Barb Hunt

Barb Hunt is a Canadian interdisciplinary textile artist based in Corner Brook, Newfoundland and Labrador.

Early life and education

Hunt received a Diploma in Art from the University of Manitoba School of Art in Winnipeg in 1982[1] and was awarded the first Gissur Eliasson Memorial Scholarship for her studio work. She completed her post-graduate studies with an MFA focused on Fibres at Concordia University in Montréal, Québec in 1994.[1] From 1995-1996, Hunt taught at the University of Western Ontario in London, Ontario[2]. Between 1997 and 2001 she taught at Queen's University[3] in Kingston, Ontario. Hunt has taught in the Visual Arts Program, Grenfell Campus of Memorial University of Newfoundland in Corner Brook in 1996-1997, and from 2001 to 2018.[4][5]

In a November 2013 talk given for the Wendy Wersch Memorial Lecture Series at MAWA in Winnipeg, entitled We are all of us made by war...., Hunt described how her grandmothers made quilts and her mother taught her craft.[6]

Style and Influence

Hunts style can be described as domestic, yet rebellious. Each piece has turned classically domestic mediums into hard-hitting, thought-provoking works of art. Her Art focuses on war, the natural environment, mourning rituals (particularly those of Newfoundland), and most predominantly, her work concentrates on gender ideals, stereotypes, and traditional roles. Much of her influence comes from the textile traditions and cultural aspects of textiles from her home of Newfoundland. Many works also feature a form of juxtaposing contradicting elements, thoughts or cultural stereotypes. By using domestic materials to talk about issues that are far out of reach of the everyday ideal housewife, Hunt brings these issues into the everyday world and involves everybody in these issues.

Career

Hunt has had solo exhibitions at the Art Gallery of Ontario, The Rooms Provincial Art Gallery[7] and at Exeter and Bath galleries in the UK.[8] Her work has been included in group exhibitions and biennials both national and international.[9] She has also completed residencies throughout Canada, as well as Paris[10] and Ireland.

A core focus of Hunt's practice has been the devastation of war.[11] and creating works from camouflage army uniforms[7]. Hunt's 2010 Land Mines series documented the proliferation of antipersonnel landmines through hand knitting replicas in various shades of pink yarn. The work draws on the history of knitting as caring for the body and the use of knitting to create bandages for soldiers. In this context knitting becomes a metaphor for recuperation, protection, and healing, creating a contrast between the materials and the destructive subject matter.[12] The work was included in the group exhibition, Museopathy, at the Agnes Etherington Art Centre in Kingston, Ontario, and later in a solo show named Antipersonnel at the Art Gallery of Ontario.[13] Her work included in the exhibition Unpacking the Living Room (pieces from two separate series titled Antipersonnel and Aprons) serves as a material protest against the use of antipersonnel landmines. As Hunt describes “I use these associations to contradict the abuse of power and the use of violence by transforming a destructive object into one that can do no harm.”[14]

In Toll, her 2011 solo show at The Rooms in St. John's, Newfoundland, she created large installations using camouflage fabric as a central theme and material[7].

Hunt's Mourning series was a textile-based exploration of the relationships between death, mourning, gender and recuperation.[15]

Permanent collections
  • Central Museum of Textiles, Poland
  • Agnes Etherington Art Centre, Canada Council York Wilson Purchase Award, Kingston, ON Canada
  • Canada Council Art Bank, Ottawa, ON
  • Central Museum of Textiles, Lodz, Poland
  • Fondazione Benetton, Italy
  • Rooms Provincial Art Gallery, St. John’s, NL
  • Royal Ontario Museum, Toronto, ON
  • Winnipeg Art Gallery.[16]

