BIO
Eric Dymond is an artist who works with many tools and programming languages.
He graduated from the Nova Scotia College of Art and Design with a BFA in studio.<br />
He exhibited paintings in Toronto, Detroit, New York, Montreal and London during the 1970's, 1980's and 1990's. The paintings were created with sandblasted sprays employing formal themes from the history of painting (still life's , individual portraits, traditional landscapes) . These series appear minimal with repeating content and are a form of Serialism.
In the early 1990's he began working with digital media, building perl programs with TCL/TK, web sites (see the doorway on Leonardo) and stand-alone applications.
He continues working in all media, rejecting specialization.
A brief timeline :
1976-On View -first exhibition held by Visual Arts Ontario
1977-One person show-Gallery 567
1978-One person show-Nancy Pooles Studio
1978-Group Exhibition-Habatat Galleries,Detroit,Michigan
1979-One Person Show-Habatat Galleries,Detroit,Michigan
1979-Young Realists, London Regional Gallery
1979-One Person Show-Nancy pooles Studio
1980-New Artists-London Regional Gallery
1980-O.A.C.-group juried show
1981-One Person show-Nancy Pooles studio
1982-Group exhibition-Honey Sharp Gallery-Tanglewood,Mass.
1983-One Person show-Nancy Pooles studio
1983-Group Exhibition-Adam Gimbel Gallery-New York,N.Y.
1984-One Person Show-Grimsby Public Gallery
1985-One Person Show-Nancy Pooles studio
1985-One Person Show-Gallery 1667-Halifax,N.S.
1987-One Person Show-Kitchener Waterloo Public Gallery
1988-Group Exhibition-Market Gallery,Toronto
1990-Two person show-Brampton public Gallery
1990-One Person Show-Quan Schieder Gallery
1991-CD-Rom interacive/Philips Corp.
1991-Group Exhibition-Robert Kidd Gallery-Detroit,Michigan
1993-Group Exhibition-Market Gallery
1993-Marilyn (perl/tk)
1994-One Person Show-Schieder and Associates
1995-Group Exhibition-Bau-Xi Gallery
1996-The doorway (http://www.edymond.com/artseen/door.htm)
1997-Newmail (http://www.edymond.com/artseen/newmail.htm) part of Iceflow, the Images festival of Independent Film Toronto
(http://replay.waybackmachine.org/19980209225557/http://interaccess.org/iceflow/newmail.htm)
1997.1998,1999,2001 - http://www.netarts.org , see archives.
see my Rhizome portfolio and Furthfield for current web works and writings.
Collections:
Numerous public and private collections in Canada and the United States.
including,
City of Toronto
McIntosh Gallery, University of Western Ontario, London Ontario
London Public Library, London Ontario
Kitchener Waterloo Public Gallery
Algoma Public Gallery
Kamloops Public Gallery
College of Physicians and Surgeons (Ontario)
Connor and Clark
Royal Lepage
He graduated from the Nova Scotia College of Art and Design with a BFA in studio.<br />
He exhibited paintings in Toronto, Detroit, New York, Montreal and London during the 1970's, 1980's and 1990's. The paintings were created with sandblasted sprays employing formal themes from the history of painting (still life's , individual portraits, traditional landscapes) . These series appear minimal with repeating content and are a form of Serialism.
In the early 1990's he began working with digital media, building perl programs with TCL/TK, web sites (see the doorway on Leonardo) and stand-alone applications.
He continues working in all media, rejecting specialization.
A brief timeline :
1976-On View -first exhibition held by Visual Arts Ontario
1977-One person show-Gallery 567
1978-One person show-Nancy Pooles Studio
1978-Group Exhibition-Habatat Galleries,Detroit,Michigan
1979-One Person Show-Habatat Galleries,Detroit,Michigan
1979-Young Realists, London Regional Gallery
1979-One Person Show-Nancy pooles Studio
1980-New Artists-London Regional Gallery
1980-O.A.C.-group juried show
1981-One Person show-Nancy Pooles studio
1982-Group exhibition-Honey Sharp Gallery-Tanglewood,Mass.
1983-One Person show-Nancy Pooles studio
1983-Group Exhibition-Adam Gimbel Gallery-New York,N.Y.
1984-One Person Show-Grimsby Public Gallery
1985-One Person Show-Nancy Pooles studio
1985-One Person Show-Gallery 1667-Halifax,N.S.
1987-One Person Show-Kitchener Waterloo Public Gallery
1988-Group Exhibition-Market Gallery,Toronto
1990-Two person show-Brampton public Gallery
1990-One Person Show-Quan Schieder Gallery
1991-CD-Rom interacive/Philips Corp.
