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Kent Tate

Kent Tate (born 1956) is a Canadian artist whose current practice focuses on creating digital media, such as single-channel video.

Early Life and Education

Born in Rivers, Manitoba, Tate spent his childhood in Germany and then in Ottawa. He moved to the United States, with his mother as a teenager, and went on to study painting and film at the University of Utah. Tate was greatly influenced by the artist James Turrell and his land art project Roden Crater. Tate encontered the Spiral Jetty, an earthwork sculpture built in 1970 on the northeastern shore of the Great Salt Lake, Utah, by the American sculpture Robert Smithson inspiring Tate to focus on issues related to the Earth.

Career

Tate settled in Toronto after returning to Canada in 1980. He began an active period of exhibiting paintings, installations, films, music, and performances. Tate then moved to western Canada, where he continued to exhibit in Vancouver and Victoria, continuing his pursuit to infuse natural materials in his paintings and sculptures from 1984 - 1990.

Kent Tate's The Stalker at the Contemporary Art Gallery: humour, ecology, multi-nationalism, and beautiful 3-D work all in one spot. [1]
As in many of his previous works, Tate has adopted a kind of Art Povera sensibility in his choice of materials. In his 1969 description of Art Povera, Italian critic Germano Celant writes: "Animals, vegetables, and minerals take part in the world of art... The artist-alchemist organizes living and vegetable matter into magic things, working to discover the root of things, in order to refind them and extol them. His work, however, does include in its scope the use of the simplest material and natural elements (copper, zinc, earth, water, rivers, sand, snow, fire, grass, air, stone, electricity, uraniaum, sky, weight, gravity, height, growth, etc.) for a description or representation of nature." [2] Elemental materials such as salt, sulphur, wax, copper, water, crude oil, house dust and electricity frequently recur in Tate's work. In a direct, almost visceral manner materials are piled, bound, even burnt. For The Stalker Tate has once again used salt, soils, wax, copper, oil and electricity. [3]

In the early 1990's Tate visited the Big Island of Hawaii, motivating him to move to Hawaii. Tate spent over 10 years archiving one of the most active volcanoes in the world, located in Hawaii Volcanoes National Park.

Tate's current single-channel video contains footage of a extensive variety of extraordinary locations captured in nature juxtaposed with footage of ordinary industrial and day-to-day human activities. Tate has developed a keen eye for archetypal form, light and movement which is reflected in his work.

Since returning to Canada in 2005, Tate's work has been shown in national and international film and new media festivals, symposiums, group screenings - exhibitions, and solo gallery installations.

Though gallery visitors are surrounded by moving images, the structure of Kent Tate's Movies for a Pulsing Earth encourages a more active engagement. Viewers start with one monitor, move to anther, try to take in three at once, turn back to earlier scenes, all while the silent viewing figure in the centre watches with them. [4]

The Banff Centre, the Canada Council, Ontario Arts Council, BC Arts Council, Hawaii State Arts Foundation, and the Saskatchewan Arts Board have all supported Tate's projects through grants, awards and residencies.

Tate has produced six landscape DVDs.

Tate currently resides in rural southwestern Saskatchewan.

