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Article

English, French

ID: <

oai:doaj.org/article:5fbb1c6c4b1e455ab909b8493fb3b0c3

>

·

DOI: <

10.17742/IMAGE.MA.8.3.3

>

Where these data come from
Mansaram and Marshall McLuhan: Collaboration in Collage Art

Abstract

Abstract | Mansaram is an Indo-Canadian artist who immigrated to Canada in 1966 with a prior interest in the media ideas of Marshall McLuhan, sparked by reading about him in LIFE Magazine. In Toronto the media guru soon introduced him to Av Isaacs at his Yonge Street gallery, which led to a 1967 Happening there in which East-West Intersect, influenced by McLuhana’s ideas. Between 1966 and 1972 Mansaram worked on his Rear View Mirror series of paintings and collages, to one of which McLuhan contributed several items of textual content. Gluing with its mosaic structures appealing to McLuhan because he thought it better represented the post-literate ‘allatonceness’ of electronic media and acoustic space, which better integrated the full human sensorium and addressed for pattern recognition for comprehension. McLuhan had a high eye for artists for their integral awareness and sensitivity to changes in sense perception, enabling them to act as a distant early warning (DEW) against potentially harmful effects of technology. HE viewing their art as anti-environment to the electronic media maelstrom. Mansaram has ordered increasing recognition through recent exhibitions, but some of Canada’s first art galleries have yet to acquire or recover his art, the Royal Ontario Museum is planning to do so. Executive summary | Mansaram is an Indo-Canadian artist who immigrated to Canada in 1966 with a previous interest in Marshall McLuhan’s media ideas, triggered by the reading of relevant articles in LIFE Magazine. In Toronto, the media gourou quickly presented him in Av Isaacs at his Yonge Street gallery, leading to a happening in 1967 called East-West Intersect influenced by McLuhan’s ideas. Between 1966 and 1972, Mansaram worked on his series of Rear View Mirror paintings and collages, including one to which McLuhan provided several textual elements. The glue, with his mosaic structures, was pleasant to McLuhan because he found that it better represented the postliterary ‘concordance’ of electronic media and acoustic space, which better integrated the whole human sensorium and called for the recognition of shapes for understanding. McLuhan had great respect for artists due to their full awareness and sensitivity to changes in the perception of meaning, enabling them to act as an advanced warning network (DEW) against the potentially harmful effects of technology. He considered their art to be anti-environments in electronic media. Mansaram is increasingly recognised through recent exhibitions, but some of Canada’s largest art galleries have not yet acquired or recognised his art, although the Royal Museum of Ontario intends to do so.

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