Visual Art: Print Making, Digital Arts, First Nations Studies), Vancouver, BC 1999 Kwantlen Polytechnic University College, Fine Arts Diploma Program, Surrey, BC
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CV Photo/Ciel Variable, Montreal, No
A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University, -
U:\CAC\Journal\Vol 34\Web Version\Vol 34 Pg 29-38.Wpd
A Technical and Scientific Study of Two A.Y. Jackson Paintboxes Barbara Klempan, Marie-Claude Corbeil, Jennifer Poulin and Philip Cook Journal of the Canadian Association for Conservation (J. CAC), Volume 34 © Canadian Association for Conservation, 2009 This article: © Barbara Klempan, Queen’s University, and the Canadian Conservation Institute (http://www.cci-icc.gc.ca/copyright_e.aspx) of the Department of Canadian Heritage, 2009. Reproduced with the permission of the copyright owners. J. CAC is a peer reviewed journal published annually by the Canadian Association for Conservation of Cultural Property (CAC); http://www.cac-accr.ca/. The views expressed in this publication are those of the individual authors, and are not necessarily those of the editors or of CAC. Journal de l'Association canadienne pour la conservation et la restauration (J. ACCR), Volume 34 © l'Association canadienne pour la conservation et la restauration, 2009 Cet article : © Barbara Klempan, Queen’s University, et l’Institut canadien de conservation (http://www.cci-icc.gc.ca/copyright_f.aspx), Ministère du Patrimoine canadien, 2009. Reproduit avec la permission de ceux et celles qui détiennent les droits d’auteur. Le Journal de l’ACCR est une revue arbitrée qui est publiée annuellement par l'Association canadienne pour la conservation et la restauration des biens culturels (ACCR); http://www.cac-accr.ca. Les opinions exprimées dans la présente publication sont celles des auteurs et ne reflètent pas nécessairement celles de la rédaction ou de l'ACCR. 29 A Technical and Scientific Study of Two A.Y. Jackson Paintboxes Barbara Klempana, Marie-Claude Corbeilb, Jennifer Poulinb and Philip Cookb a Art Conservation Program, Queen’s University, Kingston, Ontario K7L 3N6, Canada; [email protected] b Analytical Research Laboratory, Canadian Conservation Institute, Department of Canadian Heritage, 1030 Innes Road, Ottawa, Ontario K1A 0M5, Canada; [email protected]; [email protected] Two paintboxes that once belonged to Canadian artist A.Y. -
FIERMAN Letterhead Template
! Jeneen Frei Njootli is a Canadian born Artist who lives and works in Vancouver, BC. [email protected] 604-726-3565 SELECTED EXHIBITIONS 2018 My Sister/Ma Soeur, Contemporary Indigenous Art Biennial/ La Biennale d’Art Contemporain Autochtone (BACA) (upcoming), with Tsēma Igharas, Montreal QC These Hands, Coney Island Baby with Gabrielle L’Hirondelle Hill, Chandra Melting Tallow, Tania Willard and Amy Kazymerchyk, Western Front, Vancouver BC Pink Noise Pop Up, ONE AND J + 1 with Space One, Instant Coffee and grunt gallery, Seoul ROK Inaugural Fashion Show, UnFURled, Whitehorse YT Common Cause: before and beyond the global, Mercer Union, Toronto ON Being Skidoo film screening and performance, Available Light Film Festival, Whitehorse YT 2017 Art Toronto, Macaulay & Co. Fine Arts, Toronto ON Western Canada Fashion Week, Ociciwan Collective, Edmonton AB Crafted Strangers, Center for Craft, Creativity and Design, Asheville NC Thunder in Our Voices, Interurban Gallery, Vancouver BC Vancouver Indigenous Fashion Week, Queen Elizabeth Theatre, Vancouver BC LandMarks2017, Vuntut Gwitchin Traditional Territory, Old Crow YT wnoondwaamin: we hear them, Platform Gallery (Saskatoon SK), Whitewater Gallery (North Bay 2016 ON), Art Gallery of South Western Manitoba (Brandon MB) Vancouver Special: Ambivalent Pleasures, Vancouver Art Gallery, Vancouver BCwnoondwaamin: we hear them, Trinity Square Video, Toronto ON Emergence, Fazakas Gallery, Vancouver BC Our Home is Our Gallery, Yukon Arts Centre, Whitehorse YTif this were a draft, would you dodge -
