Item MS-3-46, 2009-021 - Centre for Art Tapes preview

Liz MacDougall has worked in the media arts since 1984 after completing a degree in Fine Arts at NSCAD with studies at UCSD, San Diego. Concerned about the social distribution of power, she creates her work through playful applications of new technologies. She is the director of several videos, both art and documentary, including “DEBERT BUNKER: by invitation only,” "Time to Heal" and "the Birth of Sybling," for which she won national awards. Liz has been both an employee and a member of several artist-run film and video spaces including Cineworks Film Co-op - Vancouver, the Centre for Art Tapes - Halifax, and Studio XX - Montreal. In 1996 she founded the Incomplete Dislocations Collective, a group of Halifax artists who create and exhibit new media works. She has curated new media exhibitions for the Incomplete Dislocations Collective, Edge Intermedia, the IMAA Atlantic, and the Centre for Art Tapes. Liz has also taught interactive media at NSCAD and works in Halifax as a video editor and digital media creator.

Jennifer Tilley became associated with the Centre for Art Tapes in 1998 because their video recording “Condemned” became a part of the centre’s tape collection.

Claire Hodge became associated with the Centre for Art Tapes in 2006 because their film “Decoupage: Cutting Up/Cutting Out” became a part of the centre’s tape collection.

Glynis Humphrey is an artist based in Halifax, Nova Scotia. Humphrey was raised in Wales, United Kingson before immigrating to Edmonton at the age of 10. Her education includes a Fine Arts Diploma from Grant MacEwan College (1993) and a BFA from the Nova Scotia College of Art and Design (1996). Humphrey became associated with the Centre for Art Tapes in 2009 because her video recording became a part of the centre’s tape collection.

Suze Cameron became associated with the Centre for Art Tapes in 2004 because their video recording “One Minute Warning” became a part of the centre’s tape collection.

Matt Pollard became associated with the Centre for Art Tapes in 2009 because their video recording became a part of the centre’s tape collection.

Paul Robert became associated with the Centre for Art Tapes in 2005 because their video recording “Time as Language” became a part of the centre’s tape collection.