1991-Group Exhibition-Robert Kidd Gallery-Detroit,Michigan
1993-Group Exhibition-Market Gallery
1993-Marilyn (perl/tk)
1994-One Person Show-Schieder and Associates
1995-Group Exhibition-Bau-Xi Gallery
1996-The doorway (http://www.edymond.com/artseen/door.htm)
1997-Newmail (http://www.edymond.com/artseen/newmail.htm) part of Iceflow, the Images festival of Independent Film Toronto
(http://replay.waybackmachine.org/19980209225557/http://interaccess.org/iceflow/newmail.htm)
1997.1998,1999,2001 - http://www.netarts.org , see archives.
see my Rhizome portfolio and Furthfield for current web works and writings.
Collections:
Numerous public and private collections in Canada and the United States.
including,
City of Toronto
McIntosh Gallery, University of Western Ontario, London Ontario
London Public Library, London Ontario
Kitchener Waterloo Public Gallery
Algoma Public Gallery
Kamloops Public Gallery
College of Physicians and Surgeons (Ontario)
Connor and Clark
Royal Lepage
Misunderstanding web art/ the screen
the people will tell you, you are miles from your home.
when will you share the sites with us?
when you will you hold us in your arms?
miles from out home.
when will you share the sites with us?
when you will you hold us in your arms?
miles from out home.
YES & NO
or do the yes' represnt 1's and the 0's no ...?
011011010110000101110010011010110111001100100000011100110110000101111001011100110010000001111001011001010111001100100000011000010110111001100100001000000111010001101001011011010010000001110011011000010111100101110011001000000110111001101111
011011010110000101110010011010110111001100100000011100110110000101111001011100110010000001111001011001010111001100100000011000010110111001100100001000000111010001101001011011010010000001110011011000010111100101110011001000000110111001101111
YES & NO
For some reason when I look at this work I think of Robert Irwin. It's the social nature of transported minimalism that grabs me. It seems completely "of the web", it's not beyond self reflection but it doesn't fall into the self indulgent.
That I know you and River share more than this site makes it work after first encounter. I wonder how you negotiated the perfoemance. I wonder how you decided to vocalize your various affirmitives and denials.
Then I laugh at myself for reading in my own projected assumptions.
I don't know either of you off list, yet I'm intrigued.
The Irwin reference has to be revisited however. It's the offhand, social nature of a minimal provider that made me get to that point. I think others will bring more insight at this level.
I think the work may be the most successful new media work of the past few years.
It doesn't quote a a pop paradigm, it doesn't refer to a dead European philosopher. It is what it is in a very formal way.
It's new and not of "games" "media" or any other pop obsessions or observations.
The sequence of yes and no works on a liminal level that I find really refreshing.
Nice work.
Eric
That I know you and River share more than this site makes it work after first encounter. I wonder how you negotiated the perfoemance. I wonder how you decided to vocalize your various affirmitives and denials.
Then I laugh at myself for reading in my own projected assumptions.
I don't know either of you off list, yet I'm intrigued.
The Irwin reference has to be revisited however. It's the offhand, social nature of a minimal provider that made me get to that point. I think others will bring more insight at this level.
I think the work may be the most successful new media work of the past few years.
It doesn't quote a a pop paradigm, it doesn't refer to a dead European philosopher. It is what it is in a very formal way.
It's new and not of "games" "media" or any other pop obsessions or observations.
The sequence of yes and no works on a liminal level that I find really refreshing.
Nice work.
Eric
A Year in the Life
Passport revocation
In 1950 the State Department denied Robeson a passport and issued a "stop notice" at all ports, effectively confining him to the United States. When Robeson and his lawyers met with officials at the State Department on August 23, 1950 and asked why it was "detrimental to the interests of the United States Government" for him to travel abroad, they were told that "his frequent criticism of the treatment of blacks in the United States should not be aired in foreign countries"—it was a "family affair."[18] When Robeson inquired about being re-issued a passport, the State Department declined, citing Robeson’s refusal to sign a statement guaranteeing not to give any speeches while outside the U.S.[19] Robeson's passport revocation was similar to that of other individuals that the State Department deemed pro-Soviet, including the writers Howard Fast and Albert E. Kahn, W.E.B. Du Bois and Richard Morford, who headed the National Council of America-Soviet Friendship.
In a symbolic act of defiance against the travel ban, labor unions in the U.S. and Canada organized a concert at the International Peace Arch on the border between Washington state and the Canadian province of British Columbia on May 18, 1952.[20] Paul Robeson stood on the back of a flat bed truck on the American side of the U.S.-Canada border and performed a concert for a crowd on the Canadian side, variously estimated at between 20,000 and 40,000 people. Robeson returned to perform a second concert at the Peace Arch in 1953[21], and over the next two years two further concerts were scheduled. (Officially, the travel ban did not prevent Robeson from entering Canada, as travel across the Canada-United States border did not require a passport, but the State Department directly intervened to block Robeson from travelling to Canada.)
