Joyce Wieland Explained

Joyce Wieland
Birth Date:30 June 1930
Birth Place:Toronto, Ontario, Canada
Death Place:Toronto, Ontario, Canada
Spouse:Michael Snow (1956-1976)
Awards:Royal Canadian Academy of Arts, Order of Canada (1982), Toronto Arts Foundation's Visual Arts Award
Field:Filmmaker, painter
Training:Central Technical School, Toronto

Joyce Wieland (June 30, 1930  - June 27, 1998) was a Canadian experimental filmmaker and mixed media artist.[1] Wieland found success as a painter when she began her career in Toronto in the 1950s. In 1962, Wieland moved to New York City and expanded her career as an artist by including new materials and mixed media work. During that time, she also rose to prominence as an experimental filmmaker and soon, institutions such as the Museum of Modern Art in New York were showing her films. In 1971, Wieland's True Patriot Love exhibition was the first solo exhibition by a living Canadian female artist at the National Gallery of Canada. In 1982, Wieland received the honour of an Officer of the Order of Canada[2] and in 1987, she was awarded the Toronto Arts Foundation's Visual Arts Award. She was also a member of the Royal Canadian Academy of Arts.[3]

Biography

Early life and education

Wieland was born on June 30, 1930, in Toronto, Ontario, Canada to British immigrant parents. She was the daughter of Sydney Arthur Wieland and Rosetta Amelia Watson.[4] Wieland's father died from heart disease in 1937, and her mother followed soon after, leaving three children in financially difficult circumstances.[5] Joyce Wieland's aptitude for art was first expressed during her youth, when she made many drawings and comic books.

As a teenager, she attended Central Technical School, where she studied commercial art and graphic design. Wieland first enrolled in dress design and hoped it would help her land a job since she thought art would not be financially rewarding.[6] However, at Central Tech, she met Doris McCarthy who taught at the school. McCarthy's artistic identity inspired Wieland to pursue her own.[7] She saw potential in Wieland and convinced her to transfer into the art department.[8]

Career

After graduating in 1948, Wieland held various jobs as a graphic designer. Wieland's first job was with E.S. & A. Robinson in design packaging,[9] followed by work as a designer at Planned Sales. While working for these agencies, Wieland interacted with many artists and fellow alumni from Central Tech and the Ontario College of Art. During this time, she also kept focusing on her art but wasn't confident in showing off her work yet.[10]

In the early 1950s, Wieland's interest in art films grew and she started attending the Toronto Film Society screenings where she was introduced to the works of filmmakers such as Maya Deren, who later influenced her own films.[11] In 1953, Wieland joined Graphic Associates, an animation studio where she learned techniques she would later apply in her own films.[12]

She had her first solo exhibition in 1960 at the Isaacs Gallery in Toronto, making her the only woman that the prestigious gallery represented and earning her greater recognition for her work.[13] She moved to New York in 1962 and throughout the decade produced most of her experimental films. One of these films is Rat Life and Diet in North America (1968), which presents animals as its main characters. The film is a metaphor for revolution and escape, where cats are the oppressors and the gerbils are the oppressed. The gerbils represent political prisoners in the United States who make their way to freedom in Canada.[14] Rat Life and Diet in North America is an example of how Wieland's concern with political issues, nationalism, symbols, and myths was represented aesthetically through her works.[15]

Wieland's self-identification as a feminist in an era of second wave of feminism also manifested itself through aesthetic means and played an important part in her career as an artist.[16] However, her visual-art practice's popularity remained confined within Canada.[7]

Wieland returned to Toronto in 1971. She said she could not make art anymore in America due to its ideological orientation.[7] Her 1976 film, The Far Shore, had had "devastating appraisals and dismal box office receipts".[17] Following this, her next project—a dramatization of Margaret Laurence's iconic 1974 novel The Diviners — did not get off the ground.[17] In 1987 a retrospective of her work at the Art Gallery of Ontario presented a critical overview of both her visual art practice and her experimental films.[7]

