CCCA Canadian Art Database

Birth Year: 1920

Kosso Eloul

First Name: Kosso

Last Name: Eloul

Biography (English): Kosso Eloul was an Israeli sculptor. His work displays a combination between the influence of "Canaanite" art and the abstractionism of the Ofakim Hadashim movement. He won the Dizengoff Prize for Sculpture in 1951. His artistic education began in the Herzliya Hebrew Gymnasium in Tel Aviv, and continued at the Reali School in Haifa with Yitzhak Sirkin as his teacher. He spent 1938 studying sculpture at Yitzhak Danziger's studio in Tel Aviv. In 1939, at age 19, he went to the United States in order to study at the Art Institute of Chicago, which he did until 1943. He continued his studies in New York and Philadelphia. During World War II he volunteered for the United States Navy, in which he served for two years. Returning to Palestine in February 1946, he settled in Shfeya. During the 1948 Arab–Israeli War he lived in the kibbutz of Ein Harod and served as a medic in battles taking place near Mount Gilboa. In Ein Harod he worked for five years as an art teacher. Afterwards he moved to Ramat Gan and continued teaching there until 1955. Among his students were Pinhas Ashat, Matanya Abramson, and Raffi Lavie. He joined the New Horizons art group in 1948. In 1951 he won the Dizengoff Prize for Sculpture for his sculpture "Prisoner". Beginning in the 1950s he took an active roles in Symposia in Israel, and from 1960 in international symposia for sculptors, including in Berlin (1963) and Montreal (1964), while displaying his work in European cities such as Rome and Berlin. Towards the end of 1962 he organized an international sculpture symposium which took place in Mitzpe Ramon. This event indicated the growing interest of sculptors in the Israeli landscape, especially desert and barren landscapes. In the 1960s, Eloul immigrated to Toronto, Canada, where he lived until his death in 1995. During his residence there he erected more than 40 sculptures around the city. Invited as a participant to the first sculpture symposium in the United States in 1965, he contributed the monolith sculpture "Hard Fact".

Biography (French): Kosso Eloul était un sculpteur israélien. Son travail affiche une combinaison entre l'influence de l'art « cananéen » et l'abstraction du mouvement Ofakim Hadashim. Il remporte le prix Dizengoff de sculpture en 1951. Son éducation artistique a commencé au gymnase hébreu Herzliya à Tel Aviv et s'est poursuivie à l'école Reali de Haïfa avec Yitzhak Sirkin comme professeur. Il passe l'année 1938 à étudier la sculpture dans l'atelier d'Yitzhak Danziger à Tel Aviv. En 1939, à 19 ans, il part aux États-Unis afin d'étudier à l'Art Institute of Chicago, ce qu'il fera jusqu'en 1943. Il poursuit ses études à New York et à Philadelphie. Pendant la Seconde Guerre mondiale, il s'est porté volontaire pour la marine américaine, où il a servi pendant deux ans. De retour en Palestine en février 1946, il s'installe à Shfeya. Pendant la guerre israélo-arabe de 1948, il vécut dans le kibboutz d'Ein Harod et servit comme médecin lors des batailles se déroulant près du mont Gilboa. À Ein Harod, il a travaillé pendant cinq ans comme professeur d'art. Ensuite, il a déménagé à Ramat Gan et a continué à y enseigner jusqu'en 1955. Parmi ses étudiants se trouvaient Pinhas Ashat, Matanya Abramson et Raffi Lavie. Il rejoint le groupe artistique New Horizons en 1948. En 1951, il remporte le prix Dizengoff de sculpture pour sa sculpture « Prisonnier ». À partir des années 1950, il participe activement à des colloques en Israël et, à partir de 1960, à des colloques internationaux pour sculpteurs, notamment à Berlin (1963) et à Montréal (1964), tout en exposant son travail dans des villes européennes telles que Rome et Berlin. Vers la fin de 1962, il organisa un symposium international de sculpture qui eut lieu à Mitzpe Ramon. Cet événement a indiqué l'intérêt croissant des sculpteurs pour le paysage israélien, en particulier les paysages désertiques et arides. Dans les années 1960, Eloul a immigré à Toronto, au Canada, où il a vécu jusqu'à sa mort en 1995. Au cours de sa résidence là-bas, il a érigé plus de 40 sculptures dans la ville. Invité comme participant au premier symposium de sculpture aux États-Unis en 1965, il réalise la sculpture monolithique « Hard Fact ».

Birth Year: 1920

Medium: sculpture

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Tony Emery

First Name: Tony

Last Name: Emery

Biography (English): Tony Emery was a Canadian cultural worker. In 1967, when he took over as director of the VAG, a new, younger art scene had been forming and developing in Vancouver. As part of his mandate, he opened the gallery to experimental and avant garde art practices in the province. Under Emery, the VAG became a kind of community centre for the arts. He opened the gallery to the community like never before. In addition to showing art, the VAG became a venue for poetry readings and experimental theatre/performances by groups such as Savage God Theatre. It also became a place where you could go and listen to music at lunchtime.

