STILL LIFE is intended to respond to its circumstances: long sightlines, a drive-by experience that is by and large going to be experienced many times by people who travel that road on a daily basis, albeit at very different speeds according to traffic conditions, and in very different states of mind, not to mention from a wide variety of cultural perspectives.
In the first instance, STILL LIFE is a gentle pun on the situation: a work of art where a billboard would normally be. Any number of artists have pastiched or deconstructed Billboard advertising… this is simpler, a play on the ironies of the phrase’s constituent parts, “still” and “life”.
Under these viewing conditions, anything ARTSTAGE includes will be un-still: the works of art may not be “kinetic” in their construction, but they certainly must be in their public’s experience. If you only see the work from the highway, it’s effectively kinetic unless you stop the car. On the other hand, the work is hyper-still too: it is a regular reminder that no matter what else has happened since the last time you drove by, this pocket of reality is “still” what it was, unchanged at least provisionally. That characteristic, of anticipating and yet stepping out of the flux of change surrounding us, is fundamental to art’s role in both public and private spheres.
“Still life” is a simple tag line, but it has a lot of layers to play with. At one level, the aggregate of all the installations that add up to ARTSTAGE itself will be a large-scale still-life arrangement. At another, the phrase will evoke an incredible variety of specific experiences of works of art in the minds of drivers and passengers on the 401. One can almost see a cloud of memories of still life paintings forming in the minds of people as they pass, and then dispersing through all the different trains of thought down the road. As the genre most typically associated with details of daily life, and most broadly experienced as historical “ART” in mainstream culture, “still life” will be just about the exact contrary of most of the genre and associations it names… the other end of the spectrum of what a work of art can be in relation to time, space, and place.
What proportion of the millions who will drive by, how many times, will the reading actually not even register as an “Art Thing”? Out of context, the simple reminder that whatever you think is all change, speed, instability… something in the way of the world is actually not changing. In some small measure, the piece responds to Heraclitus - where his saying that “you never step twice into the same river” describes the instability of the phenomenal world as an absolute, STILL LIFE implies something quite different. The viewing of it will unfold differently every time, for every person, from the first sight of “STILL” in the distance, to the breaking-up and re-resolving of the letters and words across the lenticular surface, to the much shorter span of time “LIFE” can be read at the other end of the viewing sequence. In some of the minds, all of the time, the question will seem to come from nowhere: what HASN’T changed since the last time you passed this way?
Carl Skelton 2006
SELECTED SOLO PROJECTS
2006 Still Life Toronto public installation text project (13’ tall x 76’ long)
2004 Gist 60 Wall Street, New York (in Association with LMCC/Spectropolis)
2003 Poltergeist 7 Hours, Berlin curated by C. Gruess
Next Generation Americana Powerhouse, Memphis (Curated by Petedr Fleissig)
2002 Kiss My Glow projection/sound installation, White Box, New York
Will Is Was video/projection/ installation Art Gallery of Hamilton, Canada
(curated by Shirley Madill, catalog essays by Andrew Hunter, Thomas McEvilley, Jessica Wyman)
2001 Prisoners of Information a web tale for Immaterial.net
Dada Lama Ping Pong a multimedia performance at White Box Gallery, New York,
part of the “Textual Operations” series organized by A.S. Bessa
2000 Living Stones public installation, Toronto
1999 Out Here curated by Andrew Hunter, touring, catalog
