Last week, we began introducing our summer staff, interview style. This week, meet Chelsea Boida, our new Programs Assistant.
What are you going to be doing at Latitude 53 this summer?
My main role will be with the Incubator Series, which is a weekly show in Latitude 53’s community gallery that features works in progress. Also, I will be assisting with coordinating the Draw event, the archives, programs and exhibitions, and rentals. It’s my first time being employed in an arts organization, although I have been interested in this kind of work for years.
What’s your favourite thing about Edmonton’s arts community, and specifically Latitude 53? What are you looking forward to this summer, festivities-wise?
The city of Edmonton is small enough and large enough that there are a lot of opportunities to contribute to the arts community and be supported. Along this line, I like how Latitude 53 takes on programming challenges and builds connections among artistic entities.
I am from Edmonton, and this summer I’m looking forward to visiting galleries, camping, and finding out what has changed over the last two years when I lived in Vancouver.
Where did you go to school? What did you study there?
I love being in school, and I imagine myself always taking some kind classes. Some topics I have dabbled in are web design and geography. As well I have finished a Bachelor of Fine Arts and an Office Administration diploma.
What kind of hobbies have you been entertaining recently?
Gardening, cooking and home brewing are my major excitements these days. I consider it witchcraft.
We’re not done with McLuhan yet: The Paris Review recently posted this interview with Douglas Coupland about his new biography of Marshall McLuhan. Latitude 53 fans will of course remember that Mr. Coupland participated in the National Portrait Gallery last summer.
You used an unconventional form for your biography of Marshall McLuhan such as MapQuest, an autism assessment test, use of Wikipedia as a source.
I did.
Was this innovative method a deliberate reference to McLuhan’s own idiosyncrasies? Or is it the reflection of a personal quirk?
Since starting the project I’ve felt like an unwitting manifestation of McLuhan’s beliefs about the effects of media: born 1961, TV child, Photoshop user, and so on. Having said that, I think I started the book at the crisis point in the history of biographies, and it’s a happy coincidence it happened to be Marshall.
theparisreview:
Douglas Coupland on Marshall McLuhan
Vague Terrain has posted an interview with Gary James Joynes/Clinker about his exhibition, Frequency Painting: 12 Tones, opening at Latitude 53 this Friday. Read it for some great insights about Gary’s complex process, and how the Frequency Painting series came to be.
Turns out, Gary risked his life to bring us this show:
“The “iteration” of the various wave driver prototypes came out of necessity… quite simply through my process in running these machines and learning how hard I could push them… I just kept blowing them up!”
On his goals for the Frequency Painting series:
“My goal was to create a “wave driver” machine that would be powerful (and precise) enough to sculpt with… to be able to “draw” and shape detailed lines in the sand. I felt I needed an instrument that I could actually “play” to finesse this sound wave energy.”
On discovering what “visual music” can be:
“I have never experienced visualization like this before – to me this is the purest essence of what “Visual Music” can be. I feel like I am now able to compose and direct a kind of poetic abstract audio-visual ballet that is alive in the moment.”
Read the rest of the article to find out more, and be sure to check out Gary’s show, opening this Friday at Latitude 53!
Latitude 53 Video Podcast
