DOCSLIB.ORG

Annual Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Report MACKENZIE ART GALLERY ANNUAL REPORT 2018/19 01 3 PRESIDENT’S MESSAGE 4 EXECUTIVE DIRECTOR AND CEO’S MESSAGE 5 YEAR IN REVIEW 7 EXHIBITIONS 31 EDUCATION AND PUBLIC PROGRAMS 35 NEW PROGRAM SPACE AND CAFÉ 37 DONORS & SPONSORS 41 PERMANENT COLLECTION ACQUISITIONS 63 COMMUNITY SUPPORT 64 MEMBERS & VOLUNTEERS 69 BOARD OF TRUSTEES & STAFF 71 FINANCIAL STATEMENTS CORE FUNDING PROVIDED BY: Image: Joane Cardinal-Schubert (Canadian [Káínawa], 1942–2009), My Mother’s Vision: The Warshirt Series — I am Yelling for All Things on Earth — I am Screaming!, 1986, acrylic, oil pastel, and 01 conte on paper. Collection of the MacKenzie Art Gallery, gift of Thomas Druyan and Alice Ladner, the Kampelmacher Memorial Collection of Indigenous Art. 02 Message from the President The MacKenzie was thrilled to be the recipient of the Message from the Executive Director and CEO Kampelmacher Memorial Collection of Indigenous Artwork As President of the MacKenzie this year, donated by Thomas Druyan and Alice Ladner. This Recently the MacKenzie has been These changes, as well as the incredible exhibitions and Art Gallery’s Board of Trustees, I donation of more than 1,000 artworks not only fills in gaps in talking about re-imagining what an programming we have developed over the past year, have am pleased to share with you the our permanent collection, but also allows the Gallery to offer art museum in the 21st century can helped us get even closer to realizing the goals of our achievements of the past year. In educational resources for researchers, scholars and students. be. We have accomplished many Strategic Plan for 2018-23, which were threefold: to Create 2018/19, the MacKenzie advanced its things in the past year that move us Outstanding Visitor and Participant Experiences, Strengthen vision to become an immersive centre Thank you to the many individuals and businesses who towards this ambitious and timely Organizational Resilience, and Foster our Core Identity. A vital for art focusing on visitors and artists, sustain the MacKenzie through donations and participation transformation. art museum is at the core of democratic societies and most Indigenous culture and diversity in fundraising events. Together, we raised over $120,000 in business leaders agree that a vibrant arts and culture sector while remaining grounded in history, support of the Gallery through fundraising events such as I believe that the Gallery is a meeting creates a healthier, more productive, and more innovative education, and sustainability. Bazaart, Holiday Bazaart, and the MacKenzie Gala. We also place, to explore new ideas, and economy and higher quality of life. We are committed to extend deep gratitude to our members, donors, and corporate to foster creativity through visitor ensuring we are able to deliver this for generations to come. Over 88,000 visitors experienced the sponsors for their ongoing support. interactions. An art gallery or museum is not exclusively MacKenzie’s innovative public programs and exhibitions in a place to passively observe objects hanging on a wall. We are entering the new year by gaining momentum through 2018/19. This year, we were thrilled to reveal new projects Lastly, I extend a personal thanks to staff and volunteers More and more we are inviting visitors to explore their own planned artwork commissions, exhibitions and programs, that had been in the works for a few years: notably, the public for their passion and dedication to the Gallery, making it an creativity through hands on making opportunities and other facility and technological enhancements and organizational artwork on the outside of the building by Duane Linklater, exciting space for new experiences. interactive activities. We want the Gallery to be an immersive development. Come visit and you will soon see a further Kakike/Forever, that was installed in May 2018, and our new experience where you can stimulate all your senses, and renovation of the front of the gallery and welcome area. We café and