Heavy Bird St. Norbert Art & Culture Centre
(outdoor installation project, computer-generated sculpture and video)
Carl Skelton William Turner Gallery / Los Angeles International
Begging Bear Permanent installation, MacDonald Stewart Art Centre, Guelph, Canada
Perfect Lover Larvae GAGA, New York
1997 Luminous Bummy Fruitoid (curated by Brian Scott) University of Toronto at Scarborough
Wild Things (site project, sponsored by PEREGRINE, Toronto)
Canadiana Cold City gallery, Toronto
MACROMANIA (solo, curated by Jack Butler, catalogue) The New Gallery, Calgary
IRON MASK (solo) The Koffler Loggia Gallery, Toronto
1991 MACROMANIA (solo, catalog) Latitude 53, Edmonton
MACROMANIA (solo, catalog) The Red Head Gallery, Toronto
SELECTED GROUP PROJECTS
2002 Spirit Bar projection/performance for Cabinet Magazine at Creative Time, Brooklyn
Spirit Bar Airborne The Armory Show, New York
2000 Climbing The Walls video and projection Robert Birch Gallery (curated by Eileen Sommerman)
Tongue in Cheek 360, Toronto (curated by Eileen Sommerman)
Beaver Tales Oakville Galleries (curated by Marnie Fleming and Reid Diamond)
1998 Layers Wynick-Tuck Gallery, Toronto
Version City University of Buffalo Art Gallery
Up North Winnipeg Art Gallery, McMaster Art Museum
1997 Up North/ a Northern Ontario Tragedy Tom Thomson Memorial Gallery,
Owen Sound (5 works included. in a project by Andrew Hunter)
Blur Toronto Sculpture Garden, Toronto (with Reinhard Reitzenstein)
1996 Young Contemporaries London Regional Art Gallery (touring, curated by James Patten)
Wild Life The Koffler Gallery, Toronto (curated by John Massier)
Reviews 4 Mercer Union, Toronto (curated by N. Olanick & T. Folland)
Limousine Free Parking gallery, Toronto
1995 Pit, Fruit, Vine Linda Genereux Gallery, Toronto (outdoor installation in collaboration with
Votive Chamber of the Nether Mind Toronto 1994 Bookends... Walter Phillips Gallery, Banff Center (curated by Ashok Mathur)
Nether Mind III Site-specific electronic installation 135 Liberty St, Toronto
Duke-U-Menta Toronto (curated by 23rd Room)
1993 The Heliotropic (curated by Jennifer McMackon) Mercer Union, Toronto
Naked State: A Selected View of Toronto Art The Power Plant, Toronto
(curated by Louise Dompierre & Arthur Renwick)
Millennium Cold City Gallery, Toronto
1992 SACRED? (collaborative installation with Mike MacDonald) Red Head Gallery, Toronto
SELECTED WEB/CD WORK
Polytechnic University Department of Humanities and Social Sciences website redesign
Prisoners of Information a web tale for Immaterial.net… Beware: processor and memory-intensive!
Crossfade web interface for an online audio project, designed and built interface with Vivian Selbo,
a co-production of SFMOMA, Walker Arts Center, ZKM
Under_score web showcase of Australian internet art, designed and built interface with Vivian Selbo,
curated by Wayne Ashley for The Brooklyn Academy of Music Next Wave Festival
Before and After Geography web project for Brooklyn Academy of Music Next Wave Festival,
with Vivian Selbo, based on Ralph Lemon’s “Tree/Part 2 of the Geography Trilogy”
SELECTED LECTURES & WORKSHOPS
2006 UICEE Conference paper: Generation Beta: Do Engineers Wrtie Electronic Philosophy?
2004 Think Tank: Digital Futures Organized by Wayne Ashley for the Lower Manhattan Cultural Council
and Pace University
Conference Chair, Hyperpolis: Other Globalizations
2003 Media Presentation: Subveillance for The Future of War conference organized by LMCC
and the New School, New York
2002 Panel: New Media Workshop with Sara Diamond, International Society for the
Performing Arts Annual Conference, Dec. 9, 2002, NYC
Visiting Critic: Eyebeam Atelier, post-graduate stereolithography studio seminar
Panel: Eyebeam Atelier, Online Narrative Structures with Christiane Paul
2001 Panel: Brooklyn Information & Culture (BRIC), presentation of Before and After Geography
2000 Workshop: Advanced Design for Multimedia, Banff New Media Institute
1997 Visiting Critic: University of Toronto School of Architecture and Landscape Architecture,
