Calling the Shots
Artist: Carole Condé & Karl Beveridge
Work ID: 56676
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
Oeuvre d'art par Carole Condé & Karl Beveridge
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56631
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56629
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56634
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56635
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56637
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56630
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56636
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56632
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
Work in Progress
Artist: Carole Condé & Karl Beveridge
ID : 56633
Description: Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).
The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian woman holding a photo of union women with women celebrating the independence of Zimbabwe.
Des mesures :
Collection:
Date de réalisation : 1980
Matériaux :
Collection virtuelle : Original CCCA
No Immediate Threat
Artist: Carole Condé & Karl Beveridge
ID : 56645
Description: No Immediate Threat is based on the lives of nuclear power workers we met through family and community networks who work at the Bruce Nuclear Power Development. But even with this more personal connection, the workers were reluctant to talk about their experience and thoughts. As a community, they are aware of the criticisms of their industry and feel very protective of their interests.
The Bruce Nuclear site, located on the Ontario shore of Lake Huron, has the largest concentration of nuclear power reactors in the world. The site contains nine separate reactors and a heavy water production facility. It is owned and operated by Ontario Hydro (*1).
The first things you notice as an outsider arriving in the community is the corporate presence of Ontario Hydro and the 'macho' culture of the, mostly male, workers. It was very easy, given this and our own critical views of nuclear power, to have been moralistic towards the people who worked there. It is even quite possible that elements of this attitude slipped into the final work. In the end, however, we realized that there was little difference between those who work in the industry and the rest of us. The people who work in the nuclear industry live the same contradictions, but more intensely.
What became fascinating about the project was that it acted as a metaphor for the larger world we live in. We're all tied into our 'jobs' - the need to earn a living. And artists, in particular, are no exception (except that we tend to earn less). We all face the horrors of our society with a 'macho' indifference. The risks nuclear power workers face daily on the job are the nightmares we confront in the headlines about Sellafield, Three Mile Island, Chernobol, Elliot Lake... and do very little about. Except to grumble.
As we were completing the project, the union went out on strike. All the nuclear plants in Ontario were closed down. For a number of years Ontario Hydro management had being positioning the Atomic Energy Control Board of Canada to license management to operate the reactors during a strike. Control operators, who are members of the union, get seven years training. It's called seven years for seven seconds. An operator has seven seconds to shut down a reactor before meltdown. Management was seeking a license after only six months of training. Two weeks into the strike a license was issued to management. The next day the workers circulated a petition through the community protesting the license. The next day the strike was settled. There's no hard evidence, but it seems there had been a small operational 'incident'(*2) at the plant that night.
*1. Bruce Nuclear was sold off as part of the privatization frenzy of the 1990's. It is now owned by a British corporation and is up for sale again.
*2. Incident is the polite word used for an accident or serious breakdown
Des mesures :
Collection:
Date de réalisation : 1985-86
Matériaux :
Collection virtuelle : Original CCCA
No Immediate Threat
Artist: Carole Condé & Karl Beveridge
ID : 56638
Description: No Immediate Threat is based on the lives of nuclear power workers we met through family and community networks who work at the Bruce Nuclear Power Development. But even with this more personal connection, the workers were reluctant to talk about their experience and thoughts. As a community, they are aware of the criticisms of their industry and feel very protective of their interests.
The Bruce Nuclear site, located on the Ontario shore of Lake Huron, has the largest concentration of nuclear power reactors in the world. The site contains nine separate reactors and a heavy water production facility. It is owned and operated by Ontario Hydro (*1).
The first things you notice as an outsider arriving in the community is the corporate presence of Ontario Hydro and the 'macho' culture of the, mostly male, workers. It was very easy, given this and our own critical views of nuclear power, to have been moralistic towards the people who worked there. It is even quite possible that elements of this attitude slipped into the final work. In the end, however, we realized that there was little difference between those who work in the industry and the rest of us. The people who work in the nuclear industry live the same contradictions, but more intensely.
What became fascinating about the project was that it acted as a metaphor for the larger world we live in. We're all tied into our 'jobs' - the need to earn a living. And artists, in particular, are no exception (except that we tend to earn less). We all face the horrors of our society with a 'macho' indifference. The risks nuclear power workers face daily on the job are the nightmares we confront in the headlines about Sellafield, Three Mile Island, Chernobol, Elliot Lake... and do very little about. Except to grumble.
