Richmond Art Gallery Collections Policy
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M E D I a R E L E A
M e d i a R e l e a s e Mother-Son Artist Team Selected to Create Public Art to Enhance Johnson Street Parkade Date: Friday, August 21, 2015 For Immediate Release VICTORIA, BC — Yesterday, City Council selected a Vancouver-based, mother and son Musqueam First Nation artist team, Susan Point and Thomas Cannell, for their Woven Together proposal to create contemporary First Nations artwork to enhance the exterior of the Johnson Street Parkade. The artwork will be installed in April. “The extraordinary piece of art proposed by Susan Point and Thomas Cannell will celebrate the history of the local Coast Salish people and will make Johnson Street Parkade more welcoming, while enlivening Victoria’s downtown streetscape,” said Councillor Pamela Madoff, Council Liaison to the City’s Art in Public Places Committee. “Public art sends a strong message about a community and its values. It demonstrates that a city is tended and cared for and that its public realm is celebrated.” Woven Together will consist of colourful, powder-coated aluminum circular forms that are often used in Coast Salish art to represent the cycle of life, but also the traditional weaving spindle whorl and transportation. Colour will play a significant role in symbolizing cultures and different beliefs around the world all coming together to complete the circle. The centre will be made up of four eye motifs that create four butterfly images symbolizing the ability to accept change, metamorphosis, and the beauty of nature. The number four is important within First Nations culture as it represents the four winds, seasons, directions, elements, moons and peoples. -
JACK DAVY Worked for the British and Horniman Museums Before
DOI BIO: JACK DAVY worked for the British and Horniman museums before earning a PhD from University College London, where he studied miniature artifacts from the Northwest Coast of the United States and Canada. He is currently a senior research assistant at the University of East Anglia for Beyond the Spectacle: Native North American Presence in Britain, a three- year project funded by the United Kingdom Arts and Humanities Research Council. The “Idiot Sticks”: Kwakwaka’wakw Carving and Cultural Resistance in Commercial Art Production on the Northwest Coast Jack Davy Between 1884 and 1951 a ban on potlatching prohibited Indigenous communities of British Columbia from practicing traditional economic, ceremonial, and political activities, restricting them to state-sanctioned gatherings and celebrations. Unable to perform traditional dances and wear the associated regalia, Native artistic practices, in particular carving, began to fall into disuse as demand dried up. Restricted to only a few artistic forms permitted by local authorities, carvers turned to the growing tourist market, a field dominated by non- Native dealers but also disdained by government as inauthentic and thus, ostensibly non- threatening. Among art forms most popular with the Kwakwaka’wakw people of Vancouver Island and the corresponding British Columbia coast were model totem poles, which have often been overlooked as facile souvenir art and even sometimes derided as “idiot sticks.” In reality, however, drawing from both historical accounts and contemporary interviews with Kwakwaka’wakw carvers, this article demonstrates that these model totem poles were a subversive method of Indigenous defiance of Canadian authority. Carvers satirically enacted resistance through these model poles, not only mocking those who would presume to judge without knowledge, but in preserving information for future generations, could ensure the survival of traditional designs and techniques and register protest at their treatment by non-Native government and society. -
Life and Death of Kowloon Walled City Antonín Brinda