Biography

Selected Exhibitions, Festivals & Screenings

Further reading

  • Galleries West: magazine review written by Laureen Marchand (summer issue, pages 24-26) – Movies for a Pulsing Earth (2012)
  • Prairie Post: newspaper review – Movies for a Pulsing Earth (2012)
  • SWBooster: newspaper review – Movies for a Pulsing Earth (2012)
  • Currents International Film & New Media Festival: catalogue (page 86) – Circumstantial Evidence – Part 3 (2012)
  • Artropolis - Annual survey of BC Art: catalogue (ISBN 1-895371-03-1, page 43) – Prosper Sculpture (1990)
  • Georgia Strait newspaper: review (Dec. 22, 1988 – Jan. 6, 1989) The Stalker (1989)
  • Contemporary Art Gallery: catalogue (ISBN 0-920751-21-0) – The Stalker (1988)
  • The Province: review – The Stalker (1988)
  • Georgia Strait newspaper: review – No Rest For the Restless (1985)
  • Issue Magazine: review by Jim Carrico (issue 12, vol.2, No.4 – March/April 1985, pages21, 24, 25) – No Rest For The Restless (1985)
  • Monday Magazine: review by Robert Amos (Feb 3-9, 1984)– Uninvited House Guest (1984)
  • Issue Magazine: review by Pearl Inlay (issue Nov./Dec. ’84, pages 35, 36) – Radiating Suit in “The Last Pittsure Show” (1984)
  • Vanguard: review by Phillip Manton Willey – Uninvited House Guest (1984)
  • Vanguard: review by Jennifer Oille – Kent Tate Museum of Post-Habitation (1983)
  • Issue Magazine: interview by Jim Carrico (issue 2–November 1983, pages 16-18) – Vanishing Heat (1983)
  • Parallelogram: photo by Miki Miroslav (December 1982-January 1983, page 29) – Kent Tate’s performance Ending All Occupation, part of A.R.C. satellite exhibition Museum of Post-Habitation (1982)

Official website

Vimeo website Template:Persondata

References

  1. ^ Oraf (22 DEC. 30, 1988-JAN 6, 1989). "Visual Arts Year In Review". THE GEORGIA STRAIGHT. {{cite news}}: |access-date= requires |url= (help); Check date values in: |date= (help)
  2. ^ Celant, Germano (1969). Art Povera. New York: Washington: Praeger Publishers. p. 225.
  3. ^ Talve, Merike (1988). The Stalker. Vancouver, B.C.: Contemporary Art Gallery. p. 4. ISBN 0-920751-21-0.
  4. ^ Laureen, Marchand (2012). "Kent Tate: Movies for a Pulsing Earth, March 3 to April 29, 2012, Art Gallery of Swift Current". gallerieswest. 2. 11 (SUMMER): 24-26.
  5. ^ Currents 2012. Santa Fe, New Mexico: Parallel Studios. 2012. p. 85.
  6. ^ Artropolis 90. Vancouver, B.C.: A.T. Eight Artropolis Society. 1990. p. 43. ISBN 1-895371-03-1.
  7. ^ The Stalker. Vancouver, B.C.: Contemporary Art Gallery. 1988. ISBN 0-920751-21-0.
  8. ^ Jim, Carrico. "Kent Tate". ISSUE. No. 4. Vol. 2 (12): 21. {{cite journal}}: |access-date= requires |url= (help); |volume= has extra text (help); Cite has empty unknown parameter: |1= (help); Unknown parameter |month= ignored (help)
  9. ^ Pearl, Inlay (1984). "The Last Pittsure Show". ISSUE. 3. 2 (Nov./Dec.): 35. {{cite journal}}: Unknown parameter |month= ignored (help)
  10. ^ Robert, Amos (1984). "We made it George". Monday Magazine. {{cite journal}}: Unknown parameter |month= ignored (help)
  11. ^ Jim, Carrico (November). "Jim Carrico interviews Kent Tate". ISSUE. 2: 16-18. {{cite journal}}: |access-date= requires |url= (help); Check date values in: |year= (help); Unknown parameter |month= ignored (help)CS1 maint: year (link)
  12. ^ Jennifer, Oille (1983). "Kent Tate Museum of Post-Habitation". Vanguard. 2. 12. {{cite journal}}: Unknown parameter |month= ignored (help)
  13. ^ Miki, Miroslav (1982–1983). "Kent Tate's performance "Ending All Occupation", part of his A.R.C. satellite exhibition, "Museum of Post-Habitation", Oct. 1982. Photo by Miki Miroslav". Parallelogramme. 2. 8: 29. {{cite journal}}: |access-date= requires |url= (help); Unknown parameter |month= ignored (help)CS1 maint: date format (link)
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