Preview – the Gallery Guide | February–March, 2008
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Aird Gallery Robert Houle
ROBERT HOULE LOOKING FOR THE SHAMAN CONTENTS INTRODUCTION by Carla Garnet ARTIST STATEMENT by Robert Houle ROBERT HOULE SELECTED WORKS A MOVEMENT TOWARDS SHAMAN by Elwood Jimmy INSTALL IMAGES PARTICIPANT BIOS LIST OF WORKS ABOUT THE JOHN B. AIRD GALLERY ROBERT HOULE CURRICULUM VITAE (LONG) PAMPHLET DESIGN BY ERIN STORUS INTRODUCTION BY CARLA GARNET The John B. Aird Gallery will present a reflects the artist's search for the shaman solo survey show of Robert Houle's within. The works included are united by artwork, titled Looking for the Shaman, their eXploration of the power of from June 12 to July 6, 2018. dreaming, a process by which the dreamer becomes familiar with their own Now in his seventh decade, Robert Houle symbolic unconscious terrain. Through is a seminal Canadian artist whose work these works, Houle explores the role that engages deeply with contemporary the shaman plays as healer and discourse, using strategies of interpreter of the spirit world. deconstruction and involving with the politics of recognition and disappearance The narrative of the Looking for the as a form of reframing. As a member of Shaman installation hinges not only upon Saulteaux First Nation, Houle has been an a lifetime of traversing a physical important champion for retaining and geography of streams, rivers, and lakes defining First Nations identity in Canada, that circumnavigate Canada’s northern with work exploring the role his language, coniferous and birch forests, marked by culture, and history play in defining his long, harsh winters and short, mosquito- response to cultural and institutional infested summers, but also upon histories. -
Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
Conservation That Transforms
Conservation that transforms ANNUAL REPORT 2016 OUR CONSERVATION SUPPORTERS 64 Ducks Unlimited Canada Annual Report 2016 Partnerships with a Purpose Every piece of wetland or associated upland habitat conserved A special thanks to our government partners by DUC is the result of partnerships. These partnerships are the foundation of DUC’s conservation leadership and the reason The governments listed below The State of Kansas why we so clearly envision a future for wetland conservation in have provided instrumental The State of Kentucky North America. support in Canada over the past year. The State of Louisiana Today, this continent-wide network of conservation staff, The Government of Canada The State of Maine volunteers and supporters ensures that Ducks Unlimited The State of Maryland Canada, Ducks Unlimited, Inc., and Ducks Unlimited Mexico The Government of Alberta play leadership roles in international programs like the North The Government of The State of Massachusetts American Waterfowl Management Plan (NAWMP). Established British Columbia The State of Michigan in 1986, NAWMP is a partnership of federal, provincial, state The Government of Manitoba and municipal governments, nongovernmental organizations, The State of Minnesota private companies and many individuals, all working towards The Government of The State of Mississippi achieving better wetland habitat for the benefit of waterfowl, New Brunswick The State of Missouri other wetland-associated wildlife and people. Ducks Unlimited The Government of The State of Nebraska Canada is proud to be closely associated with NAWMP, one of Newfoundland and Labrador the most successful conservation initiatives in the world. The State of Nevada The Government of the The North American Wetlands Conservation Act (NAWCA), Northwest Territories The State of New Hampshire enacted by the U.S. -
Paintings by John W. Alexander ; Sculpture by Chester Beach
SPECIAL EXHIBITIONS THE ART INSTITUTE OF CHICAGO, DECEMBER 12 1916 TO JANUARY 2, 1917 PAINTINGS BY JOHN W. ALEXANDER SCULPTURE BY CHESTER BEACH PAINTINGS BY CALIFORNIA ARTISTS PAINTINGS BY WILSON IRVINE PAINTINGS BY EDWARD W. REDFIELD PAINTINGS, DRAWINGS AND SKETCHES BY MAURICE STERNE 0 SPECIAL EXHIBITIONS OF WORK BY THE FOLLOWING ARTISTS PAINTINGS BY JOHN W. ALEXANDER SCULPTURE BY CHESTER BEACH PAINTINGS BY CALIFORNIA ARTISTS PAINTINGS BY WILSON IRVINE PAINTINGS BY EDWARD W. REDFIELD PAINTINGS, DRAWINGS AND SKETCHES BY MAURICE STERNE THE ART INSTITUTE OF CHICAGO DEC. 12, 1916 TO JAN. 2, 1917 PAINTINGS BY JOHN WHITE ALEXANDER OHN vV. ALEXANDER. Born, Pittsburgh, J Pennsylvania, 1856. Died, New York, May 31, 1915. Studied at the Royal Academy, Munich, and with Frank Duveneck. Societaire of Societe Nationale des Beaux Arts, Paris; Member of the International Society of Sculptors, Painters and Gravers, London; Societe Nouvelle, Paris ; Societaire of the Royal Society of Fine Arts, Brussels; President of the National Academy of Design, New York; President of the Natiomrl Academy Association; President of the National Society of Mural Painters, New York; Ex- President of the National Institute of Arts and