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    Biography

    • Shonagh Adelman

    Shonagh Adelman has exhibited widely at distinguished institutions and galleries, including the San Francisco Museum of Modern Art, The Aldrich Museum, Fuller Museum, Linda Kirkland Gallery and Black Square Gallery, among others. Her work has been featured in art publications such as Art in America, Artforum, Flash Art, Bomb Magazine and Parachute.

    Complete Curriculum Vitae

    Last Updated: September 23, 2012

    Contact:
    shonagh@shonaghadelman.com

    Education

    York University (Women's Studies, abd PHD), 1991-94
    Ontario Institute for Studies in Education (Masters in History and Philosophy of Education), 1986-1989
    The School of the Art Institute of Chicago (BFA), 1983-1984
    York University (Fine Arts major), 1980-1983

    Selected One Person Exhibitions

    Black Square Gallery, “Disorderly Conduct”, Miami September 2012
    George Krevsky Gallery, “Queens", San Francisco, July 2004
    Linda Kirkland Gallery, "Playgirls", New York, Oct. 1998
    Linda Kirkland Gallery, "Bad Seeds: 1930-1970", New York, April 1997
    Toronto Photographers Workshop, "Skindeep", Toronto, February 1997
    Contemporary Art Gallery of Vancouver, "Skindeep", May 1995
    A Space, Toronto, "Tele Donna", Toronto, January 1994
    Neutral Ground, "Larger Than Life", Regina, Sept. 1992
    Latitude 53, " Larger Than Life", Edmonton, June 1992
    Mercer Union, "Larger Than Life", Toronto, January 1991
    National Theatre, "Lady Heads", San Jose, Costa Rica, April 1990
    Forest City Gallery, "Lady Heads", London, November 1989
    YYZ, "New Work", Toronto, March 1988

    Selected Group Exhibitions & Art Fairs

    Art Miami/Context, Miami, December 2012
    Scope, Miami, December 2011
    “AFBW”, Miami, December 2011
    “Group Exhibition”, Anya Tish Gallery, Houston, December 2011
    “Group Exhibition”, Black Square Gallery, Miami, December 2011
    “Group Exhibition”, George Krevsky Gallery, San Francisco, April 2004
    "The Darker Side of Playland", San Francisco Museum of Modern Art, Winter 2001
    "Kent Logan Collection", San Francisco Museum of Modern Art, Fall 2000
    "About Face", Fuller Museum, Boston, Aug. 2000
    "New Directions", Linda Kirkland, New York, Jan. 2000
    "Group Exhibition", Michael Martin Gallery, San Francisco, Oct. 1999
    "Looking at Ourselves", San Francisco Museum of Modern Art, Jan. 1999
    "In Your Face", New Langston Arts , San Francisco, Jan. 1999
    "Some Like it Hot", Linda Kirkland Gallery, New York, Sept. 1998
    "Pop Surrealism", Aldrich Museum, Connecticut, June 1998
    "Group Exhibition", University of Northwestern, Chicago, February 1995
    "lnvitational Show", Cold City Gallery, Toronto, Aug. 1991
    "Irreverent Visions", A Space, Toronto,March 1990
    "Renovate", A Space, Toronto, Sept. 1988
    "Forbidden Representations", Saw Gallery, Ottawa, Sept. 1988
    “Quick Draw", Gallery 76, Toronto, Sept 1986
    Gallery of the School of the Art Institute of Chicago, May 1984
    Gallery 76, Toronto, April 1980