programming space, Craft Services, which opened It is all of these people – staff, volunteers, donors, supporters, go away re-invigorated, inspired, challenged, informed and will also soon launch a completely re-designed website—an in November 2018. This report details how these projects, and visitors – who animate the Gallery as a vital community hopefully transformed. information portal directly linked to the above strategic in addition to our new and distinctive exhibitions and hub where encounters with art enrich the lives of everyone. objectives. programming, help foster transformative experiences of the To prepare ourselves to offer these new and expanded world through art. It is rewarding to look back on all that we have accomplished opportunities, we set a number of short-term goals. These I want to take this opportunity to thank our Board, staff and this past year, and equally as exciting to look forward to included launching a new brand and visual identity to volunteers for their dedication and passion for the MacKenzie! The MacKenzie acted as a creative hub for youth in 2018/19 what is to come. We continue to develop what will become communicate what is changing, the installation of a new café The MacKenzie is full of potential in the coming year with both inside and outside the Gallery. We serve 8,000 youth a robust welcome centre that you will soon see, and have and program space to facilitate new and more community further exciting announcements and developments. Don’t per year through gallery tours and hands-on workshops, and launched a new membership program and admissions model interactions and opportunities, and to mount a new major miss a thing by purchasing or renewing your membership we reached an additional 6,000 youth across the province with the aim of continuing to build strong visitor engagement public artwork on the façade of our building by artist Duane today. We look forward to sharing with you and hearing from through our Provincial Touring program. The BMO Learning and experience, while also strengthening the MacKenzie Art Linklater. I am gratified we have achieved all these goals and you! Centre bustled with parents and children creating art together Gallery’s sustainability for generations to come. more, and we have received enthusiastic responses. At the on Studio Sundays, thanks to the generous sponsorship of time of writing, we have just launched our new membership Great West Life, Canada Life, and London Life. program, and are about to embark on a new admissions model for the Gallery. These changes will allow us to expand our Gallery visitors of all ages discovered major exhibitions during programming, including new and diverse exhibitions, and to Thursday Night Lates, and the REALI (Recreation, Life Skills, invest in a better visitor experience, with expanded front-line Story Telling and Art Activity) program, which was presented Johanna Salloum staff and volunteers and information sharing, and allowing us Anthony Kiendl in partnership with the Regina Immigrant Women Centre, President, MacKenzie Art Gallery Board of Trustees to implement a more customized experience delivered in part Executive Director and CEO served immigrant and refugee women and their children through an enhanced level of visitor services. Saturday morning. 03 Photos: Don Hall 04 YEAR IN REVIEW 2018/19 Attendance Exhibition Openings In-House 73,915 Number of Openings 8 Out-of-House 14,731 Attendance 913 Total 88,646 Development Highlights Attendance Highlights Cash and in-kind contributions Special Events 7,868 from organizations $1,318,392 Facility Rentals 14,218 Cash and in-kind contributions from individuals $1,001,660 School and Youth Project Net result of three fundraising events $168,409 Tours 230 Gallery Shop net proceeds $18,178 Attendance 3,607 Total $2,506,639 Provincial Touring Artists and Exhibition Membership Program Program Membership proceeds (minus donation portion) $21,563 Tours 233 Active Gallery Memberships 571 Communities Visited 20 Attendance 6,788 Volunteers Volunteers 147 REALI Program (Recreation, life skills, Hours donated by Volunteers 2,591 storytelling and art activities) Workshops 47 Attendance 843 Community and Public Tours and Programs Tours and Programs 263 Attendance 9,424 05 Image: Germaine Arnaktauyok (Canadian [Inuit, Igloolik], born 1946), The Sun and the Moon, 2003, etching on paper, edition a/p 4/6. Collection of the MacKenzie Art Gallery, gift of Thomas 05 Druyan and Alice Ladner, the Kampelmacher Memorial Collection of Indigenous Art. 06 EXHIBITIONS Mixing Stars and Sand: The Art & Legacy of Sarain Stump March 3 to June 24, 2018 Mixing Stars and Sand: The Art & Legacy of ranch hand in southern Alberta. His rapid Sarain Stump was a multi-faceted project acquisition of languages — including English that made a major contribution to the art and Cree — and extensive knowledge of history of the Canadian prairies. It focused Indigenous art, as well as his unmistakable on the art and legacy of Sarain Stump (1945 charisma — all led to a celebrated volume of –1974), Italian-born Plains Cree autodidact “image-poems” There is my people sleeping and polymath artist, writer, musician, actor (1970); a role in the Hollywood movie Alien and educator. He was hugely influential in Thunder (1974) alongside Donald Sutherland, Saskatchewan and internationally, particularly Chief Dan George, and Gordon Tootoosis; and from 1970 to 1974, but has been largely ultimately his assimilation into Plains Cree overlooked by the mainstream art world. culture. Stump worked with curator Gerald McMaster and later led the Saskatchewan Indian Co-curated by Gerald McMaster and Anthony Cultural College’s nascent Indart program, Kiendl, the exhibition featured a new, with notable students such as Edward Poitras, commissioned video installation by Edward Harry Lafond, and Raymond McCallum, Poitras; over two hundred works by Stump among others. in a variety of media, documentation, and ephemera, including the un-edited manuscript Propelled by the spirit of the times, including for a new book of image-poems never the activism of the American Indian before seen in public.
Load more

Recommended publications
  • Changing Horizons
    Changing Horizons SASKATCHEWAN ARTS BOARD 2015-2016 ANNUAL REPORT MISSION: VALUES: TABLE OF CONTENTS: The Saskatchewan Arts Board recognizes, • Accessibility — We are committed to Letter of Transmittal 2 encourages and supports the arts to enrich providing accessible and user-friendly Message from the Chair 3 community well-being, creativity, diversity and services for our clients. Message from the Chief Executive Officer 4 prosperity. • Diversity — We are committed to building Board & Staff 5 an organization that reflects the ever- VISION: Stories 6 increasing diversity of the people of A creative society where the arts, artistic Saskatchewan and which embraces a In Memory 35 expression and innovation play a dynamic role broad scope of creativity and artistic Strategic Plan 36 and are accessible to everyone in expression through the arts. Permanent Collection: New Acquisitions 38 Saskatchewan. • Accountability — Our policies and Permanent Collection: Works on Loan 40 processes are transparent and reflect a Grants & Funding 42 commitment to effective stewardship for Jurors, Assessors & Advisors 46 the public trust we hold. Management Responsibility for Financial Information 48 • Collaboration — We recognize greater Auditor's Report 48 outcomes will be achieved through Financial Statements 49 collaboration, partnerships and the engagement of clients, staff and Notes to the Financial Statements 51 stakeholders. • Excellence — Our commitment to focusing on our clients and going above and beyond to support excellence in the arts. • Adaptability — Our ability to think differently, innovate and continuously evolve in order to support our clients and the dynamic role of the arts within a creative society. Cover Image: Gabriela García-Luna Blue Wheat , 2011 Giclée print on paper Photo courtesy of the artist The Saskatchewan Arts Board provides opportunities to change horizons for people across Saskatchewan.
