15 AUGUST 2017

WINNIPEG STAGES PUBLIC ART

FROM THE EDITOR

 

I found myself musing about the shows we feature in these pages in the wake of a new book by art historian Anne Whitelaw that explores the early development of public art galleries in Western Canada. The prompt was her observations about the paternalism of the National Gallery of Canada, including recent partner initiatives to bring work from Ottawa to the Art Gallery of Alberta and the Winnipeg Art Gallery. We have written about the National Gallery's regional shows – they are usually interesting fare, after all, even if some time has lapsed since their launch in Central Canada.

Here at Galleries West, we try to find a balance between stories about Western artists at Western galleries and interesting shows in Western Canada by artists who live in other parts of Canada, or even elsewhere in the world. Is that a disservice to Western artists? In some ways, yes. But I also think our readers  and many of them are artists – want to know about interesting shows and hear about new ideas, no matter where the artists are based.

How do we define balance? Along with regional concerns, we think about several other things. One is gender, because women artists have traditionally received less coverage than their male counterparts. We also make an effort to write about Indigenous artists and artists from under-represented minorities. Then, of course, there's the type of art produced  we look for a good mix of themes, subjects, and even media, whether it's painting, sculpture, installation, photography or something else.

There's no formula to figure this all out, and even if there were, it would probably be unworkable. Our choices are largely guided by what galleries are showing. Some weeks we scramble to find things to write about. Other weeks, there are tough choices to be made from a plethora of great shows.

Our aim, over the long term, is to cover many different artists from different places doing different types of work. Of course, the risk is that Galleries West may end up feeling unfocused  it doesn't cater exclusively to high art, but isn't truly populist either. Still, with arts writing in a free fall amid the collapse of traditional media models and uncertain visions for digital replacements  there is value in a generalist vision.

This issue covers everything from Stages, an ambitious Winnipeg project that takes contemporary art outside the white cube, to an immersive drawing installation in Victoria and a quirky photo-based installation that looks at small-town roadside attractions. We also cover two commercial shows, one of landscape paintings and another that disrupts clichéd ways of representing women. And, of course, there's our look at Whitelaw's book, Places and Spaces for Art, which prompted all this musing in the first place.

We always welcome feedback from our readers. What articles do you enjoy? What topics are we neglecting? What would you feature if you were the editor? Please drop us a line at editor@gallerieswest.ca. We'll read everything you send.

Until next time,

 

MASTHEAD

15 August 2017

Volume 2 Number 17
Copyright 2017

Galleries West Digital is an online magazine published every second Tuesday to promote and advance the visual arts. Launched in 2016, it replaces the print version of Galleries West magazine, which covered art and artists in Western Canada for 15 years. Our award-winning website, gallerieswest.ca, the repository for all content, is an open archive of information about the arts in communities large and small throughout Manitoba, Saskatchewan, Alberta and British Columba as well as Yukon and the Northwest Territories.

Editor Portia Priegert
editor@gallerieswest.ca
250-382-0567 (Victoria)
Toll Free 866-415-3282
Consulting Editor Jeffrey Spalding
Reviews Editor reviews@gallerieswest.ca
Contributors Stacey Abramson, Lissa Robinson, Lorna Tureski
Publisher
Tom Tait
publisher@gallerieswest.ca
403-234-7097 (Calgary)
Toll Free 866-697-2002
Advertising Director advertising@gallerieswest.ca
403-234-7097 (Calgary)
Toll Free 866-697-2002
Social Media Editor listings@gallerieswest.ca
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Mailing Address Galleries West Digital
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We acknowledge the support of the Alberta Media Fund for our publishing program.