    Speaking Engagements

    Toronto Photographers Workshop, artists’ talk, January 1997
    Buddies in Bad Times Theatre, panel discussion, January 1997
    Artist talk, Contemporary Art Gallery of Vancouver, May 1995
    York University Seminar, Travelling on the Edge, Feb.1994
    Artist talk, A Space, Jan.1994
    Conference participant, University of Toronto conference: "Queer Theory;
    Bodies at Work, Bodies at Play", May 1994
    Lecture, Double Jeopardy: Representing the Female Body, University of
    Toronto conference: "Can Feminist and Medical Approaches Work Together?", February 1993
    Lecture, Redefining the Female Body: Feminist Videotapes, University of Guelph, Jan. 1993
    Artist talk, Toronto School of Art, Nov. 1992
    Artist talk, (O.C.A- class), Nov. 1992
    Lecture, Toronto School of Art, March 1992
    Panelist, Art Writing, Mercer Union, Feb. 1992
    Lecturer, Contemporary Canadian Art, Ontario College of Art, Jan., 1992
    Conference participant, "Interdisciplinary Perspectives on Pedagogy as
    Cultural Production", Winnipeg, Manitoba, Nov. 1991
    Artist talk, (O.C.A. class), Jan. 1991
    Artist talk, Sheradon College, Jan. 1991
    Lecture, Women and Violence in Film, (O.I.S.E. class),Fall 1989, Spring 1990
    Panel Discussion (Teach In), Forum on Sexism and Violence Against Women,
    University of Toronto, March 1990
    Artist talk, (O.C.A. class), Feb. 1990
    Lecture, Women's Autobiographical Writing (O.I.S.E. class), Nov. 1988
    Artist talk, (O.C.A. class), Oct. 1988
    Slide lecture, Gender and Representation, YYZ, March 1988

    Projects

    Magazine project, Borderlines, spring 1998
    Book project, Suggestive Poses, ed. Lorraine Johnson, spring 1997
    Magazine cover, Tessera, winter 1996
    Magazine project, Matriart, winter 1993
    Magazine project, Tessera, winter 1993
    Women's Art Resource Centre datebook, fall 1992
    Magazine spread, Canadian Women’s Studies, Winter 89/90
    Window installation, Toronto Women's Bookstore, July 1989
    Women's Art Resource Centre "Feminist Strategies in Art" project (Parallelogramme insert), Dec. 1988
    Window installation, Toronto Women's Bookstore, Nov. 1988
    "Protest the Summit Mural Project" (Cameron Hotel), June 1988

    Selected Collections

    Graeme Brister & Anita Webbon, London
    BHT Inc. Corporate Collection, New York
    Mr. & Mrs. Celso Luiz Nunes Anorim, Sao Paulo
    Mr & Mrs S Marshank, New York
    Mr & Mrs Jack van Hulst, New York
    Mr Sam Jedig, Copenhagen
    Gotham Associates, New York
    Mr & Mrs Kent Logan, San Francisco
    Mr. Joel & Mrs. Sherry Mallin, New York
    Tony Podesta, Washington
    Mr & Mrs. Reisman, Toronto
    San Francisco Museum of Modern Art
    National Museum of Women in the Arts

    Awards

    Toronto Visual Arts Council Grant, fall 1996
    Canada Council Paris Studio, Jan. 1995 - April 1995
    Ontario Arts Council Visual Arts Grant, June 1994, June 1995
    Canada Council Photography Grant, March 1994
    Ontario Arts Council Photography Grant, Nov. 1993
    Toronto Arts Council Writing Grant, Sept. 1992
    Canada Council Integrated Media Grant, Aug. 1992
    Ontario Arts Council Project Grant, March 1991, Feb. 1992
    Canada Council Art Bank, June 1991
    O.A.C. Arts Writers Grant, March 1990, May 1992, Nov. 1993, May 1994
    Canada Council B Grant, March 1990, March 1991, Jan. 1993, May 1996
    Gay Community Appeal, March 1989, March 1994
    Canada Council Project Grant, Sept. 1988, April 1989, November 1995
    O.A.C. Materials Assisstance, Nov. 1987, Aug. 88, Sept. 88, June 1989

    Adjudicator:

    OAC Project Development Grant, March 1988
    OAC Project Grant, Sept. 1992
    OAC Arts Writers Grant, Feb. 1993
    Toronto Arts Council visual arts, film & video committee, 1992- 95
    Canada Council Paris Studio Programme, May 1995

    Bibliography

    Carlos Suarez de Jesus, Miami New Times, Sept. 6, 2012
    Maria Elena Buszek, Pin-up Grrrls, 2006
    Grady Turner, Bomb, Spring 1999
    Maria-Elena Buszek, Art in America, July 1999
    Grady Turner, Flash Art, Dec. 1997
    Julia Creet, Borderlines, Sept. 1997
    Andrea Fitzpatrick, Extra, Jan. 19
    Robin Laurence, The Weekend Sun, June 1995
    Paula Gustafson, Extra West, May 1995
    Interview with Janice Andre, Matriart, Summer 1994
    Interview with Cynthia Wright, Fuse Magazine, June 1994
    Janice Andre, Fuse Magazine, June 1994
    Becki Ross, Borderlines, March 1994
    Laura Marks, Artforum, Feb. 1994
    Elaine Carol, Extra, Jan.6, 1994
    Deirdre Hanna, Now Magazine, Jan.6, 1994
    Gregg Beatty, The Leader Post, Aug. 21, 1992
    Helen Collinson, Latitude 53 Newsletter, May 8, 1992
    Andy Payne, C Magazine, Spring 1991
    Christopher Hume, The Toronto Star, Feb. 2, 1991
    Martha Judge, Fuse Magazine, Summer 1990
    Jane Farrow, Parachute, Fall 1988
    Deirdre Hanna, Now Magazine, March 1990