As we were completing the project, the union went out on strike. All the nuclear plants in Ontario were closed down. For a number of years Ontario Hydro management had being positioning the Atomic Energy Control Board of Canada to license management to operate the reactors during a strike. Control operators, who are members of the union, get seven years training. It's called seven years for seven seconds. An operator has seven seconds to shut down a reactor before meltdown. Management was seeking a license after only six months of training. Two weeks into the strike a license was issued to management. The next day the workers circulated a petition through the community protesting the license. The next day the strike was settled. There's no hard evidence, but it seems there had been a small operational 'incident'(*2) at the plant that night.
*1. Bruce Nuclear was sold off as part of the privatization frenzy of the 1990's. It is now owned by a British corporation and is up for sale again.
*2. Incident is the polite word used for an accident or serious breakdown
Des mesures :
Collection:
Date de réalisation : 1985-86
Matériaux :
Collection virtuelle : Original CCCA
No Immediate Threat
Artist: Carole Condé & Karl Beveridge
ID : 56639
Description: No Immediate Threat is based on the lives of nuclear power workers we met through family and community networks who work at the Bruce Nuclear Power Development. But even with this more personal connection, the workers were reluctant to talk about their experience and thoughts. As a community, they are aware of the criticisms of their industry and feel very protective of their interests.
The Bruce Nuclear site, located on the Ontario shore of Lake Huron, has the largest concentration of nuclear power reactors in the world. The site contains nine separate reactors and a heavy water production facility. It is owned and operated by Ontario Hydro (*1).
The first things you notice as an outsider arriving in the community is the corporate presence of Ontario Hydro and the 'macho' culture of the, mostly male, workers. It was very easy, given this and our own critical views of nuclear power, to have been moralistic towards the people who worked there. It is even quite possible that elements of this attitude slipped into the final work. In the end, however, we realized that there was little difference between those who work in the industry and the rest of us. The people who work in the nuclear industry live the same contradictions, but more intensely.
What became fascinating about the project was that it acted as a metaphor for the larger world we live in. We're all tied into our 'jobs' - the need to earn a living. And artists, in particular, are no exception (except that we tend to earn less). We all face the horrors of our society with a 'macho' indifference. The risks nuclear power workers face daily on the job are the nightmares we confront in the headlines about Sellafield, Three Mile Island, Chernobol, Elliot Lake... and do very little about. Except to grumble.
As we were completing the project, the union went out on strike. All the nuclear plants in Ontario were closed down. For a number of years Ontario Hydro management had being positioning the Atomic Energy Control Board of Canada to license management to operate the reactors during a strike. Control operators, who are members of the union, get seven years training. It's called seven years for seven seconds. An operator has seven seconds to shut down a reactor before meltdown. Management was seeking a license after only six months of training. Two weeks into the strike a license was issued to management. The next day the workers circulated a petition through the community protesting the license. The next day the strike was settled. There's no hard evidence, but it seems there had been a small operational 'incident'(*2) at the plant that night.
*1. Bruce Nuclear was sold off as part of the privatization frenzy of the 1990's. It is now owned by a British corporation and is up for sale again.
*2. Incident is the polite word used for an accident or serious breakdown
Des mesures :
Collection:
Date de réalisation : 1985-86
Matériaux :
Collection virtuelle : Original CCCA
No Immediate Threat
Artist: Carole Condé & Karl Beveridge
ID : 56641
Description: No Immediate Threat is based on the lives of nuclear power workers we met through family and community networks who work at the Bruce Nuclear Power Development. But even with this more personal connection, the workers were reluctant to talk about their experience and thoughts. As a community, they are aware of the criticisms of their industry and feel very protective of their interests.
The Bruce Nuclear site, located on the Ontario shore of Lake Huron, has the largest concentration of nuclear power reactors in the world. The site contains nine separate reactors and a heavy water production facility. It is owned and operated by Ontario Hydro (*1).