Life and Death of Kowloon Walled City Antonín Brinda The text you are about to read speaks about the island of Hong Kong which is by itself an exceptional place with a very specific history. There is (or maybe better to say was) nevertheless an arguably even more interesting island located within the territory of Hong Kong: Chinese enclave called Kowloon Walled City (KWC). What surrounded this 'island' was not water but „larger territory whose inhabitants are culturally or ethnically distinct“ (Oxford Dictionary's definition of enclave). Though in this case, the situation is somewhat more complicated, as KWC – officially part of China – was at the time surrounded by another piece of land formerly also belonging to China – British Hong Kong. Therefore one might say that a part of China was surrounded by another part of China, but that would be a quite a simplification. Decades of British domination had a significant impact on Hong Kong as well as unexpected juridical implications strongly influenced the nature of KWC. It is then legitimate to talk about KWC and Hong Kong as two entities, quite distinct from both each other and Mainland China, the smaller one strangely inserted into the body of its bigger neighbor. Let us explore together this unique 'island' and its 'waters'. The paper aims to shortly introduce the history of an urbanistic phenomenon of Kowloon Walled City (KWC) which until 1993 had been located in the territory currently known as Hong Kong (Hong Kong Special Administrative Region of the People's Republic of China). In the four parts of the article, I will look upon (1) the establishment and development of Kowloon City (Sung Dynasty - 1847), (2) the birth of the Walled City within the Kowloon City area (1847-1945), (3) the post-Second World War period during which the City received its reputation and the nickname 'City of Darkness' (1945-1993), and (4) the concurrent afterlife following the City's demolition in 1993 (1993-now). -
Greg Girard HKPM
1606 Chai Wan Industrial City, Phase 1 60 Wing Tai Road, Chai Wan, Hong Kong www.bluelotus-gallery.com ! [email protected] www.bluelotus-gallery.com T: +852 6100 1295 PRESS RELEASE #Photography #Exhibition #New Photobook #HongKong #70's #WanChai #Vintage #Nightlife HK:PM [ Hong Kong Nightlife 1974-1989 ] by Greg Girard A photographic exhibition organized by Blue Lotus Gallery at PMQ (room 507s) from 27 October to 12 November 2017 coinciding with a new photo book release of the same title EXHIBITION OPENING: 27 October 2017, 6–8pm EXHIBITION RUNS UNTIL 12 November 2017 VENUE: PMQ: Room 507s, 35 Aberdeen Street, Central, HK OPENING HOURS: daily including Saturday & Sunday 11am to 7pm CONTACT: Press & Inquiries (English): Christina Jensen: [email protected] Sarah Greene [email protected] Press & Inquiries (Chinese): Eunice Lam : [email protected] Greg Girard’s representative HK: www.bluelotus-gallery.com Event Page Link here. Book available online here Publisher: www.asiaone.com.hk Greg Girard’s official website: www.greggirard.com Press Kit with detailed info on book, exhibition and images here. www.bluelotus-gallery.com www.bluelotus-consultancy.com Page !1 of !4 1606 Chai Wan Industrial City, Phase 1 60 Wing Tai Road, Chai Wan, Hong Kong www.bluelotus-gallery.com ! [email protected] www.bluelotus-gallery.com T: +852 6100 1295 ABOUT THE EXHIBITION SHORT VERSION: HK:PM is an exhibition of photographs of Greg Girard's nocturnal wanderings in Hong Kong made between 1974 and 1989. The exhibition also marks the release of the book of the same title, published by Asia One. -
Pacific Coast Salish Art and Artists: Educator Resource Guide
S’abadeb— TheGifts: PacificCoast SalishArt &Artists SEATTLE ART MUSEUM EDUCATOR RESOURCE GUIDE Grades3-12 SeattleArtMuseum S’abadeb—The Gifts: Pacific Coast Salish Art and Artists 1300 First Avenue is organized by the Seattle Art Museum and made Seattle, WA 98101 206.654.3100 possible by a generous leadership grant from The Henry seattleartmuseum.org Luce Foundation and presenting sponsors the National Endowment for the Humanities and The Boeing Company. © 2008 Seattle Art Museum This project is supported in part by an award from the National Endowment for the Arts with major support Pleasedirectquestionsabout thisresourceguideto: provided by the Mayor’s Office of Arts & Cultural Affairs, Adobe Systems, Incorporated, PONCHO, Washington State School & Educator Programs Arts Commission, and