1996 Visiting Critic: University of Toronto School of Architecture and Landscape Architecture,
1993 Panel: Net Work (organized by Louise Dompierre for the Power Plant, Toronto)
Paper/panel: "En défense du Tirage Sans Limite", as part of the proceedings of a
symposium for artists working with commercial offset printers, and a review of the
code of ethics for Printmakers in Quebec
1988 Workshop: photo-screenprinting with water-based inks, for the Art Academy of
Soviet Estonia (which has presumably been renamed since)
Pending Co-PI (with Joel Wein) NSF Broadening Participation in Computing
Co-PI (with Nikhil Gupta) NSF Advanced Learning Technologies
Co-PI (with NIkhil Gupta) NSF Nanotechnology Undergraduate Education
$250,000 (demonstration project)
NYSCA Electronic and Media Arts Services to the Field $5,000
1998 B Grant, Canada Council
1997 Travel Grant, Canada Council
1996 Short Term B grant, Canada Council)
Cash award, City of Toronto Garrison Creek Linkage project (second place)
Bravo!Fact bursary for Canadiana
1995 Special Project Grant, Ontario Arts Council
Visual Arts Grant "B", Canada Council
1994 Short Term Grant, Canada Council
1993 $10,000 – (senior level) Grant, Ontario Arts Council
1992 $5000 – (mid-career level) Grant, Ontario Arts Council
1991 $5000 – (mid-career level) Grant, Ontario Arts Council
Exhibition Assistance Grant, Ontario Arts Council (re. Edmonton show)
Exhibition Assistance Grant, Ontario Arts Council (re. Sackville show)
1990 Project Grant, Canada Council
Short Term Grant, Ontario Arts Council
C.A.I.S. Grant, Ontario Arts Council
1989 Project Grant, Canada Council
Visual ArtsGrant, Ontario Arts Council
Artist-in-Residence Grant, Ontario Arts Council
Exhibition Assistance Grant, Ontario Arts Council
Forthcoming: Will Is Was catalog (3-book set, published by Art Gallery of Hamilton, Canada,
with essays by Thomas McEvilley, Jessica Wyman, Andrew Hunter).
We Are the Medium, artist’s project for C Magazine, Toronto.
I Can Smell Your Potential From Here artist’s project for dART International.
Guggenheimlichkeit essay for Cabinet #4, New York (also available at www.ultratopia.com).
Snow Article for dART International.
Carl Skelton / Out Here exhibition catalog, published jointly by the Art Gallery of Kamloops and the MacDonald Stuart Art Centre, essays by Andrew Hunter, Pamela Meredith, Judith Nasby 56pp. color.
Carl Skelton at GAGA review by Dominique Nahas dART International winter 2000 p.34 .
Climbing the Walls review by G.M. Dault, The Globe and Mail, Toronto.
It’s a Jungle In Here by Thomas Hirschmann review, The National Post, Toronto sat. aug. 5, p.w18.
Art Picks of the Week LA Weekly, August 20-26, 1999 review by Peter Frank.
This is Not a Zebra, Narcissus Reflects feature articles for dART magazine.
Blur Toronto Sculpture Garden Catalog (a full-page color reproduction of Begging Bear ends the book).
Carl Skelton & Reinhard Reitzenstein Sculpture magazine may-june 1998 v.17 no.5 pp. 85-6
review by John K. Grande, color repro of Begging Bear.
Wynick-Tuck show digs into artistic past the Globe and Mail Saturday June 13 1998 p.C12
review by Jillian MacKay, briefly discusses the Reality Well .
Carl Skelton at the Gallery, University of Toronto at Scarborough dART International January 1998
review by Steve Rockwell pp.21-22.
Summer of Dementia LOLA, Toronto number 1 pp 48-49 Feature article by John Massier
(works from Wild Things discussed & reproduced).
Carl Skelton/Canadiana Lola number 1 p.64 review by Catherine Osborne.
Carl Skelton Lola number 1 p.65 review of Canadiana a by Sally McKay .
Pello Irazu dART international vol.1, number 2 pp.16-17 feature essay by Carl Skelton
about the Irazu’s X-51 installation at John Weber, NYC.
Way Into Control LOLA number 2 LOLA number 2 feature essay by Carl Skelton about the work of
Eric Glavin & Marla Hlady.
Reinhard Reitzenstein & Carl Skelton at the Toronto Sculpture Garden The Globe & Mail Saturday November 11 ‘97 p. C11 Clueless review by Betty Ann Jordan .
Performing Art C magazine, #56 Nov 97-Jan 98 Feature article on Carl Skelton by Lisa G. Mark.
