150 years of Canadian ArtA linked open data projecthttp://rdf.artefactscanada.ca/resources/authority/ACPerson009190
Suzy Lake, photographer, performance artist, video maker (born 14 June 1947 in Detroit, Michigan). Lake is an influential feminist artist who addresses issues of identity, beauty, gender, and aging in her visual and performance art. She was also an early adherent of the artist-run centre movement in Canada. Lake is represented in the collections of major institutions in Canada and internationally like the Art Gallery of Ontario, the Montréal Museum of Fine Arts, the Vancouver Art Gallery, and the Albright-Knox Art Gallery in Buffalo, New York. Early Life and Education Lake studied painting, drawing and printmaking in Detroit, Michigan, at Wayne State and Western Michigan universities. While a student at Wayne State, Lake was politically active. Among other activities, she volunteered with Detroit Mothers, an organization that helped single mothers in the infamous Jeffries Housing Projects by taking care of their children for a few hours during the day. During the Detroit race riots of 1967, which took place in her neighbourhood, Lake realized that the political situation had deteriorated beyond repair and that she had to leave. Lake considered moving to New York and to Boston, but because her painter boyfriend wanted to escape being drafted into the Vietnam War, she ended up immigrating to Montréal in 1968. In 1971, Lake became the studio assistant of Guido Molinari, who also served as her mentor. Self-taught in film, photography, performance art and video, Lake was an active member of the Montréal artistic community in the early 1970s, and in 1972 she co-founded the artist-run gallery Véhicule Art Inc. In 1977, she graduated from Concordia University with an MFA in multidisciplinary/photography. Photography From an early stage of her career, Lake has practised a form of conceptual art that uses photography not as a transparent record of reality but as a means of communication and inquiry. Using her own performances, which are consciously staged for the camera, Lake investigates the appearance, gestures and positions of the body as a metaphor for psychological conditions. In series such as Suzy Lake As (1974) and Are You Talking to Me? (1979), her subtle manipulation of facial features or use of confrontational expressions actively engages the viewer's participation. Later photographs, such as the Pre-Resolution series (1984), and Too Many Stones (1996), show the body as an active force rather than as the object of our gaze. By showing herself engaged in acts of destruction or reconstruction, the artist further dramatizes the self-transformation involved in posing for the camera.
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