This photo series and accompanying text tracks a conversation over the course of a day between the artist and their parents. It explores the idea of how a city may benefit from urban farming, and how farming has evolved to include urban projects. The artist is interested in whether government bodies can be more supportive and promotional of urban farming.
Photos by Max Gross
The artist of this scrapbook uses the meduim to reflect on their love affair with the popular outdoor clothing brand. They reflect on the sites and stimuli which have led to their strong emotions for the brand. The work explores branding that centres around good ethics, companies that build their image around being considerate of the natural world, people and animals included.
Video by Max Gross
This PullBook was created by PIERS based on J.K. Gibson-Graham, Jenny Cameron, and Stephen Healy’s book Take Back the Economy. This project was submitted for Rebecca Johnson’s Business Associations class.
Watch an interactive two-part video of the book in action:
Video by Max Gross
In this piece, John Gormley engaged with two texts discussed in Law 315: Business Associations. One was J.K. Gibson-Graham et al’s book Take Back the Economy.
In this work, John did an oil painting of Adam Smith, and embedded I’m in advertising fragments capturing ideas and products (both serious and flippant) circulating in the market.
In Law 315: Business Associations, Victoria Merritt and Kaitlyn Kastelic read J.K Gibson-Graham et al’s book, Take Back the Economy. The two friends had quite different responses to the book, and decided to work together to construct a “Word Cloud” painting that could capture some of those differences. Different clusters of concepts pop-out depending on the orientation in which the painting is hung. The piece, seen below, was accompanied by a scripted text of their conversations about both the book and their responses to it.
“This ‘zine was produced in the context of a first year criminal law class. The students were invited to do a book review or engage with a contemporary book on any number of criminal law issues. This particular student asked if they could produce a ‘zine’ instead, which was fine for my purposes. This particular zine really showed the ability of the student to draw into conversation issues from both criminal law and from society more generally. Really quite transgressive, if I can use that word, engagement with criminal law in a way that helped to certainly centre the invisibility, or the hypervisibility, of binaries within criminal law.”
This was was a 10% assignment in Constitutional Law where the students were asked to go to a community event (it could be a talk at the law school or something at home) and then write about how they saw the Canadian Constitution reflected in that event. How could they draw a connection between the event in their community and Canadian Constitutional Law?
This student did a painting about a disconnect in her life as an Iranian person living in Canada, participating in a traditional ceremony. The painting was accompanied by food, and some writing. The three items together were the means through which to not only engage with the constitutional questions that exist for immigrants to Canada, but to document and overcome some of the similar challenges of being at law school.
Sarah Beth Hutchison created this painting, “There’s a Crack in Everything,” for a 2012 course taught by Gillian Calder.
It features the words “There’s a Crack in Everything, That’s how the Light Gets in.” The words featured on the painting are quoted from “Anthem” by Leonard Cohen (words that were later used as partial lyrics to the Coldplay song “Up With the Birds”). The use of these lyrics gives an auditory motif to the two-dimensional painting.
The birds they sang, at break of day
Start again
I heard them say
Don’t dwell on what
Has passed away
Of what is yet to be
Ah the wars they will
Be fought again
The holy dove
She will be caught again
Bought and sold
And bought again
The dove is never free.
Ring the bells that still can ring
Forget your perfect. . .