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Federico Herrero, “Landscape,” 2017, exterior latex paint, detail of site-specific installation, photo by Karen Asher

COVER STORY

Winnipeg Stages Public Art

1

Making contemporary art accessible to large public audiences is always challenging. Work by artists in contemporary galleries may leave viewers feeling ignorant, separated from histories they do not know and unsure how to read complex work. “The meaning of contemporary art isn’t supposed to reveal itself immediately,” says Jenifer Papararo, the executive director of Winnipeg’s Plug In Institute of Contemporary Art. “Sometimes, that’s just too great a deterrent.” Luckily, galleries are finding ways to bring high-calibre contemporary art to audiences in more approachable ways. The latest example is Stages: Drawing the Curtain, which runs Aug. 18 to Sept. 4 in various venues around Winnipeg. Plug In invited nine artists – Winnipeg’s Erica Eyres and Divya Mehra, Vancouver’s Ron Tran and Krista Belle Stewart, and Toronto’s Abbas Akhavan and Kara Hamilton, as well as three international artists – to create sculptures and performances that bring new life and meanings to public sites, from parks to empty buildings. The aim, as the event’s title suggests, is to consider the stage – “its function as a platform, its meaning as a point of attention and its physical design.” Featuring everything from an eight-foot-high illuminated Om sign hauled around town by flatbed truck to performances by drag queens and a vibrantly painted urban tunnel, Stages allows happenstance encounters, but also offers guided tours, promising two different but engaging experiences. More ►
– Stacey Abramson

Jim Holyoak and Matt Shane, "Forestial Brain (in progress)," 2017, detail of collaborative drawing installation, photo by Miles Giesbrecht

FIVE THINGS

Forestrial Brain Explores Nature’s Mysteries

2

Jim Holyoak and Matt Shane are doing things backwards. They will hold their “opening” reception Aug. 25 at the end of their show at Open Space, the Victoria artist-run centre. Then two days later, they will take down their massive drawing installation, Forestrial Brain, and roll it into a storage tube. This is no small feat. The duo, friends since art school, have covered the gallery’s 14-foot-high walls with white paper, carefully cutting around doors and passageways. They are spending their six-week exhibition slot drawing through some 135 linear feet, an undertaking almost as physically demanding as the eight-day hike that inspired it, an arduous 47-mile slog on the notoriously difficult West Coast Trail through Pacific Rim National Park, along the southwest edge of Vancouver Island. They hiked the trail before starting work at Open Space, making notes and drawings, soaking up the energy of forest and ocean, and gathering stories from fellow travellers. They display pages from their sketchbooks in the stairwell up to the gallery, a place where the show’s title is drawn as if covered with hairy tree lichens, signalling the tone of the show, a kind of hobbit-informed natural history, or as Shane puts it: the blurry in-between of science and fantasy. “We’re looking at the forest as a mysterious place,” he says. “We’re looking at the mythologies that surround the forest and the whole spectrum of belief systems about forests.” Clearly, then, Forestrial Brain is no mere travelogue or documentary, though it does refer to their backpacking trip. Rich in varied marks, from misty ink washes that evoke the dank undergrowth of the coastal rainforest to a finely drafted dead sea lion they discovered on a beach, the installation also explores the idea of the forest as an enmeshed and interconnected organism, one where human presence is evoked minimally through a chain of ladders and walkways that snail, soddenly, over steep terrain, amid lush ferns and strange fungi. More ►
– Portia Priegert

Scott August, "Clem T. GoFur Revisited," 2017, hand-cut collaged digital prints on recycled cardstock, varnish, wood and staples, 120" x 216" Photo by Scott August (installation view of "Furbish: Remnant Themes of Post Amusement" at the Lake Country Art Gallery)

FIVE THINGS

Another Roadside Attraction

3

A little girl, about six years old, skips around Clem T. GoFur in the Lake Country Art Gallery in B.C.’s Okanagan Valley. “Wow, he’s BIG,” she says, “and those boots!” Those boots, indeed, but look up! Clem, mascot at the World Famous Gopher Hole Museum in Torrington, Alta., is all shiny, cartoon new; the ceiling tile has been removed to accommodate his hat. Clem’s saucy, recumbent pose dictates the path of movement into Scott August’s exhibition, Furbish: Remnant Themes of Post-Amusement, on view until Aug. 27. I swerve past the boots and follow a wall of photos: here is the iconic peach hut in Penticton, the whale waterslide from Old MacDonald’s Farm in West Kelowna, and a newspaper clipping about Peter Soehn, creator of curvy statuary and the subject of August’s installation. The bottom of each photo curls away from the wall, evoking fragility, a temporary existence. Childhood memories. Nostalgia in bloom, next is the full-wall image of a decrepit billboard advertising Old MacDonald’s Farm, and here’s where it gets all lovely and tricky. To view the 17-foot-long collage, one is backed against the raw, two-by-four frame supporting Clem. It’s a disconcerting peek behind the magic, rubbing shoulders with the pretense of it, all while enjoying the beauty of it too. More ►
– Lorna Tureski

