{"id":22857,"date":"2023-01-06T12:01:13","date_gmt":"2023-01-06T13:01:13","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/?p=22857"},"modified":"2023-01-06T13:15:01","modified_gmt":"2023-01-06T13:15:01","slug":"elaine-cameron-weir","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/elaine-cameron-weir\/","title":{"rendered":"Elaine Cameron-Weir"},"content":{"rendered":"
\"\"
Elaine Cameron-Weir<\/figcaption><\/figure>\n

Elaine Cameron-Weir<\/a> (b. 1985, Red Deer, Alberta, Canada)Elaine Cameron-Weir\u2019s contemplative objects made from carefully sourced materials allow us to consider theways in which artifce and spectacle have been used to perpetuate systems of belief. Her major installationfrom the most recent Venice Biennale in 2022 invoked sites of provisional operations and religious refectionby transforming the gallery with modular steel subfooring, neon and electric ficker lights, and repurposedobjects previously used for military and industrial purposes.<\/p>\n

In addition to the Venice Biennale, Cameron-Weir recently opened a solo exhibition at Hannah Hoffman inLos Angeles, CA. Other solo shows from the past two years include the SCAD Museum of Art (2022) and theHenry Art Gallery University of Washington (2021). Recently her work was on view at the University of Califor-nia, Berkeley Art Museum as part of an important exhibition titled \u201cNew Time: Art and Feminisms in the 21stCentury.\u201d Other select solo exhibitions include exhibit from \u201ca dripping personal collection,\u201d Dortmunder Kun-stverein (2018); \u201cOutlooks: Elaine Cameron- Weir,\u201d Storm King Art Center, New York (2018) where the artistinstalled a steel mesh sphere for motorcycle stunts known as \u201cglobe of death\u201d on the top of a hill; and \u201cviscerahas questions about itself,\u201d New Museum, New York (2017). She has shown both in the U.S. and abroad, ingroup exhibitions at the Philadelphia Museum of Art; Remai Modern, Saskatoon; GAMeC, Bergamo; FUTURA,Prague; among many others.<\/p>\n

\"\"
installation view, The Milk of Dreams, curated by Cecilia Alemani, 59th International Art Exhibition of La Biennale di Venezia, Venice, IT, April 23 – November 27, 2022 Photography by Andrea Rosetti (for commercial reproduction contact andrearossetti.studio@gmail.com) Courtesy of the artist, JTT, New York, and Hannah Hoffman, Los Angeles<\/figcaption><\/figure>\n
\"\"
Elaine\u00a0Cameron-Weir Low Relief Icon (Figure 1), 2021 (detail) US military body transfer cases, aluminum, flicker bulbs, electrical wiring, conveyor belt, pewter, chain, pulleys, aircraft cable, hardware overall dimensions: 281 \u00d7 202 \u00d7 28 1\/2 in (713.7 \u00d7 513.1 \u00d7 72.4 cm); case with candles: 26.5 \u00d7 89 \u00d7 28.5 in (67.3 \u00d7 226.1 \u00d7 72.4 cm)<\/figcaption><\/figure>\n
\"\"
Elaine\u00a0Cameron-Weir Right Hand Left Hand, Grinds a Fantasizer\u2019s Dust, 2021 (detail) concrete textile, funerary backdrop stand, neon tubing, transformers, spot lights, silk gauze 85.5 x 112 x 24 in 217.17 x 284.48 x 60.96 cm
\u00a0<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Elaine Cameron-Weir Elaine Cameron-Weir (b. 1985, Red Deer, Alberta, Canada)Elaine Cameron-Weir\u2019s contemplative objects made from carefully sourced materials allow us to consider theways in which artifce and spectacle have been used to perpetuate systems of belief. Her major installationfrom the most recent Venice Biennale in 2022 invoked sites of provisional operations and religious refectionby transforming […]<\/p>\n","protected":false},"author":3,"featured_media":16239,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-22857","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/22857","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=22857"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/22857\/revisions"}],"predecessor-version":[{"id":22897,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/22857\/revisions\/22897"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/16239"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=22857"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=22857"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=22857"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}