Work

Joyce Wieland was a central figure in Canadian art during the 1960s and 1970s. Though, she began her career as a painter, her work came to explore a wide range of materials and media, including film. The 1960s were a productive time for Wieland, as she responded to the contemporary artistic trends of Pop art and Conceptual art. Joanne Sloane maintains in Joyce Wieland: Life & Work that her encounters with these influences "were always original and idiosyncratic."[18] Sloane identifies the several consistent bodies of Wieland's work that emerged throughout the 1960s as: "quasi-abstract paintings that reveal messages, signs, or erotic drawings; collages and sculptural assemblages; filmic paintings; disaster paintings; plastic film-assemblages; quilts and other fabric-based objects; and language-based works."[18] Her art was often infused with humour, even as it engaged with issues of war, gender, ecology, and nationalism.[18]

Internationally, Wieland is best known as an experimental feminist filmmaker.[19] Her works introduced physical manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films while also playing with the facticity of photographed images. Wieland's output was small but received considerable attention in comparison to other female avant-garde filmmakers of her time. In the 1980s, Wieland focused again on painting, though her representation of the natural environment became less identifiably Canadian[18] and her themes simply ones of nature, love and life.[20]

Personal life

In 1956, Wieland married filmmaker Michael Snow, whom she had met through her job at the animation studio. They remained married for over twenty years until their divorce in 1976. In 1962, Wieland and Snow moved to New York where they lived until 1971.[21]

After she moved back to Toronto in 1971, Wieland maintained a studio practice there until her death on June 27, 1998, from Alzheimer's disease, aged 67.[22]

She was the aunt of filmmaker and video artist Su Rynard.[23]

Filmography

YearTitle
1956Tea in the Garden
1958A Salt in the Park
1963Larry's Recent Behaviour
1964 Patriotism
1964 Patriotism, Part II
1965Water Sark
1965Barbara's Blindness (co-directed with Betty Ferguson)
1964-66Peggy's Blue Skylight
1967-68Handtinting
1967-681933
1967-68Sailboat
1968Rat Life and Diet in North America
1969Dripping Water (co-directed with Michael Snow)
1969Cat Food
1969Reason Over Passion
1972Pierre Vallières
1973Solidarity
1976The Far Shore
1984A and B in Ontario (co-directed with Hollis Frampton)
1972-86

Films about Joyce Wieland

Visual art

Influences on other work

In 2014, the focus of artist Mark Clintberg's Fogo Island residency was a quilted response to Wieland's work Reason Over Passion.[26] The original work, made in both English and French, was inspired by the motto of the then-Prime Minister Pierre Elliot Trudeau. The quilt was infamously torn apart by his wife, Margaret Trudeau, in a fit of rage at his cold logic during an argument.[27] In her autobiography Beyond Reason (1979), Trudeau narrates that encounter:

Clintberg's response, sewn in collaboration with the Wind and Waves Artisans' Guild, turns Wieland's work on its head, formally and literally as each piece of the quilt is stitched "wrong"-side up exposing its soft-coloured underbelly. Moreover in the figurative sense, his re-imagining renewed the need for passion instead of reason that Margaret pleaded in her rage. Unlike Wieland's quilts, which hung on the wall, Clintberg's quilts are placed on a random bed each night at the Fogo Island Inn.[28]

Awards

Legacy

The year 2025 begins a year-long celebration of her work with a major travelling exhibition titled Joyce Wieland: Heart-On organized by the Art Gallery of Ontario and Montreal Museum of Fine Arts.[30]

