![]() Tomas is the author of Vertov, Snow, Farocki: Machine Vision and the Posthuman (2013) Beyond the Image Machine: A History of Visual Technologies (2004), A Blinding Flash of Light: Photography Between Disciplines and Media (2004), and Transcultural Space and Transcultural Beings (1996). ![]() He has presented works at the Badischer Kunstverein, Karlsruhe Mass MOCA Vancouver Art Gallery ZKM, Karlsruhe Conde Duque Medialab, Madrid V2/TENT, Rotterdam Museum Ludwig, Budapest National Gallery of Canada, Ottawa Museum Moderner Kunst Stiftung Ludwig, Vienna Vereinigung Bildender Künstler Wiener Secession, Vienna California Institute of the Arts, California San Francisco State University, California Jordan National Gallery of Fine Arts, Amman ELAC, Lyon Aorta, Amsterdam PS1, NewYork Walter Phillips Gallery, Banff and the Musée d’art contemporain de Montréal. in the History and Sociopolitics of Science, University of Montreal, and a Masters in Multimedia, Concordia University, Montreal. How does this particular gap reveal the ambivalent relationships and tensions between those who produce and collect knowledge about art and those who market and sell it? Within Artexte’s commitment to provide reliable information about contemporary art, this project explores an omission – the auction and market – as a frame in which the distinct yet similar acts of collecting information and collecting art objects can be considered.ĭavid Tomas is an artist who holds a PhD in Anthropology from McGill University, an MSc. This void encouraged Artexte to present this project by David Tomas as an act of reflexivity and auto-critique of the current collection. However, it contains few art auction catalogues or sources pertaining to the role of the auction and art market within the production of knowledge about contemporary art. This two-part exhibition also focuses on the possibility that artists must now treat the auction as a primary reference point in the development of their practices.Īrtexte’s collection comprises a wide range of information sources including, but not limited to, catalogues, artist books, works on paper and press materials. Caldwell’s work is represented in many public and private collections such as:Nickel Arts Museum Alberta Foundation for the Arts University of Calgary The City of Calgary EnCana/Cenovus SMED International Opus Corporation Big Rock Brewery F&D Scene Changes Canadian Pacific Disney Tokyo W hotel (Korea) Emerald Lake Lodge Buffalo Mountain Lodge IDI Group Architects Zeidler, Carruthers Architects Plains Oil Canadian Unity Council Western Securities Field Aviation.Consigned for Auction explores some of the parameters of the contemporary art auction from the point of view of the auction catalogue. Selected exhibitions include: Alex Caldwell / Ben Skinner, Winsor Gallery, Vancouver (2016) FIVE ARTISTS, Paul Kuhn Gallery (2016) CRANK THAT, Paul Kuhn Gallery (2016) Water, Whyte Museum, Banff (2015) EXPOSURE X 5, Paul Kuhn Gallery (2015) Made in Calgary: The 2000s, Glenbow Museum (2014) Concurrent, Winsor Gallery, Vancouver (2014). His work has been exhibited and commissioned for over three decades across Canada, the US and Europe, including Calgary, Miami, Chicago,Scotland, and Switzerland. Born in Whitehorse, Yukon, Caldwell studied sculpture at ACAD, graduatingin1985. His “disc” sculptures are coated in a colour flop enamel that changes colour as people walk by. Caldwell says the colour transformation of the industrial materials is so critical, it is as if the metal is simply an armature for the paint. The result is a flawless skin that is impervious to weather. He applies automotive or oilfield paint with filler to hide the joins and welds of assembled industrial components: steel or aluminum pipes, pipe elbows, metal hemispheres. Working mostly with found materials, Caldwell uses colour to remove shape from its functional origins. ![]() Caldwell employs smooth curves and sharp angles, round volumes and flat planes each piece is a single bright colour or coated with a metal finish. ![]() The colour-saturated, perfectly finished sculptures of Alexander Caldwell playfully perch at the intersection where minimalism meets pop art.
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