The first things you notice as an outsider arriving in the community is the corporate presence of Ontario Hydro and the 'macho' culture of the, mostly male, workers. It was very easy, given this and our own critical views of nuclear power, to have been moralistic towards the people who worked there. It is even quite possible that elements of this attitude slipped into the final work. In the end, however, we realized that there was little difference between those who work in the industry and the rest of us. The people who work in the nuclear industry live the same contradictions, but more intensely.
What became fascinating about the project was that it acted as a metaphor for the larger world we live in. We're all tied into our 'jobs' - the need to earn a living. And artists, in particular, are no exception (except that we tend to earn less). We all face the horrors of our society with a 'macho' indifference. The risks nuclear power workers face daily on the job are the nightmares we confront in the headlines about Sellafield, Three Mile Island, Chernobol, Elliot Lake... and do very little about. Except to grumble.
As we were completing the project, the union went out on strike. All the nuclear plants in Ontario were closed down. For a number of years Ontario Hydro management had being positioning the Atomic Energy Control Board of Canada to license management to operate the reactors during a strike. Control operators, who are members of the union, get seven years training. It's called seven years for seven seconds. An operator has seven seconds to shut down a reactor before meltdown. Management was seeking a license after only six months of training. Two weeks into the strike a license was issued to management. The next day the workers circulated a petition through the community protesting the license. The next day the strike was settled. There's no hard evidence, but it seems there had been a small operational 'incident'(*2) at the plant that night.
*1. Bruce Nuclear was sold off as part of the privatization frenzy of the 1990's. It is now owned by a British corporation and is up for sale again.
*2. Incident is the polite word used for an accident or serious breakdown
Des mesures :
Collection:
Date de réalisation : 1985-86
Matériaux :
Collection virtuelle : Original CCCA
No Immediate Threat
Artist: Carole Condé & Karl Beveridge
ID : 56642
Description: No Immediate Threat is based on the lives of nuclear power workers we met through family and community networks who work at the Bruce Nuclear Power Development. But even with this more personal connection, the workers were reluctant to talk about their experience and thoughts. As a community, they are aware of the criticisms of their industry and feel very protective of their interests.
The Bruce Nuclear site, located on the Ontario shore of Lake Huron, has the largest concentration of nuclear power reactors in the world. The site contains nine separate reactors and a heavy water production facility. It is owned and operated by Ontario Hydro (*1).
The first things you notice as an outsider arriving in the community is the corporate presence of Ontario Hydro and the 'macho' culture of the, mostly male, workers. It was very easy, given this and our own critical views of nuclear power, to have been moralistic towards the people who worked there. It is even quite possible that elements of this attitude slipped into the final work. In the end, however, we realized that there was little difference between those who work in the industry and the rest of us. The people who work in the nuclear industry live the same contradictions, but more intensely.
What became fascinating about the project was that it acted as a metaphor for the larger world we live in. We're all tied into our 'jobs' - the need to earn a living. And artists, in particular, are no exception (except that we tend to earn less). We all face the horrors of our society with a 'macho' indifference. The risks nuclear power workers face daily on the job are the nightmares we confront in the headlines about Sellafield, Three Mile Island, Chernobol, Elliot Lake... and do very little about. Except to grumble.
As we were completing the project, the union went out on strike. All the nuclear plants in Ontario were closed down. For a number of years Ontario Hydro management had being positioning the Atomic Energy Control Board of Canada to license management to operate the reactors during a strike. Control operators, who are members of the union, get seven years training. It's called seven years for seven seconds. An operator has seven seconds to shut down a reactor before meltdown. Management was seeking a license after only six months of training. Two weeks into the strike a license was issued to management. The next day the workers circulated a petition through the community protesting the license. The next day the strike was settled. There's no hard evidence, but it seems there had been a small operational 'incident'(*2) at the plant that night.
*1. Bruce Nuclear was sold off as part of the privatization frenzy of the 1990's. It is now owned by a British corporation and is up for sale again.
*2. Incident is the polite word used for an accident or serious breakdown
Des mesures :
Collection:
Date de réalisation : 1985-86
Matériaux :
Collection virtuelle : Original CCCA
No Immediate Threat
Artist: Carole Condé & Karl Beveridge
ID : 56643
Description: No Immediate Threat is based on the lives of nuclear power workers we met through family and community networks who work at the Bruce Nuclear Power Development. But even with this more personal connection, the workers were reluctant to talk about their experience and thoughts. As a community, they are aware of the criticisms of their industry and feel very protective of their interests.