    [Show full text]
  • New Saskatoon Museum Remai Modern Gives a Taste of Future
    New Saskatoon museum Remai Modern gives a taste of future programming in its inaugural exhibition | The Art Newspaper 11/01/2021, 12:55 New Saskatoon museum Remai Modern gives a taste of future programming in its inaugural exhibition The Modern and contemporary museum will show Canadian and international artists including General Idea, John Baldessari and Rosemarie Trockel Victoria Stapley-Brown Stan Douglas, The Secret Agent [film still] (2015) Stan Douglas, image courtesy the artist and David Zwirner, New York https://www.theartnewspaper.com/news/new-saskatoon-museum-remai-…-gives-a-taste-of-future-programming-in-its-inaugural-exhibition Page 1 of 4 New Saskatoon museum Remai Modern gives a taste of future programming in its inaugural exhibition | The Art Newspaper 11/01/2021, 12:55 The Remai Modern, a new Modern and contemporary art museum in Saskatoon, Canada, due to open on 21 October, has chosen to launch its programming with a museum-wide group exhibition as “a primer to indicate our programme direction going forward”, says Gregory Burke, the director and chief executive. The show, Field Guide (until 25 February 2018), which Burke co-organised with the museum’s director of programmes and chief curator, Sandra Guimarães, demonstrates some of the museum’s priorities, such as showing works by a mix of Canadian and international artists, acting as an “artist-centred” institution and being a champion for work by contemporary indigenous artists. Field Guide shows pieces from the collection (many of which come from the city’s former Mendel Art Gallery, closed in 2015), new acquisitions, site-specific commissions and loaned works by 80 artists and collectives, including John Baldessari, Kader Attia and Hito Steyerl.
    [Show full text]
  • Ayapaahipiihk Naahkouhk
    ILAJ YEARS/ANS parkscanada.gc.ca / parcscanada.gc.ca AYAPAAHIPIIHK NAAHKOUHK RESILIENCE RESISTANCE LU PORTRAY DU MICHIF MÉTIS ART l880 - 2011 Parks Parcs Canada Canada Canada RESILIENCE / RESISTANCE MÉTIS ART, 1880 - 2011 kc adams • jason baerg • maria beacham and eleanor beacham folster • christi belcourt bob boyer • marie grant breland • scott duffee - rosalie favell -Julie flett - Stephen foster david garneau • danis goulet • david hannan • rosalie laplante laroque - jim logan Caroline monnet • tannis nielsen • adeline pelletier dit racette • edward poitras • rick rivet BATOCHE NATIONAL HISTORIC SITE PARKS CANADA June 21 - September 15, 2011 Curated by: Sherry Farrell Racette BOB BOYER Dance of Life, Dance of Death, 1992 oil and acrylic on blanket, rawhide permanent collection of the Saskatchewan Arts Board RESILIENCE / RESISTANCE: METIS ART, 1880-2011 TABLE OF CONTENTS Foreword 4 Aypaashpiihk, Naashkouhk: Lii Portray dii Michif 1880 - 2011 5 Curator's Statement 7 kcadams 8 jason baerg 9 maria beacham and eleanor beacham folster 10 christi belcourt 11 bob boyer 12 marie grant breland 13 scott duffee 14 rosaliefavell 15 Julie flett 16 Stephen foster 17 david garneau 18 danis goulet 19 david hannan 20 rosalie laplante laroque 21 jim logan 22 Caroline monnet 23 tannis nielsen 24 adeline pelletier dit racette 25 edward poitras 26 rick rivet 27 Notes 28 Works in the Exhibition 30 Credits 32 3 Resilience/Resistance gallery installation shot FOREWORD Batoche National Historic Site of Canada is proud to host RESILIENCE / RESISTANCE: MÉTIS ART, 1880-2011, the first Metis- specific exhibition since 1985. Funded by the Government of Canada, this is one of eighteen projects designed to help Métis com­ munities preserve and celebrate their history and culture as well as present their rich heritage to all Canadians.