U.S. Bancorp Foundation. Additional Seattle Art Museum, 206.654.3146 [email protected] support provided by the Native Arts of the Americas and Oceania Council at the Seattle Art Museum, Thaw Exhibitionitinerary: Charitable Trust, Charlie and Gayle Pancerzewski, Suquamish Seattle Art Museum Clearwater Casino Resort, The Hugh and Jane Ferguson October 24, 2008–January 11, 2009 Foundation, Humanities Washington, Kreielsheimer Exhibition Endowment and contributors to the Annual Fund. Royal British Columbia Museum November 20–March 8, 2010 Art education programs and resources supported in Editing: John Pierce part by PONCHO and the Harrington-Schiff Foundation. Author: Nan McNutt Illustrations: Greg Watson ProjectManager: -
First Nations Public Art to Be Installed This Week at Johnson Street Parkade
M e d i a R e l e a s e First Nations Public Art to be Installed This Week at Johnson Street Parkade Date: Wednesday, August 24, 2016 For Immediate Release VICTORIA, BC — Public art will soon enhance the exterior of the Johnson Street Parkade and the downtown streetscape. Work is underway to install Woven Together , the contemporary First Nations artwork by Vancouver-based mother and son Musqueam artist team Susan Point and Thomas Cannell. Woven Together consists of colourful, powder-coated aluminum circular forms that are often used in Coast Salish art to represent the cycle of life, but also the traditional weaving spindle whorl and transportation. Colour plays a significant role in symbolizing cultures and different beliefs around the world all coming together to complete the circle. The centre is made up of four eye motifs that create four butterfly images symbolizing the ability to accept change, metamorphosis, and the beauty of nature. The number four is important within First Nations culture as it represents the four winds, seasons, directions, elements, moons and peoples. Approximately six metres wide by eight metres high, Woven Together contains 82 pieces which will be mounted to the building’s façade. A template will be used to mark and pre-drill holes in which to secure each art piece. The Johnson Street Parkade will remain open during the artwork’s installation but parking customers may experience minor delays entering the parkade. The work will take place daily this week from 9 a.m. – 8 p.m. and is anticipated to be completed by Friday. -
Vancouver Art Gallery to Present BC's Most Prestigious Visual Arts Prizes on April 19, 2017
FOR IMMEDIATE RELEASE Vancouver Art Gallery to Present BC's Most Prestigious Visual Arts Prizes on April 19, 2017 Audain Prize goes to Carole Itter; VIVA Award to Lyse Lemieux; Balkind Prize to Grant Arnold Image Credits: (Bottom Left): Carole Itter, Grand Piano Rattle: a Bosendorfer for Al Neil, 1984, metal, paint, wood, light fixture, Collection of the Vancouver Art Gallery, Acquisition Fund, VAG 86.34 a-e, Photo: Trevor Mills, Vancouver Art Gallery (Bottom Right): Catalogue produced for the exhibition Susan Point: Spindle Whorl (2016-17), co-curated by Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery, Photo: Maegan Hill-Carroll, Vancouver Art Gallery (Top): Installation view of Lyse Lemieux, Ovals for Richmond, 2016, in A Girls Gotta Do What A Girls Gotta Do, Richmond Art Gallery, 2016, Photo: Dennis Ha When: 7:00 p.m., Wednesday, April 19, 2017 Where: The Great Hall (BC Law Courts building) The Ceremony is free and open to the public April 5, 2017 Vancouver, BC – Three distinguished individuals in the field of visual arts in British Columbia will receive the most prestigious awards in this Province: the Audain Prize for Lifetime Achievement in the Visual Arts, the VIVA Awards and the Alvin Balkind Curator’s Prize. This year, Carole Itter is awarded the fifteenth Audain Prize, supported by the Audain Foundation. Lyse Lemieux is the recipient of the 2017 VIVA Award, granted annually by the Jack and Doris Shadbolt Foundation for the Visual Arts. The Foundation will also present the second biannual Alvin Balkind Curator’s Prize to Grant Arnold, Audain Curator of British Columbia at the Vancouver Art Gallery. -
ANNUAL REPORT October 1, 2016 – September 30, 2017 MESSAGE from the CHAIR