"Weird Woman," 2017, installation shot showing “Librarian’s Chain” by Mary Margaret Morgan in foreground. Photo by Jared Tiller.

FIVE THINGS

‘Weird Woman’ Disrupts Clichés

4

Weird Woman, a group exhibition at Jarvis Hall Gallery in Calgary, evokes a romantic, defiant and otherworldly feel. Curated by Calgary artist Sondra Meszaros, it features five Canadian and American artists who use a range of methods, including video, collage, assemblage, drawing and digital print. Disrupting clichéd notions of female intuition, aesthetic, currency and rebellion, these artists use meaningful motifs to explore the relationships between nature, production and what Meszaros calls wilful or wayward ways of representing women. An unsettling yet enchanting mood prevails, owing to the sparseness of the exhibition, on view until Sept. 9, and the rules governing each artist’s aesthetics and processes. Within each work, the material and the inspirational converge into entanglements of conflicting forces. More ►
– Lissa Robinson

FIVE THINGS

History of Western Galleries Looks at Regionalism

5

The National Gallery of Canada’s “paternalism” in promoting its vision of Canadian art in the West receives a pointed critique in a new book about the history of public art galleries in Western Canada. Author Anne Whitelaw, an art historian at Concordia University in Montreal, says the recent move by the National Gallery to operate satellite spaces within the Art Gallery of Alberta and the Winnipeg Art Gallery is the latest incarnation of programs in the 1900s that offered fine arts programming to nascent galleries in the West. “Both as a service to smaller arts organizations and attempts to educate the Canadian public about art, these exhibition programs appear to share a certain paternalism – a concern over the qualities of exhibitions organized by smaller galleries and faith in the ability of the national institution to bring excellence to the regions,” Whitelaw writes in her epilogue to Spaces and Places for Art: Making Art Institutions in Western Canada, 1912-1990. Whitelaw points to current debates in arts communities in Winnipeg and Edmonton, where some decry what they see as the failure of public galleries to sufficiently support and present work by local artists. She notes that shows such as the Disasters of War and Los Caprichos by Francisco de Goya, an initial 2010 show provided by the National Gallery in its dedicated space within the Edmonton gallery, boost museum attendance but are of “little benefit to raising the profile of local artists.” More ►

Marcia Harris, "Peyto," 2017, acrylic on board, 48" x 48"

FIVE THINGS

Landscape Geometry

6

After taking a break to raise two children, now seven and three, Calgary artist Marcia Harris is back with a show  at the Elevation Contemporary Art Gallery in Canmore, Alta., that presents a series of landscapes, often with added geometric elements such as diamonds and triangles. Peyto, for instance, is based on a photograph of Peyto Lake in Banff National Park. Its vantage point is high, overlooking lake and mountains, but suspended in middle ground is the outline of a diamond. Harris is interested in the concept of beauty as it pertains to nature. “The architect in this natural world has designed a perfect image within the landscape,” she says. She enjoys the awkwardness that occurs when organic forms and precise geometry are juxtaposed and plays with how they both interrupt and complement each other. The show’s title, The In Between, refers to that tension. “I appreciate how the shapes and lines either settle in or appear to stand out,” she says. “There is a dichotomy between the reality and the uncertainties.” The show, which runs until Aug. 17, also includes paintings of suburban houses. Harris has done previous work about the destruction of B.C. forests by the mountain pine beetle and the collapse of bee colonies. Her work is in the collection of the Alberta Foundation for the Arts. More Images ►

 

