Ryan McCourt | |
---|---|
Born | 1975 Edmonton, Alberta, Canada |
Education | University of Alberta, Edmonton, |
Known for | Sculptor |
Notable work | "A Modern Outlook", "Will and Representation" |
Movement | modernism, late modernism, surrealism, abstraction |
Patron(s) | Robert T. Webb Sculpture Garden |
Ryan McCourt (born February 23, 1975) is a Canadian artist best known for his sculptures. [1] [2] [3] [4] He lives in Edmonton, Alberta. [2] [5] [6]
Ryan David McCourt [7] [8] was born and raised in Edmonton, Alberta, the youngest of Ken and Sheelagh McCourt's five children. [4] He attended school at Patricia Heights Elementary School, Hillcrest Junior High School, and Jasper Place High School. [4] McCourt completed his Bachelor of Fine Arts in 1997, and his Master of Fine Arts in Sculpture in 1999, both at the University of Alberta [9] [10] [11] There, McCourt was a student of Peter Hide and Edmonton's modernist tradition of welded sculpture. [12] [13] [14]
In 1995, while an undergraduate student, McCourt was a photographer with the Edmonton Eskimos Football Club. After completing his MFA, McCourt worked as the Artistic Coordinator for The Works Art Expo 2001, and curated Resolutions, a solo exhibition of paintings by Canadian artist Tony Baker, at the Edmonton Art Gallery. In 2002, McCourt founded the North Edmonton Sculpture Workshop, [4] [9] [11] "a cooperative shared-studio project focused on facilitating the creation and promotion of contemporary sculpture," [15] producing the Big Things sculpture series at the Royal Alberta Museum from 2002 to 2006. [16] [17] [18] In 2003, McCourt was an instructor of Visual Fundamentals at the University of Alberta. [9] [11] In 2004, alongside then-Alberta Premier Ralph Klein, McCourt unveiled his 5.5-meter tall [19] commissioned sculpture entitled A Modern Outlook, at 18550-118A Avenue in Edmonton. [20] McCourt organized the Alberta Centennial Sculpture Exhibition at the Royal Alberta Museum [21] in 2005. [22]
In 2006, McCourt was the first artist selected to display sculpture for one year outside Edmonton's Shaw Conference Centre. [23] McCourt's exhibition, Will and Representation, was an installation of four large sculptures based on Ganesha, [21] a deity from Hindu mythology. Ten months into the exhibition, then-Mayor of Edmonton Stephen Mandel ordered the works removed after reportedly receiving a 700-name petition complaining of the sculptures' "disrespectful" nudity. [24] [25] [26] When asked for comment, McCourt stated that "Nudity seems like a rather quaint thing to get one's knickers in a bunch over, [27] in the 21st century. Besides, there's lots of art that I don't like, I don't go around gathering signatures of people who agree with me, and try to force the art to come down. That would be truly offensive, especially in a democracy like Canada." [28]
Media coverage of the sculptures' removal was widespread, with articles appearing in the news as far away as India. [29] Public reaction to Mandel's censorship decree was generally disapproving.[ citation needed ] In an interview with the Edmonton Journal's Paula Simons, David Goa, religious scholar, cultural anthropologist, and director of the University of Alberta's Chester Ronning Centre for the Study of Religion and Public Life, states "In India, Lord Ganesha is on everything – playing cards, advertising signs, lotto tickets, even diapers, I suspect." Simons concludes, "In his haste to appease a few protesters, the mayor, usually a champion of the arts, made a serious error in judgment. Instead of giving McCourt's divinely inspired statues the bum's rush, we should be celebrating this Canadian cross-pollination of cultures and aesthetic forms". [26] The Globe and Mail 's columnist Margaret Wente agreed with Simons: "The mayor, of course, was quite wrong. Mr. McCourt's sculptures did not insult the Hindu community. They insulted a small but vocal conservative religious group that is about as representative of Hindus as Hassidic Jews are of Jews.... There's a big difference between respecting different cultures and caving in to illiberalism and superstition." [30]
Despite such negative responses in the media to art censorship in Canada, in 2014 the Edmonton Arts Council subsequently refused a donation of one of McCourt's sculptures, Destroyer of Obstacles, evidently because the sculpture had genitalia beneath its clothes. [31] After meeting with seven Hindu community group representatives to seek out their opinion of the donation, the Edmonton Arts Council received a response that McCourt's sculpture was "an offense to their religion" and that the ban enacted by Mayor Mandel should remain in place. [32] As a result of this consultation, "the Public Art Committee unanimously voted to decline acceptance of the gift, as the artwork did not meet 'community or civic suitability' criteria." In McCourt's view, "It is not the purpose of a city's public art collection to placate special interests," he says. "I want Edmonton to build the best civic art collection that we can get, never mind the politics, the religion, etc. of the artists making the work." [33]