Callresponse March 23 – May 5, 2018 at EFA Project Space, 323 W
FOR IMMEDIATE RELEASE Laakkuluk Williamson-Bathory, Timiga nunalu, sikulu (My body, the land and the ice), 2016. Photo: Jamie Griffiths. #callresponse March 23 – May 5, 2018 At EFA Project Space, 323 W. 39th St., 2nd Floor, www.efanyc.org Gallery Hours: Wed-Sat, 12-6 pm Opening Reception: Friday, March 23, 6–8:30 pm Organized by: Tarah Hogue, Maria Hupfield, and Tania Willard Artists: Christi Belcourt, IV Castellanos, Marcia Crosby, Maria Hupfield, Ursula Johnson, Cheryl L'Hirondelle, Isaac Murdoch, Esther Neff, Tanya Tagaq, Tania Willard and Laakkuluk Williamson- Bathory with local respondents Jennifer Kreisberg and Laura Ortman From March 23 – May 5, 2018, EFA Project Space presents the US debut of #callresponse, an artistic and curatorial collaboration led by Indigenous women. A touring exhibition with responsive programming, #callresponse promotes discussion and action around Indigenous cultural revitalization, land-based knowledge, and cross-cultural solidarity. Shining a light on work that is both urgent and long-term, #callresponse acts as a connective support system that begins with commissioned artworks created by five Indigenous North American women artists and their invited guest respondents. A touring exhibition, #callresponse opened at Vancouver’s grunt gallery in 2016, and the project continues to evolve and engage each to which it travels with specific programming. #callresponse strategically centers Indigenous women across multiple platforms, moving between specificity of Indigenous nations, site, online space, and the gallery. The project focuses on forms of performance, process, and translation that incite dialogue and catalyze action across borders between individuals, communities, territories and institutions. An online platform using the hashtag #callresponse on social media connects the geographically diverse sites and provides opportunities for networked exchanges. -
MELANIE AUTHIER 1980 Born in Montreal, Quebec, Canada
MELANIE AUTHIER 1980 Born in Montreal, Quebec, Canada Currently lives and works in Ottawa, Ontario, Canada Education 2006 Master of Fine Arts, University of Guelph, ON, Canada 2002 Bachelor of Fine Arts (Major in Studio Arts, Minor in Women in the Fine Arts), Concordia University, Montreal, QC, Canada Forthcoming 2020 This Sacred Vessel, Arsenal Contemporary, New York, NY, USA (group exhibition) (February 6 – March 1) 2020 Catalogue release for Melanie Authier: Grisailles, Rodman Hall Art Centre, Brock University, St. Catharines, ON (essays by Jonathan Shaughnessy and Marcie Bronson) Selected Solo Exhibitions 2018 Amplitude of the Infinite, Georgia Scherman Projects, Toronto, ON, Canada 2016-18 Contrarieties & Counterpoints: Recent Paintings by Melanie Authier, curated by Robert Enright, travelling: Ottawa Art Gallery, Ottawa, ON; Thames Art Gallery, Chatham, ON; Ottawa Art Gallery, ON; Art Gallery of Guelph, ON; Kenderline Art Gallery, Saskatoon, SK; Galerie de l’UQAM, Montreal, QC; MSVU Art Gallery, Halifax, NS; and Musee Regional de Rimouski, Rimouski, QC, Canada (publication) 2014 Melanie Authier: Figments & Foils, Georgia Scherman Projects, Toronto, ON, Canada 2013 Melanie Authier: Grisailles, Rodman Hall Art Centre, Brock University, St. Catharines, ON, Canada (catalogue) Melanie Authier: Vault/Shield/Buttress/Basin, Anna Leonowens Gallery, Nova Scotia College of Art and Design, Halifax, NS, Canada Melanie Authier: Jostling Pictorial Oppositions, Georgia Scherman Projects, Toronto, ON, Canada 2010 The Ribbon and the Lightning Rod, -
Grunt Gallery Annual Report 2013-2014