Ahlam Shibli, "Untitled (Staring no. 10), al-Khalil/Hebron, Palestine and Kassel, Germany," 2016-17. Gedenkstätte und Museum Trutzhain, March 16, 2017. Puppets made by French prisoners of war at the Stalag IX A Ziegenhain prison camp. The site has been used since 1948 to accommodate Heimatvertriebene (expellees) and refugees of German descent from eastern Europe, becoming the municipality of Trutzhain in 1951. Courtesy of the artist, © Ahlam Shibli

NEWS ROUNDUP

Palestinian Artist Considers Meaning of Home

The latest web commission at the Remai Modern in Saskatoon continues to build the international flavour of the Saskatoon gallery, which will opens Oct. 21.  Staring, Nine episodes from al-Khalil/Hebron (Palestine) and Kassel (Germany), a work by Palestinian photographer Ahlam Shibli, is featured on the museum’s website this month. A suite of images that further develops Shibli’s Occupation, it brings together photographs taken in Palestine and Germany in 2016 and 2017. Shibli was searching for evidence of the notion of home, but found manifestations of an evasive place marked by politics, economics and ideologies. “Ahlam Shibli’s work is perceptive and profound,” says Geoffrey Burke, the Remai’s director. “There is a stillness and intimacy to her photographs that invites the viewer to spend time, to see and feel the humanity that is often obscured by polemics, preconceptions or apathy.” Previous web commissions by Ryan Gander, Tammi Campbell, Tanya Lukin Linklater, Thomas Hirschhorn, Taysir Batniji, Pedro Barateiro, Kara Uzelman, Rosa Barba, Amanda Beech, Ellen Moffat, Duane Linklater, Lynne Marsh and Raqs Media Collective remain accessible in the gallery’s online archive.

In other news:

Tracy Proctor is a third generation Calgarian, artist, teacher and founder of Swirl Fine Art and Design Art Gallery (www.tracyproctor.com). She is a certified R&F encaustic instructor and teaches encaustic workshops throughout Western Canada. Want to show us your studio? Send an image that shows you at work to studiophotos@gallerieswestdigital.ca. We’ll feature the best images on this page.

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Christine Klassen Gallery in Calgary. Want to show us your gallery? Send an hi-res image to studiophotos@gallerieswestdigital.ca. We’ll feature the best images on this page.

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1 AUGUST 2017

NEWSPAPER PHOTOGRAPHY

FROM THE EDITOR

 

The dog days of summer – when I first heard the expression as a young intern at the Calgary Herald, I wondered what it meant. Well, here I am again, many years later, in the dog days, but now the Internet can effortlessly satisfy my curiosity.

According to National Geographic, the expression has nothing to do with dogs panting in the sun. Rather, it refers to a period of time when Sirius, the Dog Star, rises just before the sun, usually in late July, a reference that dates back to the ancient Greeks and Romans. And as dictionary.com notes, the dog days have come to mean a period of lethargy, inactivity or indolence.

While I won't admit to indolence – well, perhaps a few extra-long lunches – this issue, oddly enough, features two stories illustrated with canoes, a prime site for dog-day reverie. One relates to an exhibition in Calgary that explores Canada’s collective romance with the canoe. The other looks at a new book by National Gallery of Canada director Marc Mayer and the Indigenous work now displayed at the venerable Ottawa institution.

There’s also a focus on photography. Our cover story is about an exhibition culled from the photo archives of the Globe and Mail that's now on view at the Art Gallery of Alberta in Edmonton. There’s also a story about the work of early Japanese-Canadian portrait photographers at the Art Gallery of Greater Victoria, and another about contemporary Calgary artist Blake Chorley, who uses photo techniques from the 1800s to create images that seem to step back in time.

And what dog day would be complete without an idyll in the Greek Isles? Ours is brought to you by Calgary curator Caterina Pizanias, who organized a show on Tinos, an island popular with Greek artists and intellectuals, by three Western Canadian artists – Ron Moppett, Allyson Glenn and Colleen Heslin.

