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= Joyce Wieland = [Here, the existing first sentence explains what Wieland's profession was]

Joyce Wieland, OC (June 30, 1930 &#x2013; June 27, 1998) was a Canadian experimental filmmaker and mixed media artist.

Wieland found success as a painter when she started off her career in Toronto in the 1950s. In 1962, Wieland moved to New York and expanded her career as an artist by including new materials and mixed media work. During that time, she also rose to prominence as an experimental filmmaker and soon, renowned institutions such as the Museum of Modern Art in New York were showing her films. In 1971, Wieland's True Patriot Love show at the National Gallery of Canada was the first ever solo exhibition by a living Canadian female artist at the museum. In 1982, Wieland received the honor of becoming an Officer of the Order of Canada and in 1987, she was awarded the Toronto Arts Foundation's Visual Arts Awards. She was also a member of the Royal Academy of Arts.

Early Life and Education
Wieland was born on June 30, 1930 in Toronto, Ont. after her parents had emigrated from Britain. She was the daughter of Sydney Arthur Wieland and Rosetta Amelia Watson. They fell in love when Watson was still engaged to another man. Wieland's father died from heart disease in 1937, and her mother followed soon after him, leaving her and her two siblings to fend for themselves in financially difficult circumstances.

[Here the existing sentence talks about Wieland's use of art to cope with her parent's death] Wieland's aptitude for art was first expressed during her childhood, when she made many drawings and comic books to help her cope with the death of her parents.

However, she didn't see herself working as an artist and wanted to get into fashion instead.

[here the existing sentence writes about Wieland attending Central Tech, but I will add more information]

As a teenager, she attended Central Technical School, where she studied commercial art and graphic design. Wieland first attended the school and enrolled in dress design, hoping she would acquire skills that would help her land a job since she knew art would not be financially rewarding. However, at Central Tech, she met Doris McCarthy who taught at the school. McCarthy's unique identity as an artist inspired and helped shape Wieland's own love for art. She saw potential in Wieland and convinced her to transfer into the art department.

Career
After graduating in 1948, Wieland held various jobs as a graphic designer. The first was a design packaging job with E.S. & A. Robinson that lasted for five years. After that, she worked with Planned Sales, also as a designer. At both those places, Wieland came in contact with many artists who had graduated from Central Tech and the Ontario College of Art. During this time, she also kept focusing on her art but wasn't confident in showing off her work yet. In the early 1950s, Wieland's interest in art films grew and she started attending the Toronto Film Society screenings where she was introduced to the works of filmmakers such as Maya Deren, who later influenced her own films. In 1953, Wieland joined Graphic Associates, an animation studio [the rest of the existing sentence explains what she learned there] where she learned techniques she would later apply in her own films.

[Here the existing sentence writes about her marriage with Michael Sow] In 1956, Wieland married filmmaker Michael Snow, whom she had met through her job at the animation studio. They remained married for over twenty years until their divorce in 1976.

[Here the existing sentence talks about Wieland's first solo exhibition] She had her first solo exhibition in 1960 at the Isaacs gallery in Toronto, making her the only woman that the prestigious gallery represented and instantly earning her greater recognition for her work.

[Here the existing sentence states that Wieland moved to New York, but I will add more information ] In 1962, Wieland and Snow moved to New York where they lived until 1971.

In those years, Wieland produced most of her experimental films that became known and admired internationally. However, her visual-art practice's popularity remained confined within Canada. One of these films is Rat Life and Diet in North America (1968), which presents animals as its main characters. The film is a metaphor for revolution and escape, where cats are the oppressors and the gerbils are the oppressed. The gerbils represent political prisoners in the United States who make their way to freedom in Canada. Rat Life and Diet in North America is an example of how Wieland's concern with political issues, nationalism, symbols, and myths was represented aesthetically through her works. Wieland's self-idenfitication as a feminist in an era of second wave of feminism also manifested itself through aesthetic means and played an important part in her career as an artist.

In 1971, Wieland returned to Toronto because she felt she couldn't make art anymore in the United States due to its ideological orientation. In 1987 a retrospective of her work at the Art Gallery of Ontario presented a critical overview of both her visual art practice and her experimental films.

[Here the existing sentence writes about Wieland's death] Wieland maintained a studio practice in Toronto until her death on June 27, 1998 from Alzheimer's disease.

[Word count for the added information is 600 words]

Work
[This is an already existing paragraph that talks in more detail about Wieland's aesthetic style]

Joyce Wieland was a central figure in Canadian art during the 1960s and 1970s. Though she began her career as a painter, her work came to explore a wide range of materials and media, including film. The 1960s were an incredibly productive time for Wieland, as she responded to the contemporary artistic trends of Pop art and Conceptual art. Joanne Sloane maintains in Joyce Wieland: Life & Work, that her encounters with these influences "were always original and idiosyncratic.”[8] Sloane identifies the several consistent bodies of Wieland's work that emerged throughout the 1960s as: "quasi-abstract paintings that reveal messages, signs, or erotic drawings; collages and sculptural assemblages; filmic paintings; disaster paintings; plastic film-assemblages; quilts and other fabric-based objects; and language-based works."[8] Her art was often infused with humour, even as it engaged with issues of war, gender, ecology, and nationalism.[9]

Internationally Wieland is best known as an experimental filmmaker whose work challenged and bridged boundaries among avant-garde film factions of her time. Her works introduced a kind of manual manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films while also playing with the facticity of photographed images. Wieland's output was small but received considerable attention in comparison to other female avant-garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to cross over between those realms and to garner attention and support in both.

In the 1980s Joyce Wieland focused again on painting, though her representations of natural environments became less identifiably Canadian. With their intense colours and near psychedelic effects, Wieland’s later landscapes seem almost outside of time and place.[10]

Filmography
[Her filmography is already listed on the existing page]
 * Tea in the Garden (circa 1956)[11]
 * A Salt in the Park (1958)
 * Larry's Recent Behaviour (1963)
 * Patriotism (1964)
 * Patriotism, Part II (1964)
 * Water Sark (1965)
 * Barbara's Blindness (1965) (co-directed with Betty Ferguson)
 * Peggy's Blue Skylight (1964–66)
 * Handtinting (1967–68)
 * 1933 (1967–68)
 * Sailboat (1967–68)
 * Rat Life and Diet in North America (1968)
 * Dripping Water (1969) (co-directed with Michael Snow)
 * Cat Food (1969)
 * Reason Over Passion/la raison avant la passion (1969) (a meditation on the Canada of Pierre Trudeau)
 * Pierre Vallières (1972)
 * Solidarity (1973)
 * The Far Shore (1976)
 * A and B in Ontario (1984) (co-directed with Hollis Frampton)
 * Birds at Sunrise (1972–86)

Awards and Nominations
[I have already listed her achievements in the introductory paragraph and will not create a new paragraph for that