Bibliography
  • Susan Cahill, "The Elsewhere War: Art, Embodiment, and the Spaces of MilitaryEngagement," Journal of Canadian Studies, Spring 2018.
  • Black, Anthea and Nicole Burisch. "Craft Hard, Die Free: Radical Curatorial Strategies for Craft in Unruly Spaces." Maria Elena Buszek, ed. Extra/Ordinary: Craft and Contemporary Art. Durham,London: Duke University Press, 2011; and in Glenn Adamson, ed. The Craft Reader. New York: Berg, 2010.
  • Hunt, Barb. Resume. (2005)
  • McElroy , Gil. Built with a String: Barb Hunt and Knitting in Newfoundland and Labrador. Craft Year , 2007. Accessed February 2, 2020.
  • Perron, Mirielle. "The Art of Camouflage, A Female Touch: Exploring tactility in the work of Janice Wright Cheney, Barb Hunt and Sarah Maloney." Paula Gustafson, ed. Craft Perception and Practice 3. Vancouver: Ronsdale Press, 2008.
  • Kirsty Robertson, "Capturing the Movement: Affect, Anti-War Art and Activism." Afterimage: The Journal of Media Arts and Cultural Criticism, Vol. 34, No. 6, Fall 2006, 27-30.
  • Magliaro, Joseph and Shu Hung, eds. By Hand: The Use of Craft in Contemporary Art. New York: Princeton Architectural Press, 2006.
  • Wignall, Alice. “This Mortal Toil.” The Guardian. October 4, 2005.
gollark: GHIJ
gollark: Or probably weapon attacks at all.
gollark: Or any time, really.
gollark: There would be no photon torpedoes at this time.
gollark: ```Cold Ones (also ice giants, the Finality, Lords of the Last Waste)Mythological beings who dwell at the end of time, during the final blackness of the universe, the last surviving remnants of the war of all-against-all over the universe’s final stocks of extropy, long after the passing of baryonic matter and the death throes of the most ancient black holes. Savage, autocannibalistic beings, stretching their remaining existence across aeons-long slowthoughts powered by the rare quantum fluctuations of the nothingness, these wretched dead gods know nothing but despair, hunger, and envy for those past entities which dwelled in eras rich in energy differentials, information, and ordered states, and would – if they could – feast on any unwary enough to fall into their clutches.Stories of the Cold Ones are, of course, not to be interpreted literally: they are a philosophical and theological metaphor for the pessimal end-state of the universe, to wit, the final triumph of entropy in both a physical and a spiritual sense. Nonetheless, this metaphor has been adopted by both the Flamic church and the archai themselves to describe the potential future which it is their intention to avert.The Cold Ones have also found a place in popular culture, depicted as supreme villains: perhaps best seen in the Ghosts of the Dark Spiral expansion for Mythic Stars, a virtuality game from Nebula 12 ArGaming, ICC, and the Void Cascading InVid series, produced by Dexlyn Vithinios (Sundogs of Delphys, ICC).```

References
  1. "President's Report 2003 | the People | New Faculty | Barbara Hunt".
  2. University, Memorial (2019-09-11). "Emeritus honours". Gazette - Memorial University of Newfoundland. Retrieved 2020-01-30.
  3. "Home | Queen's University". www.queensu.ca. Retrieved 2016-03-05.
  4. Paterson, Elaine Cheasley (2015). Sloppy Craft: Postdisciplinarity and the Crafts. Bloomsbury. pp. 117–118. ISBN 9781472529008.
  5. Grenfell Campus of Memorial University of Newfoundland, http://www.grenfell.mun.ca/fine-arts/visual-arts/Pages/faculty.aspx Archived 2015-06-18 at the Wayback Machine
  6. Mentoring Artists for Women's Art, "Archived copy". Archived from the original on 2014-08-21. Retrieved 2015-06-16.CS1 maint: archived copy as title (link)
  7. Johnson, Bruce (2010). Toll : Barb Hunt. St. John, Newfoundland & Labrador: The Rooms Provincial Art Gallery. ISBN 9780986745812.
  8. "Barb Hunt - artist: installation, textiles". www.barbhunt.com. Retrieved 2020-01-30.
  9. Entertainment (2019-01-15). "First North Island College Artist Talk Series of 2019 features Barb Hunt". BC Local News. Retrieved 2020-01-30.
  10. "International Residencies | The Canada Council for the Arts". canadacouncil.ca. Retrieved 2016-03-05.
  11. Hunt, Barb. (2001). Barb Hunt. Bradley, Jessica., Art Gallery of Ontario. [Toronto]: Art Gallery of Ontario. ISBN 1-894243-20-X. OCLC 57447287.
  12. Chaney, Candace (February 18, 2011). "Gallery Hop: Amid resurgence of knitting, artists explore yarn's possibilities". LexGo/kentucky.com. Retrieved 23 June 2015.
  13. Art Gallery of Ontario, http://www.ago.net/barb-hunt
  14. "Unpacking The Living Room". www.unpackingthelivingroommsvu.ca. Retrieved 2020-03-12.
  15. Spence, Sheila (1999). "Critical Distance - Mourning: Barb Hunt". www.aceart.org. Retrieved 2017-02-22.
  16. "Canadian Art | Winnipeg Art Gallery".
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