in Quebec's soc... more Analysing the works of ten artists, Lamoureux's essay centres on language in Quebec's socio-political landscape and its manifestations in the visual arts. Biographical notes. 45 bibl. ref.
La photographie constitue un modele pour la pratique artistique du XXe siecle. Depuis la formulat... more La photographie constitue un modele pour la pratique artistique du XXe siecle. Depuis la formulation de cette hypothese par Rosalind Krauss a la fin des annees soixante-dix, ses travaux ont mis l'accent sur le surrealisme et particulierement sur les usages surrealistes de la photographie. On a peut-etre oublie, notamment en France (ou la scene artistique etait travaillee d'enjeux autres que ceux caracterisant l'avant-garde americaine des annees soixante-dix), que "le photographique...
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Papers by Johanne Lamoureux