In 1956, Robeson left the United States for the first time since the travel ban was imposed, performing concerts in two Canadian cities, Sudbury and Toronto, in March of that year. The travel ban ended in 1958 when Robeson’s passport was returned to him.
I love this ome too:
http://www.mcsweeneys.net/2007/4/3moe.html
"Best of all possible worlds"
Leibnitz
http://en.wikipedia.org/wiki/1755_Lisbon_earthquake
made Voltaire think there might be a flaw in the program, writes Candide..
But should you own a hammer?
http://www.mcsweeneys.net/2007/4/3moe.html
" it's good life if you don't weaken "
Tragically Hip
In 1950 the State Department denied Robeson a passport and issued a "stop notice" at all ports, effectively confining him to the United States. When Robeson and his lawyers met with officials at the State Department on August 23, 1950 and asked why it was "detrimental to the interests of the United States Government" for him to travel abroad, they were told that "his frequent criticism of the treatment of blacks in the United States should not be aired in foreign countries"—it was a "family affair."[18] When Robeson inquired about being re-issued a passport, the State Department declined, citing Robeson’s refusal to sign a statement guaranteeing not to give any speeches while outside the U.S.[19] Robeson's passport revocation was similar to that of other individuals that the State Department deemed pro-Soviet, including the writers Howard Fast and Albert E. Kahn, W.E.B. Du Bois and Richard Morford, who headed the National Council of America-Soviet Friendship.
In a symbolic act of defiance against the travel ban, labor unions in the U.S. and Canada organized a concert at the International Peace Arch on the border between Washington state and the Canadian province of British Columbia on May 18, 1952.[20] Paul Robeson stood on the back of a flat bed truck on the American side of the U.S.-Canada border and performed a concert for a crowd on the Canadian side, variously estimated at between 20,000 and 40,000 people. Robeson returned to perform a second concert at the Peace Arch in 1953[21], and over the next two years two further concerts were scheduled. (Officially, the travel ban did not prevent Robeson from entering Canada, as travel across the Canada-United States border did not require a passport, but the State Department directly intervened to block Robeson from travelling to Canada.)
In 1956, Robeson left the United States for the first time since the travel ban was imposed, performing concerts in two Canadian cities, Sudbury and Toronto, in March of that year. The travel ban ended in 1958 when Robeson’s passport was returned to him.
I love this ome too:
http://www.mcsweeneys.net/2007/4/3moe.html
"Best of all possible worlds"
Leibnitz
http://en.wikipedia.org/wiki/1755_Lisbon_earthquake
made Voltaire think there might be a flaw in the program, writes Candide..
But should you own a hammer?
http://www.mcsweeneys.net/2007/4/3moe.html
" it's good life if you don't weaken "
Tragically Hip
A Year in the Life
Leo Strauss said roughly security is the first and most necessary purpose of any state and virtue is the second and highest.
why is this true?
For example, in the 1950's many left-leaning U.S. writers such as Irving Howe, Saul Bellow, and Norman Podhoretz were asked by the CIA to support the U.S. against Stalin's USSR. They pondered it a lot, because they hated poverty, bad working conditions, and segregation, but ultimately decided Stalin was the greater of two evils. Hence they gave the U.S., for all its crimes and failings, the benefit of the doubt.
was that the correct choice, given the outcome of vietnam, The congo and the middle east?
According to most recent historic evaluations Russia was backward and ill prepared for actual conflict. Was it just the rantings of spin doctors on the far right? esp the funding model at the Hudson Institute.
Wouldn't enlightened criticism have been a better route to go?
"Render unto Caesar that which is Caesar's; render unto God that which is God's."
please name the Hebrew poet(s).
"Even though it is a greatly flawed system I think it is the least bad option during our very dangerous era"
that's just silly.
Eric
why is this true?
For example, in the 1950's many left-leaning U.S. writers such as Irving Howe, Saul Bellow, and Norman Podhoretz were asked by the CIA to support the U.S. against Stalin's USSR. They pondered it a lot, because they hated poverty, bad working conditions, and segregation, but ultimately decided Stalin was the greater of two evils. Hence they gave the U.S., for all its crimes and failings, the benefit of the doubt.
was that the correct choice, given the outcome of vietnam, The congo and the middle east?
According to most recent historic evaluations Russia was backward and ill prepared for actual conflict. Was it just the rantings of spin doctors on the far right? esp the funding model at the Hudson Institute.
Wouldn't enlightened criticism have been a better route to go?
"Render unto Caesar that which is Caesar's; render unto God that which is God's."
please name the Hebrew poet(s).
"Even though it is a greatly flawed system I think it is the least bad option during our very dangerous era"
that's just silly.
Eric
SAVED WORKS (2)
CURATED EXHIBITIONS (1)