McCourt's reputation as a controversial artist goes beyond the issue of censorship. [6] [21] [34] Protesting the exclusivity of a local National Portrait Gallery exhibition, [35] McCourt "sent in an anonymous mock-up of Ingres' Napoleon as Jupiter Enthroned redone with Stephen Harper's face along with a fabricated letter from the Prime Minister of Canada. His anonymous submission was immediately accepted into the show and became the poster child of the exhibit." [21] [36] McCourt has publicly advocated for civic investment in the arts, [37] and for the University of Alberta to move its Department of Art and Design to a downtown campus. [38] McCourt has been a vocal critic of public art in Edmonton, [39] dismissing Talus Dome, a much-maligned sculpture purchased by the city, [40] as "an embarrassment to our citizens, a symbol of the Edmonton Arts Council's continued bungling of their portfolio, and an unforgivable waste of public funds." [41]
In 2007, McCourt opened Common Sense, [21] [42] a gallery space at 10546 – 115 street in downtown Edmonton, [43] [44] run by the North Edmonton Sculpture Workshop. [15] With a mandate to give 100% of proceeds from art sales to exhibiting artists, [21] Common Sense does not fit the mold of either a commercial gallery or a traditional artist run centre. According to art writer Amy Fung, "Common Sense is not actually an artist-run centre in any official sense, but a space run by artists in the old-fashioned sense.... essentially an artist's wet dream in our space-deprived city." [45]
McCourt received the Lee Fund for the Arts Award; is a two-time recipient of the Edmonton Artists Trust Fund Award; and the recipient of a number of Project Grants from the Alberta Foundation for the Arts. [9] [11] His 2000 photograph After David, and 2003 sculpture Atlas are included in the Alberta Foundation for the Arts' collection. [46] [47] Fanfare, a steel sculpture by McCourt from 1999, is in the art collection of the University of Alberta. [7] Honky Tonk, also from 1999, [10] is in the collection of the Robert T. Webb Sculpture Garden. [13] "The Abduction of Liberty, from 2006, was donated to the City of Edmonton and installed in the Belgravia Art Park in 2009. [48] [49] McCourt was awarded First Prize in the headdress category of the 2009 Wearable Art Awards in Port Moody, British Columbia for "The Helmet of Laocoön." [9] [50] In 2011, McCourt was named one of Edmonton's "Top 40 Under 40" by Avenue Edmonton for his support of local artists and his encouragement of "critical discourse". [51] On August 19, 2016, McCourt's "Edmontonian Flag" was presented to Edmonton Mayor Don Iveson by Confederacy of Treaty Six First Nations Grand Chief Randy Ermineskin, "as a symbol of their commitment to collaboration, respectful dialogue and exploring shared opportunities" and "to symbolize a new dawn in Nation-to-Nation relationship building." [52] [53] [54] In 2021, The Establishment Brewing Company commissioned McCourt to provide artwork for two beer labels, each one presenting a rotationally ambiguous image. [55]
Edmonton is the capital city of the Canadian province of Alberta. Edmonton is situated on the North Saskatchewan River and is the centre of the Edmonton Metropolitan Region, which is surrounded by Alberta's central region. The city anchors the northern end of what Statistics Canada defines as the "Calgary–Edmonton Corridor", a region spanning between Edmonton and the city of Calgary, which includes the many smaller municipalities between the two.
The New Art Gallery Walsall is a modern and contemporary art gallery in the town of Walsall, in the West Midlands, England. It was built with £21 million of public funding, including £15.75 million from the UK National Lottery and additional money from the European Regional Development Fund and City Challenge.
Stephen Mandel is a Canadian politician and leader of the Alberta Party from 2018 to 2019. He previously served as an Alberta cabinet minister from 2014 to 2015 and as mayor of Edmonton, Alberta for three terms from 2004 to 2013. Prior to being mayor, he was a councillor for three years.
Peter Nicholas Hide is an English born abstract sculptor. A one-time pupil of Sir Anthony Caro, Hide is best known for upright, large-scale welded sculptures made of heavy, rusted industrial scrap steel.
The Art Gallery of Alberta (AGA) is an art museum in Edmonton, Alberta, Canada. The museum occupies an 8,000 square metres (86,000 sq ft) building at Churchill Square in downtown Edmonton. The museum building was originally designed by Donald G. Bittorf, and B. James Wensley, although portions of that structure were demolished or built over during a redevelopment of the building by Randall Stout.