    [Show full text]
  • Goose Lane Editions Fall 2018 Where to Begin? with a Heartbeat
    Goose Lane Editions Fall 2018 Where to begin? With a heartbeat. A word. An image. Fall 2018. A season of provocation, of entertainment, of complete absorption. A season of ideas. And of emotion. “This is where the heart of feminism beats.” — Annie Lennox on Powered by Love This fall our selection of new titles includes books destined for everyone’s reading list: a provocative (and yes, decidedly controversial) book on the myths of mammography by investigative journalist Renée Pellerin; a memoir of a river by one of Canada’s best nature writers, Wayne Curtis; and the first of two volumes on the Great Trail by hiker extraordinaire Michael Haynes. “Blunt, honest and well-researched.” — Flurt on F-Bomb Readers will be entranced by fabled lawman Strother Purcell in Ian Weir’s deadpan revisionist western and pulled into the undertow of history in Paul Carlucci’s ravaged high-rise of the north. In icehouse poetry, renowned poet Patricia Young and first-book author Dominque Bernier-Cormier will encourage readers to cast their gaze on a pungent, pulsating universe. Full stop. And then, with much ado, we’ll unveil a dazzling array of illustrated books, including three distinctive books of photography. ...Everything Remains Raw records the evolution of the Toronto hip hop scene through graffiti, magazine shoots, and behind-the-scenes documentary photographs. The Lost City documents the vanished neighbourhoods of Saint John razed by the progress of “urban development” in arresting, black-and-white photographs by Ian MacEachern. In One Wave, Ned Pratt transforms the Newfoundland landscape into distillations of form and colour — without a hint of nostalgia.
    [Show full text]
  • Jessica Eaton
    JESSICA EATON Press Pack 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM JESSICA EATON BORN 1977, Regina, Saskatchewan EDUCATION 2006 BFA Photography, Emily Carr University of Art and Design, Vancouver SOLO & TWO PERSON EXHIBITIONS 2016 M+B, Los Angeles, CA Transmutations, Galerie Antoine Ertaskiran, Montreal, QC 2015 Wild Permutations, Oakville Galleries at Centennial Square, Oakville, ON Custom Colour, Higher Pictures, New York, NY Wild Permutations, MOCA Cleveland, Cleveland, OH 2014 Jessica Eaton: New Works, Jessica Bradley Gallery, Toronto, ON Ad Infinitum, The Photographers’ Gallery/The Hospital Club, London, UK 2013 Flash: Jessica Eaton, California Museum of Photography, Riverside, CA Hyères 2013: International Festival of Fashion and Photography, Hyères, France 2012 Polytopes, M+B, Los Angeles, CA Squeezed Coherent States, Clint Roenisch Gallery, Toronto, ON 2011 Cubes for Albers and LeWitt, Higher Pictures, New York, NY The Whole is Greater Than The Sum of The Parts: Lucas Blalock and Jessica Eaton, Contact Gallery / Contact Photography Festival 2011, Toronto, ON 2010 Strata: New works by Jessica Eaton, Red Bull 381 Projects, Toronto, ON Umbra Penumbra, PUSH Galerie, Montréal, QC 2009 Variables, LES Gallery, Vancouver Photographs, Hunter and Cook HQ, Toronto, ON GROUP EXHIBITIONS 2016 There is nothing I could say that I haven’t thought before, in collaboration with Cynthia Daignault, Stems Gallery, Brussels, Belgium 2015 Russian Doll, M+B, Los Angeles, CA Are You Experienced?,
    [Show full text]
  • Opening Date Press Release V2 Roo V4.Indd
    P h +1 306 975-7610 P.O. Box 569 r e m a i m o d e r n . o r g Saskatoon SK S7K 3L6 Canada Remai Modern, Canada’s Museum of Modern Art Announces October 2017 Opening Inaugural program features world’s largest collection of Picasso linocuts, artist-led projects, immersive installations, and modern and contemporary art from Canada and the world. Saskatoon, SK, Canada (June 26, 2017) – Canada’s museum of modern art, Remai Modern, will open to the public October 21, 2017 in Saskatoon. The launch aligns with the international trend of world-class museums opening in unexpected destinations. The inaugural exhibition, Field Guide, curated by Executive Director & CEO, Gregory Burke, and Director of Programs & Chief Curator, Sandra Guimarães, will animate the entire building. Selected works from the museum’s collection will be displayed in dialogue with contemporary projects, commissions and installations by international and Canadian artists. Upon opening, Remai Modern will be an artist-centred institution that raises questions, inspires discussion, and enables transformative experiences among both local and global audiences. 1 Field Guide is not a thematic exhibition but rather a series of singular positions and coherent groupings of works that introduce Remai Modern’s program philosophy and direction, providing an open framework that invites consideration of a network of issues and questions impacting art and society today. “The concept for Field Guide emerges from a set of questions we asked ourselves during the establishment of Remai Modern, including: What is modern? Can art confront reality? What is urgent and why? How will Indigeneity shape the future? And what role can be played by a new art museum opening in Saskatoon, Canada?” said Gregory Burke, Executive Director & CEO.