grunt gallery Annual Report 2013-2014 Program Director’s Report by Glenn Alteen Chair’s Report by Laiwan Board Members Biographies Staff Biographies Strategic Plan Summary Fundraising Report Programming Summary Special Projects Financial Graphs Program Director’s Report 2014 Receiving word of the $400,000 award of the Mount Pleasant Production Spaces on the eve of our 30th anniversary bodes well for our organization’s future. The award will pay off our mortgage and give us a quarter of a million dollars as a capital nest egg towards our future space needs. Along with the facility we will now own outright and our endowment currently valued at $550,000, we have financial equity to think seriously about our future. This financial capital comes as a result of our cultural capital that has been building up over the past 30 years. This capital in the form of our archives, our websites, our administrative and programing systems and our network of artists, supporters and patrons is the product of many years of underpaid and volunteer labour by a host of artists, curators and other cultural workers. These investments of energy and support have been the base of our continued success. This gives us much to celebrate for our 30th Birthday. The programming year that has just concluded was very substantial, with a strong representation of international artists including: • Agente Costura, a new performance by Brazillian artist Lisa Simpson; • Mamook Ipsoot, a new community project with Dutch artist Desiree Palmen working with seven aboriginal youth; • Trapez and Dynamo Lines by German artist Josephin Böttger at grunt, Surrey Urban Screens and the New Forms Festival; • Nothing to Lose, an exhibition and performance by Lebanese artist Rabih Mroue in conjunction with the PuSh Performing Arts Festival. -
Tania Willard: Affirmations for Wildflowers: an Ethnobotony of Desire
Tania Willard: Affirmations for Wildflowers: An Ethnobotony of Desire List of works, exhibition text and bibliography SEP 28 - NOV 13, 2020 List of Works 1. Tania Willard Textsín, 2020 laser-etched mirrored acrylic, wood, satin ribbon, single-bulb LED flashlight Courtesy the artist 2. Tania Willard Pell-tsqwéqwyem̓c, 2020 laser-etched mirrored acrylic, wood, satin ribbon, single-bulb LED flashlight Courtesy the artist 3. Tania Willard Qets̓uye7éllp, 2020 laser-etched mirrored acrylic, wood, satin ribbon, single-bulb LED flashlight Courtesy the artist 4. Tania Willard Sqleltns r Ckwetkwt̓ústen,2020 laser-etched mirrored acrylic, wood, satin ribbon, single-bulb LED flashlight Courtesy the artist 5. Tania Willard Qwiqwinéllp,2020 laser-etched mirrored acrylic, wood, satin ribbon, single-bulb LED flashlight Courtesy the artist 6. Tania Willard Sekwéw̓,2020 laser-etched mirrored acrylic, wood, satin ribbon, single-bulb LED flashlight Courtesy the artist 7. Tania Willard Kwelkwelqíqen,2020 laser-etched mirrored acrylic, wood, satin ribbon, single-bulb LED flashlight Courtesy the artist Exhibition Map 1 2 3 4 5 6 7 Exhibition Text Tania Willard’s artistic practice engages cultural knowledges to cultivate works that range from land-based Indigenous contemporary art to survival strategies for contemporary socio-political upheavals. Affirmations for Wildflowers: An Ethnobotany of Desire is a street-facing window exhibition that uses light projection, reflection, representations of flora, and personal and political affirmations to evoke relations of sustenance in uncertain but flourishing times. In this series of works, the idea of affirming and validating transformational worth, justice and futurity are conceptually plaited together with fragmented ethnobotanical knowledge and colour therapy qualities. -
ADRIAN A. STIMSON Adrianstimson.Com | [email protected] | 587-573-2378