The Bruce Nuclear site, located on the Ontario shore of Lake Huron, has the largest concentration of nuclear power reactors in the world. The site contains nine separate reactors and a heavy water production facility. It is owned and operated by Ontario Hydro (*1).
The first things you notice as an outsider arriving in the community is the corporate presence of Ontario Hydro and the 'macho' culture of the, mostly male, workers. It was very easy, given this and our own critical views of nuclear power, to have been moralistic towards the people who worked there. It is even quite possible that elements of this attitude slipped into the final work. In the end, however, we realized that there was little difference between those who work in the industry and the rest of us. The people who work in the nuclear industry live the same contradictions, but more intensely.
What became fascinating about the project was that it acted as a metaphor for the larger world we live in. We're all tied into our 'jobs' - the need to earn a living. And artists, in particular, are no exception (except that we tend to earn less). We all face the horrors of our society with a 'macho' indifference. The risks nuclear power workers face daily on the job are the nightmares we confront in the headlines about Sellafield, Three Mile Island, Chernobol, Elliot Lake... and do very little about. Except to grumble.
As we were completing the project, the union went out on strike. All the nuclear plants in Ontario were closed down. For a number of years Ontario Hydro management had being positioning the Atomic Energy Control Board of Canada to license management to operate the reactors during a strike. Control operators, who are members of the union, get seven years training. It's called seven years for seven seconds. An operator has seven seconds to shut down a reactor before meltdown. Management was seeking a license after only six months of training. Two weeks into the strike a license was issued to management. The next day the workers circulated a petition through the community protesting the license. The next day the strike was settled. There's no hard evidence, but it seems there had been a small operational 'incident'(*2) at the plant that night.
*1. Bruce Nuclear was sold off as part of the privatization frenzy of the 1990's. It is now owned by a British corporation and is up for sale again.
*2. Incident is the polite word used for an accident or serious breakdown
Des mesures :
Collection:
Date de réalisation : 1985-86
Matériaux :
Collection virtuelle : Original CCCA
No Immediate Threat
Artist: Carole Condé & Karl Beveridge
ID : 56640
Description: No Immediate Threat is based on the lives of nuclear power workers we met through family and community networks who work at the Bruce Nuclear Power Development. But even with this more personal connection, the workers were reluctant to talk about their experience and thoughts. As a community, they are aware of the criticisms of their industry and feel very protective of their interests.
The Bruce Nuclear site, located on the Ontario shore of Lake Huron, has the largest concentration of nuclear power reactors in the world. The site contains nine separate reactors and a heavy water production facility. It is owned and operated by Ontario Hydro (*1).
The first things you notice as an outsider arriving in the community is the corporate presence of Ontario Hydro and the 'macho' culture of the, mostly male, workers. It was very easy, given this and our own critical views of nuclear power, to have been moralistic towards the people who worked there. It is even quite possible that elements of this attitude slipped into the final work. In the end, however, we realized that there was little difference between those who work in the industry and the rest of us. The people who work in the nuclear industry live the same contradictions, but more intensely.
What became fascinating about the project was that it acted as a metaphor for the larger world we live in. We're all tied into our 'jobs' - the need to earn a living. And artists, in particular, are no exception (except that we tend to earn less). We all face the horrors of our society with a 'macho' indifference. The risks nuclear power workers face daily on the job are the nightmares we confront in the headlines about Sellafield, Three Mile Island, Chernobol, Elliot Lake... and do very little about. Except to grumble.
As we were completing the project, the union went out on strike. All the nuclear plants in Ontario were closed down. For a number of years Ontario Hydro management had being positioning the Atomic Energy Control Board of Canada to license management to operate the reactors during a strike. Control operators, who are members of the union, get seven years training. It's called seven years for seven seconds. An operator has seven seconds to shut down a reactor before meltdown. Management was seeking a license after only six months of training. Two weeks into the strike a license was issued to management. The next day the workers circulated a petition through the community protesting the license. The next day the strike was settled. There's no hard evidence, but it seems there had been a small operational 'incident'(*2) at the plant that night.