    [Show full text]
  • Alberta College of Art + Design
    Catalyst FALL 2013 art + design in our community and beyond ALBERTA COLLEGE OF ART + DESIGN art + design in our community and beyond ALBERTA COLLEGE OF ART + DESIGN President’s Message 1 On Campus Academic Update 2 ACADSA Show + Sale 2 Nurturing the Creative Entrepreneur – Centre for Creativity + Entrepreneurship 3 White Walls, Infinite Possibilities – Illingworth Kerr Gallery 4 The Art of Learning – Extended Studies 5 Telling ACAD’s Stories SCHOOL OF CRAFT + EMERGING MEDIA Code + Clay– Katrina Chaytor 6 Andy Nichols Photography EDITORIAL PHOTOGRAPHY Ground Control to Major Tom – Catherine Larose 8 Computer Canvases – Paul Robert 10 Brieanne Biblow Alex Middleton Shifting Gears – Natalie Lauchlan 12 Kara Tersen WRITING SCHOOL OF CRITICAL + CREATIVE STUDIES Natalie Sit Zombies, Dinosaurs, Ghosts, Oh My! – Alex Link 14 EDITING A Wicked Problem – John Calvelli 16 GOOD Company Wordplay – Derek Beaulieu 18 DESIGN Molding Theory – Nicole Burisch 20 McAra Printing PRINTING ACAD at a Glance 22 ALBERTA COLLEGE OF ART + DESIGN Telling ACAD’s Stories (continued) 1407 - 14 AVE NW CALGARY, ALBERTA CANADA SCHOOL OF COMMUNICATION DESIGN T2N 4R3 403.284.6238 WWW.ACAD.CA An Unexpected Journey – Wayne Traudt 28 Back to Basics – Ray Ferraro 30 Make Art for your Friends – Geoff McFetridge 32 A Student of the Medium – Tim Okamura 34 SCHOOL OF VISUAL ART 36 COVER PHOTO: Susan Turcot. Hide and A Life Aquatic – Laurel Johannesson Seek (2012). Charcoal on paper, each 39 Finding Home – Marty Kaufman 38 x 53 cm. Courtesy the artist and Illingworth Kerr Gallery. Critic’s Choice – Don Kottmann 40 Presented as part of the exhibition Susan From Pencil to Lens – Yuqi Kang 42 Turcot, Illingworth Kerr Gallery, September 26 to October 26, 2013.
    [Show full text]
  • Fall Program August–December 2020 Welcome Back Ensuring a Safe and Healthy Return to Remai Modern for All Visitors and Staff Is Our Top Priority
    Fall Program August–December 2020 Welcome back Ensuring a safe and healthy return to Remai Modern for all visitors and staff is our top priority. Visits to the museum promise to be as inspiring as ever, but there are a few new visitor guidelines to be aware of. We ask for your cooperation and patience as we institute new measures aimed at keeping everyone protected. Online tickets Visitors are encouraged to purchase their admission tickets in advance to limit contact during their visit. Members enjoy unlimited admission and do not need to pre-register their visit. Admission will be first-come, first-served to ensure new capacity guidelines aren’t exceeded. Adjusted hours At reopening, the museum will be open Thursday to Sunday from 10 AM–5 PM. Please visit remaimodern.org for updates. Increased sanitation Frequency of cleaning has been increased throughout the building, particularly in high traffic areas. Additionally, hand sanitization stations have been added at the front entrance and on each level of the museum. New signage Signage throughout the building will indicate maximum number of people in designated spaces, traffic flow and other important changes. Please follow these signs during your visit. Masks Visitors are strongly encouraged to wear a face covering while at Remai Modern. Distancing Visitors are asked to practice physical distancing in all museum spaces. Please remain two metres away from all guests who aren’t part of your household. Please follow guidelines posted throughout Remai Modern. Visit remaimodern.org/plan-your-visit for the latest information. Front cover: Zadie Xa, The Re-Up of Yung Yoomi: Hell Fire Can’t Scorch Me (detail), 2018, hand-sewn and machine-stitched assorted fabrics, faux fur and synthetic hair on bamboo, 188 cm x 210 cm.