ADRIAN A. STIMSON adrianstimson.com | [email protected] | 587-573-2378 EDUCATION 2005 Master of Fine Art, University of Saskatchewan, Saskatoon, SK 2003 Bachelor of Fine Art (with Distinction), Alberta College of Art and Design, Calgary, AB EXHIBITIONS/PERFORMANCES 2020 All by Myself, URI Undergraduate Research Stipend (Online Performance), University of Alberta, Edmonton, AB Water Bed-Yoko Ono Water Event, (Collaboration with Yoko Ono), Contemporary Calgary, Calgary, AB Inii Bison Heart, Public Sculpture, Trinity Developments, Calgary, AB Buffalo Boy Dreams in 4 Directions & BB/SE Photo installation, Biennale of Sydney, Sydney, AUS The Shaman Exterminator: HUBRIS (Performance), University of Alberta, Camrose, AB Calgary Stampede Story Robe (Installation), Department of Humanities, University of Calgary, Calgary, AB 2019 Past, Present, Future Count, Installation, Calgary Central Public Library, Calgary, AB Inii Sukomapii: Guess Who’s coming to dinner?, Toronto Biennale, Toronto, ON Off Centre: Queen Contemporary art in the Prairies (Group Exhibition), Dunlop Art Gallery, Regina, SK Naked Napi Big Smoke, Paul Petro Contemporary Art, Toronto, ON Prairie Vernacular (Group Exhibition), Moose Jaw Art Gallery, Moose Jaw, SK IInniwa Celebrating Buffalo’s Return (Group exhibition), Mortar & Brick Gallery, Lethbridge, AB Fix Your Hearts or Die: A New Chapter Acquisition Project, Art Gallery of Alberta, Edmonton, AB ADRIAN STIMSON | adrianstimson.com [email protected] 587-573-2378 | 1 Wrapped -
ICA Boston, Boston, MA*
GEOFFREY FARMER Born: 1967, Vancouver, British Columbia Lives and works in Vancouver, British Columbia EDUCATION 1992 Emily Carr Institute of Art and Design, Vancouver, British Columbia 1990-1991 San Francisco Art Institute, San Francisco, California AWARDS AND RESIDENCIES 2015 The Watermill Center Residency, Watermill, NY 2014 Edinburgh Printmakers, Artist in Residence, Edinburgh 2013 Gershon Iskowitz Prize 2011 Hnatyshyn Foundation Visual Arts Award Kadist Art Foundation 2010 God’s Dice, Artist in Residence, The Banff Centre, Banff, Alberta SOLO EXHIBITIONS (*publication/catalogue) 2018 Casey Kaplan, New York, NY (forthcoming) 2017 The Care With Which The Rain Is Wrong, Schinkel Pavillion, Berlin Geoffrey Farmer & Gareth Moore. A Dark Switch Yawning, Neptune Skeletons Thronging, Black Bucket Prolonging, World Turtle Longing, Sink Plug Wronging, Salzburger Kunstverein, Salzburg, Austria The Kitchen, Catriona Jeffries, Vancouver Canadian Pavilion, Venice Biennale, Venice 2016 ICA Boston, Boston, MA* 2015 How Do I Fit This Ghost In My Mouth?, Vancouver Art Gallery, Vancouver * 2014 Cut nothing, cut parts, cut the whole, cut the order of time, Casey Kaplan, New York, NY Every day needs an urgent whistle blown into it, Art Gallery of Ontario, Toronto Let’s Make the Water Turn Black, Kunstverein Hamburg, Hamburg; Pérez Art Museum Miami, Miami, FL* The Grass and Banana go for a walk, Catriona Jeffries, Vancouver 2013/2014 Let’s Make the Water Turn Black, Migros Museum, Zurich, Switzerland; Nottingham Contemporary, Nottingham* 2013 The Surgeon -
1 Lawrence Paul Yuxweluptun Curriculum Vitae Born 1957
Lawrence Paul Yuxweluptun Curriculum Vitae Born 1957. Kamloops, BC. Resides in Vancouver, British Columbia. Education Bachelor of Fine Arts. Honours Painting 1983. Emily Carr College of Art and Design. Vancouver, BC. Awards VIVA Award 1998. Vancouver Institute for the Visual Arts Solo Exhibitions 2007 Lawrence Paul Yuxweluptun Buschlen Mowatt Gallery. Vancouver, BC 2006 Variations on the Picturesque Kitchener-Waterloo Art Gallery. Kitchener, ON 2005 A Bad Colonial Day Two Rivers Gallery. Prince George, BC 2004 Yuxweluptun: Drawings Grunt Gallery. Vancouver, BC 2003 Colour Zone Buschlen Mowatt Gallery. Vancouver, BC Colour Zone Thunder Bay Art Gallery. Thunder Bay, ON An Indian Act Shooting the Indian Act Live performance. Kitigan Zibi Anishinabe Reserve, QC; Galerie Saw Gallery. Ottawa, ON 2002 Colour Zone Mercer Union. Toronto, ON 2001 Colour Zone Plug In ICA. Winnipeg, MB Colour Zone Saidye Bronfman Centre for the Arts. Montreal, QC Colour Zone 1 Diane Farris Gallery. Vancouver, BC 1999 An Indian Act Shooting the Indian Act Mendel Art Gallery and Tribe. Saskatoon, SK 1998 Lawrence Paul Yuxweluptun: Ovoidism Diane Farris Gallery. Vancouver, BC An Indian Act Shooting the Indian Act Grunt Gallery, Vancouver, BC 1997 An Indian Act Shooting the Indian Act Live performance. Healey Estate, Northumberland and Surrey, England, UK. Locus+. New Castle UK; Grunt Gallery. Vancouver, Canada. 1995 Lawrence Paul Yuxweluptun: Born to Live and Die on Your Colonialist Reservation Inaugural Solo Exhibition. Morris and Helen Belkin Art Gallery. Vancouver, BC Man of Masks Tribal Art Gallery. Vancouver, BC 1993 Inherent Rights, Vision Rights: Virtual Reality Paintings and Drawings Canadian Embassy. Paris, France 1987 National Native Arts Symposium Sir Alexander Galt Gallery. -