ANNUAL REPORT October 1, 2016 – September 30, 2017 MESSAGE FROM THE CHAIR In March 2016, the Audain Art Museum officially opened its doors and welcomed the CONTENTS first visitors. Since that day, the Museum has focused on its mission to provide the public with an opportunity to immerse themselves in British Columbia’s rich artistic heritage. Visitors to Whistler have been given a unique cultural opportunity through their interaction with our diverse permanent collection and special exhibitions. Our 03 MESSAGE FROM THE CHAIR award-winning Museum is located in a forested setting at the foot of majestic coastal 04 MESSAGE FROM THE ACTING DIRECTOR mountains – an environment that has inspired art for thousands of years. To date, the Museum has drawn tens of thousands of visitors from around the world to 06 SPECIAL EXHIBITIONS experience the art of British Columbia in an unparalleled, authentic way. In 2017, the Museum shared two pieces from our collection with three important 12 COLLECTIONS exhibitions, two of those Canadian and one international. As the permanent collection reaches out globally, it also continues to expand through promised gifts 16 EDUCATION AND PUBLIC PROGRAMS and purchases by the Audain Foundation and generous donors. 21 SUPPORT The viability of the Museum depends on the support of visitors, sponsors and government. In 2015, the Museum committed to 25 FINANCIAL STATEMENTS creating a $25 million endowment to help support the Museum into the future. In November 2017, founder Michael Audain, Chair of the Audain Art Museum Foundation, announced the initial goal had nearly been reached and the target for the endowment 38 BOARD OF TRUSTEES fund was raised to $50 million. -
Museum of Anthropology Annual Report 2010-2011
MUSEUM OF ANTHROPOLOGY ANNUAL REPORT 2010-2011 A place of extraordinary architectural beauty. A place of provocative programming and vibrant contemporary exhibitions. A place of learning and exchange of ideas within and across disciplines, open to all. A place of world arts and cultures. Mission To inspire understanding of and respect for world arts and cultures Vision MOA will become one of the world’s principal hubs for exhibition, teaching, and research of international visual, intangible, and perfor- mative culture, and critical and collaborative museology. It will provide a transformative environment for visitors to learn about them- Values selves and others, and to consider contem- Inspiration Inspiring curiosity about world arts Community Building and sustaining relation- porary and historical events and issues from and cultures ships with diverse communities by encourag- multiple perspectives. It will enhance its inter- ing their active engagement and honouring national profi le while working locally, main- their contributions to our shared society Innovation Questioning, experimenting, explor- taining and strengthening its focus on First ing, and challenging boundaries in ways that Nations peoples of British Columbia as well as Stewardship Acquiring, caring for, and display- advance a civil society and promote intercul- diverse cultural communities. It will embrace ing cultural objects to the highest professional tural understanding interdisciplinarity and champion collaboration. standards It will provide innovative and imaginative exhib- its and programs, and encourage full academic Inclusiveness Providing a welcoming environ- Service Serving the individuals, communities, and student participation while promoting ment, where learning and exchange of ideas is publics, and partners we work with in ways UBC’s values, commitments, and aspirations. -
The Contemporary Northwest Coast Indian Art Market