*1. Bruce Nuclear was sold off as part of the privatization frenzy of the 1990's. It is now owned by a British corporation and is up for sale again.
*2. Incident is the polite word used for an accident or serious breakdown
Des mesures :
Collection:
Date de réalisation : 1985-86
Matériaux :
Collection virtuelle : Original CCCA
No Immediate Threat
Artist: Carole Condé & Karl Beveridge
ID : 56644
Description: No Immediate Threat is based on the lives of nuclear power workers we met through family and community networks who work at the Bruce Nuclear Power Development. But even with this more personal connection, the workers were reluctant to talk about their experience and thoughts. As a community, they are aware of the criticisms of their industry and feel very protective of their interests.
The Bruce Nuclear site, located on the Ontario shore of Lake Huron, has the largest concentration of nuclear power reactors in the world. The site contains nine separate reactors and a heavy water production facility. It is owned and operated by Ontario Hydro (*1).
The first things you notice as an outsider arriving in the community is the corporate presence of Ontario Hydro and the 'macho' culture of the, mostly male, workers. It was very easy, given this and our own critical views of nuclear power, to have been moralistic towards the people who worked there. It is even quite possible that elements of this attitude slipped into the final work. In the end, however, we realized that there was little difference between those who work in the industry and the rest of us. The people who work in the nuclear industry live the same contradictions, but more intensely.
What became fascinating about the project was that it acted as a metaphor for the larger world we live in. We're all tied into our 'jobs' - the need to earn a living. And artists, in particular, are no exception (except that we tend to earn less). We all face the horrors of our society with a 'macho' indifference. The risks nuclear power workers face daily on the job are the nightmares we confront in the headlines about Sellafield, Three Mile Island, Chernobol, Elliot Lake... and do very little about. Except to grumble.
As we were completing the project, the union went out on strike. All the nuclear plants in Ontario were closed down. For a number of years Ontario Hydro management had being positioning the Atomic Energy Control Board of Canada to license management to operate the reactors during a strike. Control operators, who are members of the union, get seven years training. It's called seven years for seven seconds. An operator has seven seconds to shut down a reactor before meltdown. Management was seeking a license after only six months of training. Two weeks into the strike a license was issued to management. The next day the workers circulated a petition through the community protesting the license. The next day the strike was settled. There's no hard evidence, but it seems there had been a small operational 'incident'(*2) at the plant that night.
*1. Bruce Nuclear was sold off as part of the privatization frenzy of the 1990's. It is now owned by a British corporation and is up for sale again.
*2. Incident is the polite word used for an accident or serious breakdown
Des mesures :
Collection:
Date de réalisation : 1985-86
Matériaux :
Collection virtuelle : Original CCCA
Free Expression
Artist: Carole Condé & Karl Beveridge
ID : 56646
Description: A response to the free trade agreement signed between Canada and the US in 1988. It focuses on the effects the agreement will have on Canadian magazines and books.
Des mesures :
Collection:
Date de réalisation : 1989
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56651
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56656
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56655
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56652
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56650
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56649
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56648
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56653
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56654
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Non haberá nada para ninguén(There Will Be Nothing for Anyone)
Artist: Carole Condé & Karl Beveridge
ID : 56647
Description: Non haberá nada Para Ninquén
(There Will Be Nothing for Anyone)
When we were first invited to come to Vigo we hesitated in accepting the invitation. We were wary about photographing in a community we had no connection to or knowledge of. However, when we began inquiring about Vigo, a connection soon emerged. As a major Atlantic fishing port, fishermen from Vigo have fished off Canada's Grand Banks for over two centuries, if not longer. And Vigo is implicated in the current controversy surrounding the decline of the cod fishery and Canada's declaration of a cod fishing moratorium.
We talked to members of the Fish, Food and Allied Workers Union (FFAW/CAW) and did as much research as a month would allow. It quickly became apparent that the current conflicts around over fishing are not between fishermen from different countries, as the media often portrays the situation, but is due to the manipulations and mismanagement of governments and fish corporations over the past forty years. It is a scenario not dissimilar to the devastation of the worldás forests and other environmental resources.