Yuxweluptun, Nicolson and Assu: Land, Environment and Activist Art in British Columbia
Yuxweluptun, Nicolson and Assu: Land, Environment and Activist Art in British Columbia By Jasmine Inglis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Art History Carleton University Ottawa, Ontario © 2016, Jasmine Inglis Abstract Land rights and environmental issues have long been the cause of fiercely intense and heated disputes between the Canadian government and Aboriginal communities in British Columbia. As a province rich in natural resources and with much unceded Aboriginal territory, the late twentieth and early twenty-first centuries have been times of intense discussion and debate as to how to address and resolve these issues. Contemporary Aboriginal Northwest Coast artists have become powerful voices for facing issues that affect their communities and Canadians at large. This thesis focuses on the representation of land loss and environmental concerns in British Columbia through the work of contemporary Cowichan Coast Salish and Okanagan artist Lawrence Paul Yuxweluptun and Kwakwaka’wakw artists Marianne Nicolson and Sonny Assu. The objective is to bring a fresh perspective to understanding the politicized artistic practice of these three artists by considering their work as a form of environmental activism. I examine the relationships between the three artists while contextualizing their work within twentieth- century developments in Northwest Coast art. This research is informed by in-person interviews with the artists conducted in January 2016, as well as the work of scholars Gerald Vizenor, Philip J. Deloria and James Clifford among others. ii Acknowledgements I would like to express my deepest gratitude to those who helped me throughout this project. -
Canadian Women Artists History Initiative
IMAGINING HISTORY: THE SECOND CONFERENCE OF THE CANADIAN WOMEN ARTISTS HISTORY INITIATIVE MAY 3-5, 2012 Concordia University, Montreal Conference Program 2012 Thursday 3 May 16h00 - 16h30 Registration (outside MB S2.210) 16h30 - 18h15 Welcoming Remarks (MB S2.210) Catherine MacKenzie (Department of Art History, Concordia University) Kristina Huneault (Department of Art History, Concordia University) Keynote address Individual Lives, Collective Histories: Representing Women Artists in the Twenty- First Century Mary Sheriff, W.R. Kenan, Jr. Distinguished Professor University of North Carolina at Chapel Hill 18h15 - 19h30 Reception (EV 3.741) Friday 4 May 08h30 - 16h00 Registration (EV 3.725 Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art) 09h00 - 10h30: BLOCK A STRAND ONE: METHOD Retelling Feminism I: Theory and Narrative (EV 1.605) Moderator: Susan Cahill (Nipissing University) Ordinary Affects: Folk Art, Maud Lewis and the Social Aesthetics of the Everyday, Erin Morton (University of New Brunswick) Are We There Yet? Critical Thoughts on Feminist Art History in Canada, Kristy A. Holmes (Lakehead University) Gendering the Artistic Field: The Case of Emily Carr, Andrew Nurse (Mount Allison University) STRAND TWO: HISTORY By Album, Print and Brush: Early Canadiana (EV 3.760) Moderator: Anna Hudson (York University) Louise Amélie Panet (1789-1862), Caricature and Visual Satire in Lower Canada, Dominic Hardy (L’Université du Québec à Montréal) Decoding a Victorian Woman’s Album: A Case Study in the Reading of Autobiography,