THE CONTEMPORARY NORTHWEST COAST INDIAN ART MARKET By KAREN ERICA DUFFEK B.A., The University of British Columbia, 1978 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Anthropology and Sociology We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1983 ©Karen Erica Duffek, 1983 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. / Department of Anthropology and Sociology The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date April 11, 1983 )E-6 (3/81) ABSTRACT In the 1960's a revival of Northwest Coast Indian art began to take place in British Columbia, following several decades of decline in art production that resulted from effects of European contact on traditional native social structure. By the late 1970's the Indian art market had become a several million dollar industry, involving several hundred native artists, and supported by a primarily non-Indian consumer public. This thesis examines the contemporary Northwest Coast Indian art market in terms of the role and significance of the art within its contemporary social context, focusing on the relationship between the consumers and the art they collect. -
Greg Girard Benefit Print Edition
Greg Girard Benefit Print Edition The Richmond Art Gallery is delighted to announce that artist Greg Girard has produced a limited edition archi- val pigment print to benefit the Gallery. Girard’s work will be the subject of a solo exhibition, Greg Girard: Richmond/Kowloon, at the Gallery from April 18 – June 28, 2015. Organized by Curator, Nan Capogna, the exhibition comprises previously created work documenting Hong Kong’s renowned Kowloon Walled City and premieres a new body of photographic images of Richmond, BC and its residents. Children on Rooftop is from Girard’s Kowloon Walled City photographs. A singular Hong Kong phenomenon, Greg Girard the Walled City housed up to 35,000 people living in Kowloon Walled City, Children on Rooftop, 1989 over 300 interconnected high-rise buildings covering 11 x 14 inches one square city block in a densely populated neigh- archival pigment print bourhood forming a “city within a city”. Though de- limited edition of 20 molished 20 years ago in 1993, interest in the Kowloon Price: $420 framed Walled City continues, fuelled in part by urban legends that persist about this extraordinary community. Prints can be purchased in person at the Richmond Art Greg Girard is a Vancouver-based Canadian photogra- Gallery and online at: http://www.richmondartgallery. pher who has spent nearly 30 years living and working org/fundraising/benefit-print-editions. For more in Asia, mostly in Shanghai and Hong Kong. His work information, contact [email protected] or 604-247- examines the social and physical transformations in 8363. Shipping available upon request at an additional Asia, especially in its largest cities. -
Monte Clark Gallery
Monte Clark Gallery Dynamic Results Greg Girard Year Type Reset (http://www.monteclarkgallery.com/archive) March 23, 2021 Greg Girard, MAS Context, Nocturnal Landscapes in Photography (https://www.mascontext.com/observations/nocturnal-landscapes-in-photography- greg-girard/) October 8, 2020 Greg Girard, Fitchburg Art Museum (https://tchburgartmuseum.org/the-big- picture/). June 11, 2019 Greg Girard, designboom (https://www.designboom.com/art/tokyo-in-the-1970s- pre-blade-runner-city-photos-by-greg-girard-06-10-2019/) June 5, 2019 Greg Girard, British Journal of Photography. (https://www.bjp- online.com/2019/06/1970s-tokyo-revisited/) April 20, 2019 Greg Girard, The Georgia Straight (https://www.straight.com/arts/1229286/girard- photographs-cities-undergoing-rapid-redevelopment), April 17 2019. March 30, 2019 Greg Girard, Capitalist Realism, Thessaloniki Photo Biennale (https://www.photobiennale-greece.gr/en/?exhibition=capitalist-realism-future- perfect), Greece. MNoovnemteb erCl a1r1k, 2G0a1l7lery Greg Girard, South China Morning Post (http://www.scmp.com/news/hong- kong/community/article/2119362/dive-bars-neon-lights-look-underside-side-hong- kongs), November 11, 2017 October 10, 2017 Greg Girard, HK:PM, Blue Lotus Gallery, Hong Kong, October 27 to November 12, 2017. June 11, 2017 Greg Girard, Splendour Without Diminishment (http://themainlander.com/2017/06/11/splendour-without-diminishment/), The Mainlander June 3, 2017 Greg Girard, Pictures from Here (https://www.theglobeandmail.com/arts/art-and- architecture/vancouver-art-gallery-exhibit-shows-a-more-contemporary-picture-of- life-inbc/article35181264/), Globe and Mail, June 1 2017. May 14, 2017 Greg Girard, CBC News (http://www.cbc.ca/news/canada/british-columbia/greg- girard-vancouver-photographs-1.4114262), by Clare Hennig.