The Royal Alberta Museum (RAM) is a museum of human and natural history in Downtown Edmonton, Alberta, Canada, located north of City Hall. The museum is the largest in western Canada with more than 7,600 square metres (82,000 sq ft) exhibition space and 38,900 square metres (419,000 sq ft) in total.
In Canada, appeals by the judiciary to community standards and the public interest are the ultimate determinants of which forms of expression may legally be published, broadcast, or otherwise publicly disseminated. Other public organisations with the authority to censor include some tribunals and courts under provincial human rights laws, and the Canadian Radio-television and Telecommunications Commission, along with self-policing associations of private corporations such as the Canadian Association of Broadcasters and the Canadian Broadcast Standards Council.
Curtis Santiago is a visual artist and dance-rock musician. As a musician, he was previously signed to Finger Lickin' Records. Santiago’s paintings, installations and sculptures are exhibited internationally at museums such as the New Museum and Ludwig Múzeum.
Big Things was a large-scale steel sculpture exhibition series organized by the North Edmonton Sculpture Workshop for the Royal Alberta Museum's outdoor South Terrace. The exhibition series began as an effort to "expose the public to the richness and diversity of contemporary sculpture in steel, while encouraging a critical dialogue between artists."
Alex Simeon Janvier, LL.D is a First Nation artist in Canada. As a member of the commonly referred to "Indian Group of Seven", Janvier is a pioneer of contemporary Canadian Aboriginal art in Canada.
Carol Lorraine Sutton is a multidisciplinary artist born in Norfolk, Virginia, USA and now living in Toronto, Ontario, Canada. She is a painter whose works on canvas and paper have been shown in 32 solo exhibits as well as being included in 94 group shows. Her work, which ranges from complete abstraction to the use of organic and architectural images, relates to the formalist ideas of Clement Greenberg and is noted for the use of color. Some of Sutton paintings have been related to ontology.
Edmonton Contemporary Artists' Society (ECAS) is an international artists' exhibition collective founded in 1993, based in Edmonton, Alberta, Canada.
Kirsten Lillian Abrahamson is a Canadian ceramic artist.
Jane Ash Poitras is a Cree painter and printmaker from Canada. Her work uses the idioms of mainstream art to express the experience of Aboriginal people in Canada.
The North Edmonton Sculpture Workshop (NESW) is an artist collective, or artist-run initiative, centred on a co-operative shared studio in Edmonton, Alberta, focused on "the creation and promotion of ambitious contemporary sculpture made using industrial processes and materials". The NESW name makes a symbolic reference to the cardinal directions in allusion to the idea of boundless exploration.
Andrew Michael French is an English-born abstract sculptor. A one-time pupil of Peter Hide, French is best known for upright, large-scale welded sculptures made of brightly painted steel. With sculptors Mark Bellows, Bianca Khan, Rob Willms, and Ryan McCourt, Andrew French is identified as part of the "Next Generation" of Edmonton Sculpture.
Ronald Lloyd Myren was a Canadian artist and landscape painter. He was a well known artist in Western Canada who painted mostly in the foothills and mountainous areas of those provinces. He was the Chief Preparator and Registrar, and was in charge of installations at the Edmonton Art Gallery, now known as the Art Gallery of Alberta (AGA). He was not a religious man in the traditional church sense of the word, and was not baptized. He believed in nature and was often quoted as saying, "Nature is my church." He expressed his belief and feeling about nature through his art. He spent a great deal of time every summer out in the foothills of Alberta painting, taking photos and fishing. He said he was recording scenes of nature that were going to disappear because of logging and development, and in some respects this prediction has come true.
Brenda Draney is a contemporary Cree artist based in Edmonton, Alberta.
Amy Malbeuf is a Canadian-Métis visual artist, educator, and cultural tattoo practitioner born in Rich Lake, Alberta.
The Talus Dome is a sculpture consisting of nearly 1000 316L stainless steel spheres of varying size, and is located in the river valley region of Edmonton, Alberta, southeast of the Quesnell Bridge. Designed by Benjamin Ball and Gaston Nogues, two artists from Los Angeles, the sculpture was constructed in autumn of 2011 by the Edmonton Public Art Collection at a total cost of roughly $600,000 Canadian dollars. The sculpture is named after talus, the collection of broken rock fragments at the base of a cliff or other steep rocky mass that has accumulated through periodic rockfall.