Looking ahead to future issues, our writers are at work on cover stories about the Stages project being organized by the Plug In Institute of Contemporary Art in Winnipeg. And we’re also talking to Joe Fafard, whose upcoming show at the Slate Fine Art Gallery in Regina will mark his 75th birthday.

Please enjoy reading this issue – perhaps even in a canoe.

Until next time,

 

MASTHEAD

01 August 2017

Volume 2 Number 16
Copyright 2017

Galleries West Digital is an online magazine published every second Tuesday to promote and advance the visual arts. Launched in 2016, it replaces the print version of Galleries West magazine, which covered art and artists in Western Canada for 15 years. Our award-winning website, gallerieswest.ca, the repository for all content, is an open archive of information about the arts in communities large and small throughout Manitoba, Saskatchewan, Alberta and British Columba as well as Yukon and the Northwest Territories.

Editor Portia Priegert
editor@gallerieswest.ca
250-382-0567 (Victoria)
Toll Free 866-415-3282
Consulting Editor Jeffrey Spalding
Reviews Editor reviews@gallerieswest.ca
Contributors Paul Gessell, Fish Griwkoswsky
Publisher
Tom Tait
publisher@gallerieswest.ca
403-234-7097 (Calgary)
Toll Free 866-697-2002
Advertising Director advertising@gallerieswest.ca
403-234-7097 (Calgary)
Toll Free 866-697-2002
Social Media Editor listings@gallerieswest.ca
403-234-7097 (Calgary)
Toll Free 866-697-2002
Mailing Address Galleries West Digital
301 – 690 Princeton Way SW
Calgary, AB  T2P 5J9
Subscriptions gallerieswestdigital.ca/subscribe
Websites gallerieswest.ca
gallerieswestdigital.ca

We acknowledge the support of the Alberta Media Fund for our publishing program.

ABgov

Unknown Photographer, "Dorothy Cameron, Toronto art dealer," 1965, gift of the Globe and Mail newspaper to the Canadian Photography Institute of the National Gallery of Canada. (Every reasonable effort has been made to identify and contact copyright holders to obtain permission to reproduce these images. We apologize for any inadvertent omissions. If you have any queries please contact: reproductions@ngc.ca.)

COVER STORY

Stories of Newspaper Photography

An exhibition of newspaper photography sure as hell better tell a good story. But more than being some mere history of the Cold War era from which its black-and-white images are drawn, Cutline: From the Photography Archives of the Globe and Mail is a dog-eared shrine to the waning physicality of photographs as objects – chemically processed paper mementos that generations of cut-and-paste deadliners visually manipulated and labelled on the backside. These were then slid into the image morgue – though not forever, it turns out. The informative captions, the cutlines of the show’s title, play a big part in this fascinating exhibition, on view until Nov. 12 at the Art Gallery of Alberta in Edmonton. The images, housed in museum-style cabinets, are clustered into a dozen non-linear thematic sections titled with caption excerpts. The groupings are as specific as the humble architecture of the small port of Moosonee, in Northern Ontario, or more generalized arrays like sports, celebrity and civil unrest – one of the few places where not every face is white. More ►
– Fish Griwkowsky 

 

"Canadian and Indigenous Art: From Time Immemorial to 1967," installation view, June 2017, National Gallery of Canada, Ottawa, photo by NGC

FIVE THINGS

A More Inclusive History

7

Winnipeg’s Katherine Boyer is one of three artists picked by the Canada Council for the Arts for a 60th anniversary project about “the future of art.” Boyer, a Métis, will spend a few weeks in December beading in the council’s downtown Ottawa gallery, Âjagemô. Yes, the council calls beading “the future of art.” Indeed, young Indigenous artists increasingly find it “cool” to bead, says independent Aboriginal curator Alexandra Nahwegahbow. Beadwork, like other Indigenous art, is playing an increasingly important role in Canadian art history. The National Gallery of Canada opened its new Canadian and Indigenous galleries this summer, placing scores of pre-contact to contemporary Indigenous works, including beading, alongside “settler” art to offer a more inclusive historical account. In conjunction with this recasting, gallery director Marc Mayer produced a coffee table book, Art in Canada, to introduce various genres and eras and to talk of things to come. This being the country’s sesquicentennial, the book contains large colour images of 150 iconic works, including William Kurelek’s Manitoba Party and Joyce Wieland’s Reason Over Passion. But also included is a 2013 beadwork by Aboriginal artist Nadia Myre titled For those who cannot speak: The land, the water, the animals and the future generations. There is also a late 19th-century bag beaded by an unknown Métis or Cree artist from the West. More ►
– Paul Gessell

