Audain Art Museum Appoints Two New Members to Board of Trustees

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MEDIA RELEASE Audain Art Museum Appoints Two New Members to Board of Trustees For Immediate Release WHISTLER, BRITISH COLUMBIA (February 20, 2019) – Jim Moodie, Chair, Board of Trustees and Dr. Curtis Collins, Director & Chief Curator of the Audain Art Museum announced today that two new members have been appointed to the Board of Trustees. “It is with great appreciation that the Museum welcomes the support of Kim Spencer-Nairn and Carole Taylor,” remarked Collins. “The diversity of experience that these indiviuals bring to the existing group of dedicated Board members will be invaluable in carrying forward the legacy that Michael Audain and Yoshiko Karasawa have created for Whistler, for the Province and for Canada as a whole.” About Kim Spencer-Nairn Kim Spencer-Nairn is a professional chartered accountant with expertise in arts entrepreneurship and management and has worked for KPMG and Ernst & Young. Kim is the Founder and Board Chair of the Capture Photography Festival in Vancouver and was recently appointed to the Board of Canada Council for the Arts. An avid snowboarder, Kim spent much of her youth in Whistler as her family owned and operated Whistler Snowmobile/Cougar Mountain in the ‘90s and early 2000s. About Carole Taylor Carole Taylor, Order of Canada, is a former journalist and politician, and the current Canada Chair for the Trilateral Commission. She is the Chancellor of Victoria University at the University of Toronto and served as the Chancellor of Simon Fraser University from 2011 until 2014. Carole was a Vancouver City Councilor from 1986 to 1990. She served as the Minister of Finance for British Columbia from 2005 until 2008 in the government of Liberal premier Gordon Campbell. She has chaired the Port of Vancouver, the Greater Vancouver Hospital District, the Vancouver Board of Trade and the board of CBC/Radio Canada. Taylor has received four honorary degrees and continues to be involved in numerous community focused endeavors. The Museum also welcomes new appointees by the Resort Municipality of Whistler, Mayor Jack Crompton and Councilor Cathy Jewett. Trustees L. Brown, E. Martin and N. Maché have stepped down from the Board effective February 15, 2019. - 30 - About Audain Art Museum The Audain Art Museum opened to the public in 2016 and was founded by Vancouver home builder and philanthropist Michael Audain and his wife Yoshiko Karasawa. The 56,000 square foot structure is located in the heart of Whistler, British Columbia, and was designed by the award-winning architectural firm Patkau Architects. The Museum’s Permanent Collection showcases the art of British Columbia from the late 18th Century to present. Anchoring the collection is James Hart’s The Dance Screen (The Scream Too), the most significant contemporary carved cedar Dance Screen in the world. Other highlights include an important collection of 19th and 20th Century First Nations masks and works by some of Canada’s most celebrated artists including Emily Carr, E.J. Hughes and the internationally renowned photo-conceptualists Jeff Wall and Stan Douglas. In addition to the permanent collection the Museum has touring exhibitions of art from Canada and around the world. Media Inquiries Justine Nichol Marketing & Communications Manager T: 604.962.0413 ext. 103 T: 604.789.4359 [email protected] .

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LINEAGES AND LAND BASES FINAL DIDACTICS 750 Hornby Street Vancouver BC V6Z 2H7 Canada Tel 604 662 4700 Fax 604 682 1787 www.vanartgallery.bc.ca lineages and land bases The artworks gathered for this exhibition address differing understandings lineages and land bases presents works from the Vancouver Art Gallery’s of the self and personhood in relation to nature, a concept that is culturally, permanent collection by artists who have challenged the nature-culture historically and linguistically informed. divide, seeking new ways to conceptualize and represent their relation to the world around them while grappling with the troubled inheritance of settler Sḵwx̱wú7mesh sníchim (the Squamish language) has no word for nature, colonialism. At the centre of the exhibition is a case study that assesses the although it has many words that relate to the land and water. Within this intersections between the basketry of Sewiṉchelwet (Sophie Frank) (1872– worldview, people are intimately bound to non-human entities, such as plants, 1939), a woman from the Sḵwx̱wú7mesh Úxwumixw (Squamish Nation), and rocks, animals or places, locating subjectivity well beyond humans. In contrast, the late landscape paintings of Emily Carr (1871–1945). The two women were the modern Euro-Canadian distinction between nature and culture provided close contemporaries and friends for 33 years, a relationship also shaped by the foundation, in the early 20th century, for the development of a national the profound inequalities of their time. The comparison of these two distinct, art and identity in Canada. Paintings of vast empty landscapes premised yet interconnected, perspectives both prefigures and extends the critique of an idea of wilderness that effectively erased Indigenous presence from the the separation of nature and culture seen elsewhere in the exhibition, urging us representation of nature at the same time that these communities were being to think anew about the meaning of self and its ties to the non-human world.
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