Letters, New York; American Academy of Arts and Letters; Vice-President of the National Fine Arts Federation, Washington, D. C.; Member of the Architectural League, Fine Arts Federation and Fine Arts Society, New York; Honorary Member of the Secession Society, Munich, and of the Secession Society, Vienna; Hon- orary Member of the Royal Society of British Artists, of the American Institute of Architects and of the New York Society of Illustrators; President of the School Art League, New York; Trustee of the New York Public Library; Ex-President of the MacDowell Club, New York; Trustee of the Metropolitan Museum of Art; Trustee of the American Academy in Rome; Chevalier of the Legion of Honor, France; Honorary Degree of Master of Arts, Princeton University, 1892, and of Doctor of Literature, Princeton, 1909. -
English-Language Graphic Narratives in Canada
Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). -
Milch Galleries
THE MILCH GALLERIES YORK THE MILCH GALLERIES IMPORTANT WORKS IN PAINTINGS AND SCULPTURE BY LEADING AMERICAN ARTISTS 108 WEST 57TH STREET NEW YORK CITY Edition limited to One Thousand copies This copy is No 1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET FOREWORD This little booklet, similar in character to the one we pub lished last year, deals with another group of painters and sculp tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and sculptures of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members. -
Marian Penner Bancroft Rca Studies 1965
MARIAN PENNER BANCROFT RCA STUDIES 1965-67 UNIVERSITY OF BRITISH COLUMBIA, Arts & Science 1967-69 THE VANCOUVER SCHOOL OF ART (Emily Carr University of Art + Design) 1970-71 RYERSON POLYTECHNICAL UNIVERSITY, Toronto, Advanced Graduate Diploma 1989 SIMON FRASER UNIVERSITY, Visual Arts Summer Intensive with Mary Kelly 1990 VANCOUVER ART GALLERY, short course with Griselda Pollock SOLO EXHIBITIONS 2019 REPUBLIC GALLERY, Vancouver, upcoming in May 2019 WINDWEAVEWAVE, Burnaby, BC, video installation, upcoming in May 2018 HIGASHIKAWA INTERNATIONAL PHOTOGRAPHY FESTIVAL GALLERY, Higashikawa, Hokkaido, Japan, Overseas Photography Award exhibition, Aki Kusumoto, curator 2017 REPUBLIC GALLERY, Vancouver, RADIAL SYSTEMS photos, text and video installation 2014 THE REACH GALLERY & MUSEUM, Abbotsford, BC, By Land & Sea (prospect & refuge) 2013 REPUBLIC GALLERY, Vancouver, HYDROLOGIC: drawing up the clouds, photos, video and soundtape installation 2012 VANCOUVER ART GALLERY, SPIRITLANDS t/Here, Grant Arnold, curator 2009 REPUBLIC GALLERY, Vancouver, CHORUS, photos, video, text, sound 2008 REPUBLIC GALLERY, Vancouver, HUMAN NATURE: Alberta, Friesland, Suffolk, photos, text installation 2001 CATRIONA JEFFRIES GALLERY, Vancouver THE MENDEL GALLERY, Saskatoon SOUTHERN ALBERTA ART GALLERY, Lethbridge, Alberta, By Land and Sea (prospect and refuge) 2000 GALERIE DE L'UQAM, Montreal, By Land and Sea (prospect and refuge) CATRIONA JEFFRIES GALLERY, Vancouver, VISIT 1999 PRESENTATION HOUSE GALLERY, North Vancouver, By Land and Sea (prospect and refuge) UNIVERSITY -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Bcsfazine #527 | Felicity Walker
The Newsletter of the British Columbia Science Fiction Association #527 $3.00/Issue April 2017 In This Issue: This and Next Month in BCSFA..........................................0 About BCSFA.......................................................................0 Letters of Comment............................................................1 Calendar...............................................................................8 News-Like Matter..............................................................13 Fiction: Long Night’s Dreaming (Michael Bertrand).......19 Zeitgemässe Tanka (Kathleen Moore)............................21 Art Credits..........................................................................22 BCSFAzine © April 2017, Volume 45, #4, Issue #527 is the monthly club newsletter published by the British Columbia Science Fiction Association, a social organiza- tion. ISSN 1490-6406. Please send comments, suggestions, and/or submissions to Felicity Walker (the editor), at felicity4711@ gmail .com or Apartment 601, Manhattan Tower, 6611 Coo- ney Road, Richmond, BC, Canada, V6Y 4C5 (new address). BCSFAzine is distributed monthly at White Dwarf Books, 3715 West 10th Aven- ue, Vancouver, BC, V6R 2G5; telephone 604-228-8223; e-mail whitedwarf@ deadwrite.com. Single copies C$3.00/US$2.00 each. Cheques should be made pay- able to “West Coast Science Fiction Association (WCSFA).” This and Next Month in BCSFA Sunday 16 April at 7 PM: April BCSFA meeting—at Ray Seredin’s, 707 Hamilton Street (recreation room), New Westminster. Friday -
Chronology of Daphne Odjig's Life: Attachment #1