Biography (French): Tony Emery était un travailleur culturel canadien. En 1967, lorsqu'il prend la direction du VAG, une nouvelle scène artistique plus jeune se forme et se développe à Vancouver. Dans le cadre de son mandat, il a ouvert la galerie aux pratiques artistiques expérimentales et avant-gardistes de la province. Sous Emery, le VAG est devenu une sorte de centre communautaire des arts. Il a ouvert la galerie à la communauté comme jamais auparavant. En plus de présenter des œuvres d'art, le VAG est devenu un lieu de lecture de poésie et de théâtre/performance expérimental par des groupes tels que le Savage God Theatre. C'est aussi devenu un endroit où l'on pouvait aller écouter de la musique à l'heure du déjeuner.

Birth Year: 1920

Medium: critique curation

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ᔭᓐ ᐸᓇ John Pangnark

First Name: ᔭᓐ ᐸᓇ John

Last Name: Pangnark

Biography (English): ᔭᓐ ᐸᓇ John Pangnark was an Inuk sculptor. His work is notable for its frequent use of geometric abstraction and its nearly exclusive focus on the human figure. His work is in the collections of the Dennos Museum Center and the National Gallery of Canada. Pangnark was considered a leader and an innovator in Inuit art. His artistic practice is defined by a transition from realism to abstraction . Over the course of his artistic career, his figures had fewer limbs, the genders became more ambiguous and the forms became less defined. Pangnark created smooth, flattened planes in his sculpture to delineate his figures, imbuing his work with a sense of subtle movement . The piece Seated Figure (1968) demonstrates Pangnark’s earlier focus on creating realistic figures. The surface has been extensively polished and shaped, the body defined by symmetrical contours. The viewer can clearly see a head, two arms, two legs and even a nose. Although the figure may not be obviously gendered, the facial expression could be described as contented and perhaps smiling. Pangnark’s later work shows an appreciation for line and volume over anatomy and proportions. His pieces favour the natural characteristics of the stone, coaxing features to emerge from the pre-existing geometry. His sculpture Inuit Figure (n.d.) is an example of this aesthetic. The piece has been polished to the degree that the lines defining the figure have become smoothed and rounded; however, the viewer is still able to perceive the original form of the unworked stone. The face is denoted by simple etched lines—the shape of the head following the curve of the rock. Two hands, possibly mitted, have also been etched into the side. The figure appears to be wearing a parka, masterfully brought out by changing colours of the stone and narrowing towards the base. Pangnark’s style is partially attributable to the qualities of the material he worked with. The local deposits of stone near Arivat are notoriously resistant to modification, resulting in a distinctive minimalist style for artists from the area.

Biography (French): John Parnaq John Parnaq inuuliqtuminiq Windy tasinganik ungasinnilimmik 300 kilumiitanik Arviat pingannangani, ammalu uannangani Manitoba-up killingata, Kivallirmi Nunavummi. Arviat sanaugaqtingatitut Elisapee Nutaraaluk nuttiqtuminiq taikungatsainnaq nunalinnut 1958 mitsitinni atsururnaqtukkuulauqsuni arraagurasannik, piluaqtumi 1950-nginni pirlirarniulauqsimajut. Taitsumuuna inuusituqanga asijjitsialauqsimajuq. Parnaq angunasuqattainnalauqtuugaluaq, makimatsitsuni ilaminik, kisiani alaggaittumik sanaugaqtiruqpallialilauqsimajuq 1960 pigialiqtillugit. Ujaqqamik sanaugangit ammalu tuttuup najjunginnik, inunnguangugajuttut. Amisut sanaugaqtiit Arviarmik anaanagiinngualiurajuttillugit Parnaq anaanagiinnguanik sanagajuittuq kisiani inutuannguanik. Pijariakillitippallialilauqsimajangit sanaugait 1960 qitinginni, mikillivallirmitsutik 1970-nginni. Parnaq qaujimajauluannguarmijuq kingulliqpaami sanaqattaqsimajanginnut manirattunut, ajjigiinngittunik qaalinnut kiinannguangit qipuqqiqsimatuinnaqtuujaaqsutik, ammalu inunnguaq sunakkutiqatsiangittuq. Sanannguarninga ajjiungimmijuq nunaliit iluanni ammalu Kivallirmi qaujimajautsiaqsuni sanammagalatuinnaugiangit. Parnaq qaiqqujausimalauqsimajuq sanaugatiuqujaulluni Expo 70-mi, Osaka-mi Jaapaniisikkut nunanganni taavungaqtuminiutsuni March 1970-ngutillugu. Sanaugangit nuatausimajummariujut Kanatami ammalu Mialigait nunanganni; takutsautitsiqattapallialilauqsimajuq 1970-ngutillugu ammalu inutuutsuni takutsautitsigianngalauqtuq Los Angelos-mi, California-mi 1972-ngutillugu. Parnaq inuujunniilauqsimajuq 1980.

Website Link: https://www.inuitartfoundation.org/profiles/artist/John-Pangnark

Community Detail: rec1LjiXwSKsuED2N

Birth Year: 1920

Medium: sculpture

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