    [Show full text]
  • Glenbow-Membership-Brochure.Pdf
    Make The Museum Your Own BecomeAMember AtGlenbow Membership Matters Your membership is a donation that helps build and sustain Glenbow. Your investment directly supports our exhibitions, education, outreach and access programs, as well as the care and maintenance of Glenbow’s collection. Put Yourself in the Picture Join a community of people inspired by art, history and creativity who make Calgary a cultural hub. There’s always something going on at Glenbow - members get advance notice and discounts on fun and fascinating events and programs every month. Share Glenbow with your friends – all membership levels include two free guest passes. 1 year 1 year $90 / STUDENT INDIVIDUAL ADULTDUAL ADULT INDIVIDUAL SENIORDUAL SENIOR 65+ FAMILY MUSEUM EXPLORERPRESIDENT’S CIRCLE Membership Categories and Benefits 1 year $20 / 2 years1 year $40 $55 / 2 years1 year $100 $75 / 2 years1 year $135 $40 / 2 years1 year $70 $65 / 2 years2 years $115 $160 2 $150adults / 2+ adults4 youths1 + year 4 youths $1,257 Free unlimited admission to Glenbow • • • • • • • • Discounts on tickets for Glenbow events/programs • • • • • • • • 10% Shop discount + additional monthly & seasonal offers • • • • • • • • Subscription to monthly Glenbow eNewsletter • • • • • • • • Subscription to Glenbow Exhibition Guide (mailed three times a year) • • • • • • • • 10% off purchases at Caffe Rosso & 15% off meals at Milestones Restaurant • • • • • • • • Free/discounted admission to 10 reciprocal Canadian museums* • • • • • • • • $10 off the purchase of Gift Memberships • • • • • •
    [Show full text]
  • Tanya Lukin Linklater (B. 1976, Kodiak, Alaska, USA)
    Tanya Lukin Linklater (b. 1976, Kodiak, Alaska, USA) https://catrionajeffries.com/artists/tanya-lukin-linklater www.tanyalukinlinklater.com Education Queen’s University, Ph.D. Candidate, Cultural Studies, 2015 - present. University of Alberta, M.Ed. 2001 – 2003 Stanford University, A.B. (Honours), 1994 – 1998 Selected Solo Exhibitions and Performances 2020 This moment an endurance to the end forever, Trinity Square Video and Imagine Native, Toronto 2018 Slay All Day: Tanya Lukin Linklater, ma ma gallery, Toronto 2017 The Harvest Sturdies, All My Relations Arts Gallery, Minneapolis How we mark land and how land marks us, Thousand Islands National Park, LandMarks 2017 + Queen's University 2016 the the, a performance, for Turn Out, Remai Modern, Saskatoon Selected Group Exhibitions and Performances 2021 Soft Water, Hard Stone, New Museum Triennial, New York City The Language in Common, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Connecticut TBD, Anchorage Museum, Anchorage, Alaska Soundings, An Exhibition in Five Parts, Kamloops Art Gallery 2020 Our Bodies, Our Archives, BMW Tate Live Exhibition, Tate Modern, London, UK (cancelled due to covid-19) Commonwealth, Institute for Contemporary Art at Virginia Commonwealth University, Richmond, Virginia Larger Than Memory: Contemporary Art from Indigenous North America, Heard Museum, Phoenix #MuseumFromHome Online Screenings, San Francisco Museum of Modern Art And there I lay down on the ground, Curated by Festival, Croy Nielsen, Vienna, Austria Next Year’s Country, Remai Modern,
    [Show full text]
  • Press Release