Chronology of Daphne Odjig’s life: Attachment #1 Excerpt p.p. 137 – 141 The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition by Bonnie Devine Published by the National Gallery of Canada in collaboration with the Art Gallery of Sudbury, 2007 1919 Born 11 September at Wikwemikong Unceded Indian Reserve, Manitoulin Island, Ontario, the first of four children, to Dominic Odjig and his English war bride Joyce Peachy. Odjig’s widowed grandfather, Jonas Odjig, lives with the family in the house he had built a generation earlier and which still stands in Wikwemikong today. The family is industrious and relatively prosperous by reserve standards. Jonas Odjig is a carver of monuments and tombstones; Dominic is the village constable. The family also farms their land, raises cows, pigs, and chickens and owns a team of horses. 1925 Begins school at Jesuit Mission in Wikwemikong. An avid student, she turns the family’s pig house into a play school where she teaches local children to read and count. When they tire of her instruction she converts the play school into a play church and hears their confessions. The family is musical. Daphne plays the guitar; Dominic the violin. They all enjoy sing-a-longs and music nights listening to a hand-cranked phonograph. She develops a life-long love of opera singing. She is athletic and participates in the annual fall fairs at Manitowaning, the nearest off-reserve town, eight miles away, taking prizes in running and public speaking. Art is her favourite subject and she develops the habit of sketching with her grandfather and father, both of whom are artistic. -
Batty CV 2020
MICHAEL BATTY Born in Vancouver B.C. 1967 EDUCATION 2004 The Art Institute, Printmaking, Capilano College, North Vancouver, (Wayne Eastcott, Instructor) 1993-1995 The Art Institute, Printmaking, Capilano College, North Vancouver, (Wayne Eastcott, Instructor) 1993-1994 Emma Lake Artists’ Workshop, Saskatchewan University Guest Artists: Medrie McPhee, Lee Tribe, Lynn Donoghue, Janet Fish & Vic Cicansky 1992 Emma Lake Artists’ Workshop, Saskatchewan University Guest Artists: Evan Penny, Suzanna Heller, Anthony Caro, William Perehudoff & Dorothy Knowles 1985-89 Fine Arts Diploma, Major Painting Emily Carr College of Art & Design, Vancouver SOLO EXHIBITIONS 2018 “Building” Burrard Arts Foundation, Vancouver B.C. “Tones,Poems and Frequencies , Pendulum Gallery ,Vancouver B.C. 2016 “Recent Work” Franc Gallery, Vancoucer B.C. 2011 “Drawn” Newzones Gallery of Contemporary Art, Calgary 2009 “New Work”, Douglas Udell Gallery, Vancouver 2001 “Prospect”, Douglas Udell Gallery, Vancouver “Prospect”, Newzones Gallery of Contemporary Art, Calgary 2000 “Open”, Douglas Udell Gallery, Vancouver 1996 “Sources”, Douglas Udell Gallery, Vancouver “Selected Works”, 1991-1995, The Art Institute, Capilano College, North Vancouver, B.C. 1995 “The Collective Spirit”, Richmond Art Gallery, B.C. 1996 “Standards Vol. 1, Newzones Gallery of Contemporary Art, Calgary 1990 “Recent Paintings”, Patrick Doheny Fine Art Ltd. Vancouver SELECTED GROUP EXHIBITIONS 2020 “Preception 2020, Newzones Gallery , AB 2019 “Perception Newzones Gallery , AB 2018 ”Line and Colour”Michael Batty and Kristofer Dean , Newzones Gallery , AB 2017 “The Moth and the Flame” – Michael Batty and Chris Shier Franc Gallery, Vancouver B.C. “Art on Paper” Art Fair Pier 94 , Manhattan New York NY. “Select Artist” Darrell Bell Gallery, Saskatoon, Saskatchewan 2016 “Splash Art Auction 2016 , Granville Island / Pendulum Gallery , BC “Spring Show” Douglas Udell Gallery, Edmonton, AB “Papier Art Fair” Franc Gallery, Montreal, Que. -
The Galleries
THE GALLERIES ART at the convention center A SELF-GUIDED TOUR Enriching Your Visit: Taking the Tour The Public Art Program Washington State Convention Center features approximately The Washington State Convention Center (WSCC) public 100 works of art on public display around four levels of its North and South Gallerias. Several other works are located in art program, perhaps the largest of its kind in the nation, its office and convention lobby areas. Areas of the facility that was established to provide an environment that enriches may not be available to the public due to convention- the experience of all who visit the meeting facility. With well related activities are clearly noted. over 100 works on display, art has been a popular feature since the facility opened in 1988. Initially, art was incorporated into This self-guided, self-paced tour booklet was designed to the original building design with assistance from the state’s direct you to the many different areas where artworks are cur- Percent for the Arts Program. Since then, due to a commit- rently on display. A few of the works listed inthis booklet are ment to provide civic benefits to our community, the WSCC has located outside of the WSCC. offered an ever-changing collection, readily accessible at no This self-tour begins on Level 1 just south of the Convention charge to meeting attendees and the general public. Place entrance. The indicated route will direct you back to the south escalators for easy access to the next level. All areas of In 1997, the board established the WSCC Art Foundation at this tour are also accessible by elevator.