The paradigmatic-shift of the so-called, Second Renaissance, is
sentient. The era of the orthodox career-artist is quickly drawing to a
close, as closeted, behemoth cultural institutions appear increasingly
implausible and incestuous. For many creative people, the art-object has
become an ingredient or inceptive aspect of a larger, open, often
mediated, concern. No longer the exclusive privileged domain of the
traditional alliance of dealer-academic-museum (the curatorial class), art
now regularly escapes these constraints. The archaic practice of
art-object-making serves personal philosophical and nascent purposes; for
myself, it`s an intriguing balance of obsession, critical reflection,
precision and impulsiveness. The physicality of some of my art is a
gratifying counterpoint to my media-oriented and technological projects --
stirring of electrons. Predictably, the critical, avant-garde dialogue
that informed my early creative work has become fractured and depreciated.
Insightful intelligence is now less likely to be dependent on hierarchical
scholasticism. This dethronement of learning can be understood as the most
exciting intellectual frontier we are now crossing. The relevant artist
today is multi-dimensional-- an intradisciplinary generalist, with an
expansive set of skills.
1972-00 Participation in numerous solo/group exhibitions, primarily in
artist-run and public galleries; non-traditional spaces and
networker-culture; always a variety of photographic/publishing projects
1979-86 The MetaConstruct: Thirteen Interdependent Installations across
Canada (a theoretical demonstration with situationist-overtones,
consisting of multiple series of painted-constructed-irregular-evolving
components; housed in corked-lined, shellack ed-plywood boxes; still
modified but rarely exhibited now; stacked in Public Storage lockers)
textual descriptions disseminated electronically; anticipated hypercard
stack of two-thousand photographic details from the installations.
1980-00 Series of self-published ISBN Bookworks (full-page bleed
photos/weboffset on newsprint/128-1024 pages each/perfect-bound; gradual
and extensive accumulation and sequencing of photographic imagery), still
exhibited and distributed world-wide. Subsequent titles are currently
published electronically on the WWW/Internet; the project is entitled, The
12hr-ISBN-JPEG Project: every 12 hours another photographic, hypermodern
image is posted from an ongoing sequence spanning several years.
1981-89-00 Millennium Project: Illustrations for an Essay (refracted
Crystal Palace/collapsed, hollowed-out and redrawn cartoon imagery;
several hundred, various red-inks on tracing-layout-paper
drawings/collages, repeatedly overprinted with 83 small photo-linocuts in
white, waterbase lino-ink; possible studies for very large frescoes);
1989 World Persona (VDT Calligraphic Laserscript) type design to
accompany a comprehensive collection of visages. To be incorporated in the
Matchbook-Movies (desktop digital video).
1987 Nexus Press Residency/Project, Atlanta, Georgia (four large offset
posters; distributed freely) still available. Animated Suspension; Four
Red Duotones in a Discontinuous Symbolic Order: (1) All is not forgiven,
(2) Escape or revenge, (3) Sculpture : The three smallest bones, (4)
Douzaine Suzanne: Guilty in your eyes.
1982-85 Tex-Park, Vernal 646, Amazing Grace, Aura (audio-installations:
Halifax, Toronto, Peterborough, Buffalo, New York City, et al. Radio
1977 Babies, Cakes, Dogs (over the course of a year, personally retrieved
over 200,000 discarded snapshots from a Toronto photofinishing laboratory)
source of exhibitions, magazine-publications and articles.
1974-76-82-95 Video Productions/Installations/Cable
Programming/Exhibitions: Canada, USA, Europe; infrequent; current interest
in sub-miniature video-cameras, desktop-video, independent broadcasts and
surveillance (the 7-11 station), slow-scan ham transmissions. Ý
1979-83 celluloid films: Arrival (color, silent, 55 minutes, 16mm film
which features the progressive malfunction of the camera while echoing the
subject matter of Lumiere`s first film); X00X (color, silent, 72 minutes,
16mm film consisting of a year`s restructured documentation of the firing
of the noon-day gun in Halifax); various low-budget screenings.
This artist is likely inactive on SITO. The last time they did anything here was 2001-01-02.
If they have given an email address, it may be out-of-date and invalid.
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LOCATION: United States
LANGUAGE: None set (will use English)
COPYRIGHT STATEMENT: "Full" - Artist retains full copyright of any and all works he or she has created. Please contact this artist before using any of the artist's work in any way.
COPYRIGHT NOTE: Copyright may vary from project to project or
image to image, even for one artist. Please verify the copyright in each
specific instance before using ANY artwork from SITO.
Brad Brace has 1 works
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Most recent is "The 12hr ISBN-JPEG Project"
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Most recent is The 12hr-ISBN-JPEG Project