Age, Biography and Wiki
Anne Ramsden was born on 1952 in Kingston, Ontario, Canada, is a Canadian artist (born 1952). Discover Anne Ramsden's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 72 years old?
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72 years old |
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Kingston, Ontario, Canada |
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Canada
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She is a member of famous artist with the age 72 years old group.
Anne Ramsden Height, Weight & Measurements
At 72 years old, Anne Ramsden height not available right now. We will update Anne Ramsden's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Dating & Relationship status
She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.
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Anne Ramsden Net Worth
Her net worth has been growing significantly in 2023-2024. So, how much is Anne Ramsden worth at the age of 72 years old? Anne Ramsden’s income source is mostly from being a successful artist. She is from Canada. We have estimated Anne Ramsden's net worth, money, salary, income, and assets.
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$1 Million - $5 Million |
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Pending |
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Under Review |
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artist |
Anne Ramsden Social Network
Timeline
Anne Ramsden (born 1952) is a Canadian artist who has exhibited widely in Canada.
She is currently based in Montreal, where she is a professor at the Université du Quebec à Montréal.
Ramsden was born in Kingston, Ontario.
She received a Bachelor of Arts from Queen's University in 1973, a Bachelor of Fine Arts from Nova Scotia College of Art and Design in 1977, and a Master of Fine Arts from Concordia University in 1983.
Ramsden was a co-founder, along with Francine Perinet and Angela Grauerholz, of the documentation centre and bookstore Artexte and served as co-director from 1980 to 1987.
She served as an associate editor for Parachute Magazine from 1980 to 1982.
From 1987 to 1998, Ramsden taught at the School for Contemporary Art at Simon Fraser University.
Reclaimed for Mercouri (1987), created for Parachute Magazine, consisted of two photographs of the Elgin Marbles in the British Museum printed on the recto and verso of the same page.
The project considers, "the temporal/spatial shift required to see and present art from more than one point of view by drawing a parallel between the physical act of moving through the gallery and the turning of a page."
Robin Laurence describes Ramsden's seven-monitory video installation, Urban Geography, as using, "a strategy of fragmentation and failed communication" in order to convey, "a condition of alienation."
Ramsden's series, Relations (1988), consisted of eight photo-diptychs that consider the, "shifting perceptions of the museum itself."
Reesa Greenberg writes that the, "doubling, repetition, juxtaposition, shifts in focus and the reflection of a female viewer positioned outside the museum identify the museum as colonist, racist and sexist."
In 1993, Ramsden was awarded the Canada Council for the Arts Joseph S. Stauffer Award, which recognizes Canadian artists who exhibit strong artistic potential in music, visual arts, and literature.
She is a professor at the Université du Quebec à Montréal, where she has taught since 1998.
Ramsden works across a variety of media, including sculpture, installation, photography, and video.
Ramsden has exhibited widely across Canada.
Several notable solo exhibitions include Anastylosis: Inventory, which was exhibited at the Centre Cultural de l'Université de Sherbrooke, Sherbrooke in 2000 and at the Southern Alberta Art Gallery in Lethbridge in 2002; Relations at Artspeak Gallery, Vancouver in 1988; and Urban Geography, shown at the UBC Fine Arts Gallery (now the Morris and Helen Belkin Art Gallery), Vancouver and the Mendel Art Gallery, Saskatoon in 1990.
Ramsden's work has investigated museology and museum display practices, mass media, and the social spaces and visual culture engendered by new technologies.
Her multidisciplinary work has been described as bearing an 'obvious feminist thrust.'