    Critical Writings

    “Amy Silman”, Frieze, Fall 2000
    “Marco Brambilla”, Frieze, Winter 2000
    “When Pure Objects Go Crazy,” Frieze, Spring 1999
    “Where is Your Rupture", Frieze, Winter 1999
    “Amy Adler”, Frieze, May 1998
    "Girrly Pictures," catalogue essay for series of exhibitions curated for Mercer Union, September 1995, reprinted in Borderlines, September 1995
    "Desire in the Politics of Representation", first published in Matriart, Winter 1993, reprinted in "Feminist Art Theory", ed. Hilary Robinson, Blackwell Publishers, July 2001
    "Half Hearted", Resources for Feminist Research, Spring 1992
    "Making up stories", Parachute, Winter 1992
    Guest editor, "Centering Marginality", The Independent Eye, Spring 1991
    "She Kisses Like She Kills", "C" Magazine, Spring 1991
    "Five Feminist Videotapes: Redefining The Female Subject", "C" Magazine, Winter 1991
    "Life Stories", Parachute, Winter 1990
    "Two Feminist Strategies", "C" Magazine, Spring 1990
    "Violence Against Women In Mainstream Film", Resources For Feminist Research, Summer 1989
    "Eating Virtue", Vanguard, Fall 1988

    Project Description

    About the Crystal Method Series

    Crystal Method Series

    About the Series

    Adelman’s new work renders a cast of characters out of place and time. Unlikely pairings of figure and location converge through the medium of meticulously crafted 4mm glass and acrylic crystals on canvas.

    The first of the “crystal method” series, Beast and the Booty, conjures familiar archetypes of beauty and monstrosity, and reflects them back onto the eye of the beholder, both figuratively and literally, as light refracts off the glass surface and into the viewer’s eye. The second series, The Last Queen, depicts Marie Antoinette in the apocalyptic landscape of post-Katrina New Orleans, casting the last Queen of France in a context as unlikely as a Twilight Zone portal. Shrouding the scene in the glittery hue of crystals amplifies the incongruity. The third series, Disorderly Conduct, occupies the opulent interiors of the Palace of Versailles and the Parisian opera house, “Palais Garnier.” Designed in part to facilitate the king’s attempt to consolidate power, Versailles’ resplendent chambers, festooned with silk curtains, crystal chandeliers and ornate furnishings, are imbued with power and prestige.

    Marie Antoinette, the last Queen to inhabit the “Grand apartment of the Queen” before the monarchy was deposed, became inextricably associated with the anecdote “Let them eat cake,” a phrase that invoked the callousness of unenlightened privilege. Versailles similarly became symbolic of the exploitative excesses of absolute rule. The Palace, which was the repository for confiscated items of artistic and intellectual merit dedicated to housing the “glories of France”, and now a closely monitored museum, is an unlikely backdrop for marauding madams, merry minstrels, bicycling babes and kissing cops.

    The collateral association between visual pleasure and political power in Disorderly Conduct is amplified by the use of the crystal medium. Luminosity and texture invoke a hyper-awareness of visual seduction while the humorous juxtaposition of figure and setting gives a theatrical bent to the disorderly conduct.

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    Biography

    Shonagh Adelman has exhibited widely at distinguished institutions and galleries, including the San Francisco Museum of Modern Art, The Aldrich Museum, Linda Kirkland Gallery and Fuller Museum, among others. Her work also has been featured in art publications such as Art in America, Artforum, Flash Art, Bomb Magazine and Parachute.

    The Crystal Method Series

    Adelman’s new work renders a cast of characters out of place and time. Unlikely pairings of figure and location converge through the medium of meticulously crafted 4mm glass and acrylic crystals on canvas.

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