The project we undertook in Vigo involved both studio and location production. The images tell the story of the decline of the cod fishery from a Canadian perspective. We begin the series by identifying ourselves as traveling photographers visiting the Bar Terra Nova in Vigo. We reference to religious imagery both because of its history in Galicia, notably Santiago de Compostela, and to its place in the cultural life of both Galicia and Newfoundland. The series ends on an optimistic note that the cod fishery could survive if fish workers and their communities were able to manage the stock on the basis of local need and mutual consensus.
Postscript: A final image was added to the work a year later and was shot in St. John's harbour. It references to the 'Turbot War' which had just occurred and the impoundment of the Esta, a trawler from Vigo, for violating fishery regulations.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56663
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56660
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56668
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56661
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56665
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56667
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56658
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56662
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56666
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56664
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56659
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Not A Care: A Short History of Health Care
Artist: Carole Condé & Karl Beveridge
ID : 56657
Description: 'Not a Care.. is a history of caring from early times up to the present health care crisis in Canada. A series of eight photographic images depicts how people were cared for at various points in history and show a patient growing up from birth to old age. A care giver is portrayed from each period along with the relevant medical technology (flint knives to CAT scans) and medicine (herbs to pills) and who, in each case, benefits from them.
The first image depicts a communal birth and is based on early European cave paintings. The second portrays a poor child who is ill and is based on Egyptian wall reliefs. The third is based on a 11c scroll by Li Tang and depicts a child receiving herbal medicines. The fourth is based on an early 15c painting by Fra Angelico and depicts a boy who has the plague and is seeking help from a church hospital. The fifth portrays a doctor giving medicine to a young worker who has come to his door and is based on realist paintings from the 1890's. The sixth is based on Picasso's 'Les Demoiselles d'Avignon' (1907) and depicts the appropriation of herbal remedies by European interests. The next image depicts a young man who is unable to pay for his hospital bed and is based on Life magazine photo by Eugene Smith from the late 1940's. The eighth image shows the introduction of medicare in the 1960's and is based on Andy Warhol photo silk-screens. The next image is a play on 1990's advertising and shows an older patient leaving a hospital early. The last image depicts a contemporary street patrol worker bringing food to an old man sleeping in a bus shelter.
The series is framed by a title image that shows a cradle and a final credit image that shows a grave. They refer to the early dream of socialized medicine: that of universal care from cradle to the grave or from womb to tomb as Canadians put it.
The artists met with many health care workers (members of SEIU) and talked with them about working in health care and the current crisis faced in Ontario and across Canada. Based on these discussions and from additional research on the history of health care and what is happening today, it became apparent that there has been a fundamental shift in attitudes about social caring.
Des mesures :
Collection:
Date de réalisation : 1999-01
Matériaux :
Collection virtuelle : Original CCCA
Calling the Shots
Artist: Carole Condé & Karl Beveridge
ID : 56673
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
Calling the Shots
Artist: Carole Condé & Karl Beveridge
ID : 56676
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
Calling the Shots
Artist: Carole Condé & Karl Beveridge
ID : 56674
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
Calling the Shots
Artist: Carole Condé & Karl Beveridge
ID : 56675
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
Calling the Shots
Artist: Carole Condé & Karl Beveridge
ID : 56669
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
Calling the Shots
Artist: Carole Condé & Karl Beveridge
ID : 56670
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
Calling the Shots
Artist: Carole Condé & Karl Beveridge
ID : 56672
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
Calling the Shots
Artist: Carole Condé & Karl Beveridge
ID : 56671
Description: Calling the Shots is about the anti-globalization movement. It is also about media. The media is one of the battlefields of globalization. While the anti-globalization protests have now become anti-war protests the media still plays a central role. Protests are staged for the media as much as the media reconstructs them as spectacles of 'violence'. And the 'violence' of protest is contrasted to the 'sacrifices' of miltary 'intervention'.
Calling the Shots is a long zoom that moves out from an anti-globalization protest march into a television production studio and a world trade press conference. The characters all represent different struggles and interests: from the Maquilladora worker to the politician and corporate media executive. It portrays the play between democracy and the media; the citizen and the consumer; appropriation and suppression.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux :
Collection virtuelle : Original CCCA
