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artists and writers from coast to coast embraced the belief that art can only be made out of the specifics of life, place and time. Curnoe was one of many, but he was a leader and one of the strongest voices....It was not that they rejected all art made in what are called ‘art centres’ per se, but
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The movement was composed of a group of artists who acknowledged their home as the centre and subject of creative activity; who acknowledged yet refused to situate themselves in the art world of the metropolitan centre; who refused to participate in ‘movements’. In fact, the term "regionalism" was
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adopted by the community in a spirit of defiance after a
Toronto critic used it in a derisive way to describe the scene. The movement is jokingly referred to as not an "ism" at all, but "a group of artists who had decided to stay home."
367:. His various studios served as meeting places for the artists in the movement, who supported each other but developed their own distinct practices. London Regionalism garnered national recognition with the
412:, he describes London as an art phenomenon as "the most important art centre in Canada and a model for artists working elsewhere, the site of 'Canada’s first regional liberation front.'"
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that they rejected the right of any person or group to prescribe what art should be....They sought out and found, in their own lives and localities, the stuff of their art."
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386:' challenges parochial notions of regionalism." Chambers "was closely involved with the London art scene was trained in
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was international, and his constant technical experimentation was in line with developments in the
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By the late sixties, the movement became an object of interest for
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Lord, Barry (Sep–Oct 1969). "What London, Ontario Has that
Everywhere Else Needs".
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Greg Curnoe stated in 1983 that London
Regionalism was in no way related to 1930s
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Heath, Terrence (2001). "The Trojan
Bicycle: Greg Curnoe's Life & Stuff".
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is a
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and kept his eye on the work of friends there. His reputation as an
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Professional Native Indian
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355:wrote: "In the late sixties and seventies,
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436:. The Winnipeg Film Group. Archived from
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582:. Toronto: Art Canada Institute, 2013.
565:. Toronto: Art Canada Institute, 2013.
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79:General Idea
29:Canadian art
788:Regina Five
726:Collectives
316:Greg Curnoe
109:Regina Five
48:Collectives
988:Categories
814:Plasticien
692:Intermedia
416:References
406:Barry Lord
328:Ron Martin
142:Indigenous
137:Plasticien
897:Parachute
797:Movements
236:Parachute
147:Inuit art
121:Movements
904:Vanguard
357:Canadian
343:Canadian
243:Vanguard
21:a series
19:Part of
914:Related
447:6 April
346:curator
828:Styles
584:E-Book
567:E-Book
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249:Awards
166:Styles
23:on the
854:Media
717:Vtape
586:, 31.
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441:(PDF)
434:(PDF)
388:Spain
194:Media
890:Fuse
543:ISBN
516:ISBN
489:ISBN
470:(2).
449:2012
348:and
330:and
229:Fuse
398:."
341:As
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