Further reading

External links

Notes and References

  1. Book: Nowell, Iris. Joyce Wieland: A Life in Art. 2001-09-01. ECW Press. 9781550224764. Ill. en. registration.
  2. Web site: Ms. Joyce Wieland . www.gg.ca . Governor General of Canada . 28 May 2022.
  3. News: Joyce Wieland. Zemans. Joyce. The Canadian Encyclopedia. 2016-10-17.
  4. Book: Lind, Jane. Artist on Fire. J. Lorimer. 2001. Toronto, ON. 25.
  5. Book: Lind, Jane. Artist on Fire. J. Lorimer. 2001. Toronto, ON. 44–46.
  6. Book: Nowell, Iris. Joyce Wieland: A Life in Art. ECW Press. 2001. Toronto, ON. 55–56.
  7. Sloan, Johanne. Joyce Wieland: Life & Work. Toronto: Art Canada Institute, 2014.
  8. Nowell, Iris (2001). Joyce Wieland: A Life in Art, Toronto, ON: ECW Press, pp. 56-57
  9. Lind, Jane (2001). Artist on Fire. Toronto, ON: J. Lorimer. p. 64
  10. Nowell, Iris (2001). Joyce Wieland: A Life in Art. Toronto, ON: ECW Press. pp. 68-69.
  11. Nowell, Iris (2001). Joyce Wieland: A Life in Art. Toronto, ON: ECW Press, pg. 78.
  12. http://www.gallery.ca/en/see/collections/artist.php?iartistid=5908 "Joyce Wieland"
  13. http://www.collectionscanada.gc.ca/women/030001-1173-e.html "Joyce Wieland"
  14. Book: Elder, Kathryn. The Films of Joyce Wieland. Cinematheque Ontario. 1999. Toronto, ON. 54.
  15. Holmes-Moss, Kristy A. 2006. Negotiating the nation: "expanding" the work of joyce wieland. Canadian Journal of Film Studies XV (2): 20.
  16. Holmes-Moss, Kristy A. 2006. Negotiating the nation: "expanding" the work of joyce wieland. Canadian Journal of Film Studies XV (2): 21.
  17. Book: Armatage, Kay. Great Canadian Film Directors. The University of Alberta Press. 2007. 978-0-88864-479-4. Melnyk. George. Edmonton, Alberta, Canada. 4. Chapter 1: Weiland's Far Shore and Shipman's God's Country. registration. https://archive.org/details/greatcanadianfil00meln/page/4.
  18. Book: Sloan, Johanne. Joyce Wieland: Life & Work. Art Canada Institute. 2014.
  19. Book: Rabinovitz . Lauren . "The Development of Feminist Strategies in the Experimental Films of Joyce Wieland." Originally published in Film Reader 5 (1982): 132-140. The Films of Joyce Wieland, edited by Kathryn Elder. . 1999 . Toronto International Film Festival Group . Toronto . 116. 2021-04-12.
  20. Book: Murray . Joan. Canadian Art in the Twentieth Century. 1999. Dundurn. 146. Toronto. 260193722. 2021-04-12.
  21. Encyclopedia: Joyce Wieland. https://web.archive.org/web/20121018063548/http://www.thecanadianencyclopedia.com/articles/joyce-wieland. dead. October 18, 2012. Zemans. Joyce. The Canadian Encyclopedia. April 12, 2013.
  22. Johnson. Brian D.. July 13, 1998. ADIEU TO TWO PIONEERS: Joyce Wieland 1931-1998, Bill Reid 1920-1998. Maclean's. 111. 28.
  23. Jay Stone, "Director brings her vision to town". Ottawa Citizen, March 24, 2000.
  24. [Carole Corbeil]
  25. Web site: Boat Tragedy 1964. Sloan. Johanne. 2014. March 3, 2018.
  26. Web site: www.markclintberg.com. cargocollective.com. 2016-11-17.
  27. Web site: Wieland/Trudeau.. davidkbalzer. 2011-09-19. David Balzer is a Toronto-based author and critic.. 2016-11-17.
  28. Web site: Passion Over Reason / La passion avant la raison - www.markclintberg.com. cargocollective.com. 2016-11-17.
  29. Web site: Prizes . Canada Council . 15 August 2022.
  30. Web site: Exhibitions . ago.ca . Art Gallery of Ontario . 29 July 2024.