Carl Skelton at Cold City the Globe & Mail p. C15, May 17 1997 review by Gillian MacKay.
Young Contemporaries Canadian Art magazine review by Robin Metcalfe .
A Proposito de ARCO Diseño N.43, May 1997 feature essay by Raquel Arroyo
(work reproduced and discussed).
Una Meca para los artistas Cambio 16 pp. 71-73, 24 February 1997 feature essay about ARCO ‘97
by Pilar Casanova & Maria Maneiro (color photo & quotes).
Light of Forgotten Stars published by Anna Sper, Toronto Catalog essay by Carl Skelton.
After the Boom Artist’s project for High Junk Book, published by the Koffler Gallery, Toronto.
Tragically Hip Canadian Art Winter 94-95 Feature by Gary Michael Dault (color repro of Hotel Diorama).
Naked State Show Illuminates Dark New Age The Toronto Star September 22, 1994
Review by Christopher Hume.
Wired Up from Degree Zero Eye Magazine October 6, 1994.
Nether Mind Exhibition catalog, essay by Christopher Dewdney.
Is Virtual Reality Obsolete? Text for Still #2, "Carnal Virtues & Virtual Ethics".
Cheeky Aesthetic Makes Wildlife Sing NOW magazine, April 4-10 1995.
Naked State catalog, the Power Plant essays by Louise Dompierre and Arthur Renwick
(reproductions of two details of Diorama).
Naked State NOW Magazine, Review by Deirdre Hanna.
Nether Mind Exhibition Catalog, essay by Ihor Holubizky.
Tirage Sans Limite De L'Estampe, Spring 1993 essay by Carl Skelton.
Skelton and MacDonald Mix Media and Culture at Red Head NOW Oct. 15 1992 review by Deirdre Hanna.
Getting Rid of 'Them' WorkSeen Summer 1992 Feature by John Massier.
Art About The Globe and Mail Friday, Oct. 9th, 1992 review by Kate Taylor.
Two New Masks Texts Magazine #7, Calgary artist's project.
MACROMANIA bookwork published by Struts gallery to accompany the exhibition
Images by Carl Skelton, text by Earl Miller.
MACROMANIA Parallels humans and parasites Now April 25, 1991 by Deirdre Hanna.
Nether Mind Artists... NOW September 14-20 1995 p. 69 review by Deirdre Hanna.
STILL #1: Impossible Dreams Edited & published new artist’s project "The Perfect Lover"
Artists' Collectives Represent Vital Underground NOW October 20-26, 1994 review by Deirdre Hanna.
Fast Forward Canadian Art fall 1994 p36 Feature by Sarah Milroy (colour reproduction of Diorama)
MACROMANIA transforms centre of serious art into disaster morgue Edmonton Journal Feb 22 1991 Review by Elizabeth Beauchamp.
Art Gallery of Ontario, Canada
Art Gallery of Hamilton, Canada
Kamloops Art Gallery
University of Alberta
National Museum of Estonia
MacDonald Stewart Art Centre, Guelph, Canada
1986 Master of Visual Arts, University of Alberta
1982 Bachelor of Fine Arts, Queen's University
1978 – 79 First year "Arts Plastiques" program, Université de Strasbourg II, France
Current Director, Integrated Media Institute Department of Humanities and Social Sciences
Polytechnic University, Brooklyn
– graduate Multimedia Technologies
– graduate digital media seminars
– graduate adviser for special projects and thesis
– graduate and undergraduate curriculum design
1988 – 98 Instructor, Toronto School of Art Diploma Program
– Drawing Fundamentals
– Color & Composition
– Senior Studio
– Faculty Steering Committee (policy, curriculum, equipment planning)
1992 Visiting Faculty, University of Lethbridge
- Junior studio, lithography
1990 Visiting faculty, University of Lethbridge - Introduction to Photography
1989 Instructor, Central Technical School- Printmaking
1987 – 88 Area Director, Open Studio
1986 – 87 Instructor, Open Studio- Introductory & advanced classes
1985 – 86 Teaching Assistant, University of Alberta
– Introductory Studio: painting, drawing, sculpture, 2-D design
– Second year Printmaking