    For Immediate Release CAG presents Feature Exhibition launching Capture Photography Festival 2018 Joi T. Arcand, Northern Pawn, South Vientam - North Battleford, Saskatchewan, 2009, from the series otē nīkān misiwē askīhk - Here On Future Earth. Courtesy the artist and Saskatchewan Arts Board Permanent Collection Exhibition: The Blue Hour Artists: Joi T. Arcand, Kapwani Kiwanga, Colin Miner, Grace Ndiritu, Kara Uzelman Dates: April 6 - June 24, 2018 Location: CAG and off-site at Yaletown-Roundhouse, Vancouver City Centre and Waterfront Canada Line Stations Press preview: Thursday, April 5, 6pm Exhibition introduction from CAG Curator, Kimberly Phillips, 6.30pm The Contemporary Art Gallery is pleased to present The Blue Hour, the Feature Exhibition launching this year’s Capture Photography Festival. Bringing together five artists from Canada and abroad, the exhibition will encompass all of the gallery’s presentation spaces, including the CAG’s exterior façade and three off-site locations in downtown Vancouver. The central premise of The Blue Hour extends from a remark made in 1857 by art historian and critic Elizabeth Eastlake, who described the photographic image as one that approaches us from the future and arrives in the present. While referring to the new technologies surrounding the development of chemical photography, Eastlake’s comment might also be interpreted, as art historian and critical theorist Kaja Silverman suggests in The Miracle of Analogy: The History of Photography, Part I, as an invitation to upend our reading of the photographic, approaching it as a powerful channel through which the world might reveal itself to us. Here, the photograph becomes a tool with speculative potential, rather than one with simply the power to memorialize.
    [Show full text]
  • When Edouard Manet Exhibited in the Conservatory, Critics Accused Him of Making Concessions to the Public. the P
    AKIMBLOG VANCOUVER CALGARY PRAIRIES WINNIPEG ONTARIO TORONTO MONTREAL EAST COAST ALL MONTREAL TAMMER EL­SHEIKH COETUS FLOREUS A T GALERIE NICOLAS ROBERT August 01, 2018 J’aime 36 When Edouard Manet exhibited In the Conservatory, critics accused him of making concessions to the public. The painting features a well­dressed couple in a greenhouse, comically missing each other’s vacant stares and looking rigid amid an explosion of plant life. More recently the “excessively finished” work was read as an “anxious attempt to reconsolidate the visual field in whose disassembly Manet had already participated.” For art historian Jonathan Crary, the malaise of modernity is signalled in the “fraudulent earthly paradise” of a greenhouse. Coetus Floreus at Galerie Nicolas Robert might also be mistaken for a conservative display of skillfully rendered flowers, figures, and faces. Continuities between the honeymoon phase of European modernity and our more circumspect late­capitalist era appear throughout the exhibition. But if the motif of flowers was used by Manet to stage a conflict between nature and culture, this group exhibition exposes our tendency nowadays to recode nature as culture. Lorna Bauer, The Westmount Conservatory and Greenhouse, 2018, inkjet print A provocative link is made between Manet’s century and our own in Lorna Bauer’s The Westmount Conservatory and Greenhouse. Bauer began photographing the iconic Westmount building between its renovations while preparing for a residency in Paris to study the green spaces of Baron Haussmann’s 19th Century urban renewal program. The photo’s middle ground is occupied by zinnia flowers visible through paint, plaster, or milkshake spatter on a pane of glass.
    [Show full text]