 

Blake Chorley, "Lake O’Hara," 2016, multilayer ambrotype, 24" x 20"

FIVE THINGS

Photographer Steps Back Into Time

8

Looking at Blake Chorley’s landscape photography is like stepping back in time. While it seems everyone is now posting quickie phone shots to Instagram, Chorley is carving a niche with painstaking labour over black-and-white images that not only use analog technology but reach further back to the old wet-plate processes of the 1800s. His approach evolved out of a need to be more thoughtful and focus on producing a few excellent images rather than the myriad so-so shots that digital photography enables. In essence, he says, he wanted to savour the landscape rather than focus on conquering a goal. “The slowing down really allowed me to start seeing all those other views that were along the way to the destination,” he says. “So that gave me motivation to try and slow down even further.” Chorley, who grew up in Toronto and moved West to do a Master’s degree at the University of Calgary, enjoys the outdoors. So he decided to focus on what he calls “pristine views” of wilderness scenes, primarily in the Rockies. Ten of those images are showing at the Christine Klassen Gallery in Calgary until Aug. 19. More ►
– Portia Priegert

 

Colleen Heslin, "Dark Matter," 2017, ink and dye on sewn canvas, 6.5' x 5'

FIVE THINGS

Greek Idyll for Three Western Artists

9

Works by three Canadian artists are on an idyll in the Greek isles until Aug. 20 as part of an exhibition, Open Horizons, organized by a Calgary curator to mark both Canada’s 150th anniversary and 75 years of diplomacy between Greece and Canada. The artists – Calgary’s Ron Moppett, Saskatoon’s Allyson Glenn and Vancouver’s Colleen Heslin – push the boundaries and hierarchies of art, says independent curator Caterina Pizanias, who organized the show for the Cultural Foundation of Tinos, an island popular with Greek artists and intellectuals. “In visually innovative ways, they speak of and depict the physical vastness of the Canadian landscape,” says Pizanias. “They favour covering the canvas, at times extending the works onto the floor, creating powerful installation works that tell stories of a world in a state of flux.” These are works, says Pizanias, that can withstand the challenges of the Aegean Sea – its endless blue horizon and relentless light and, above all, the myriad stories buried in its depths and washed up on its shores. More ►

 

Hayashi Studio, “Kiyoshi Shirimoto and his dog,” no date, digital print and scan from glass-plate negative, courtesy of Cumberland Museum and Archives

FIVE THINGS

Japanese-Canadian Studio Portraiture

10

A small exhibition tucked into a back gallery at the Art Gallery of Greater Victoria looks at the once-thriving business of studio portraiture – with an unusual twist. The images are by Japanese-Canadian photographers from the Vancouver Island village of Cumberland in the early 1900s. Mirror With Memory, on view until Sept. 4, shows a diverse range of residents sitting or standing in classic studio style in their best clothes. Six copies of a photo measuring five inches by seven inches cost up to $6 at a time when local miners earned $4 a day. But many of the Japanese, who had come to Canada seeking prosperity, thought it a good investment. “The serious and dignified demeanor of the subjects of these photographs, and the appearance of being in full control of their destiny, if only for the moment of the flash of the camera, is the reassuring image that was sent to parents and relatives back home in Japan,” Grace Eiko Thomson writes in a book about Japanese-Canadian photography. More ►
– Portia Priegert

 

Frances Anne Hopkins, “Canoe Party Around a Campfire,” 1870, Collection of Library and Archives Canada

FIVE THINGS

Romancing the Canoe in Calgary

11

Although we now consider canoes to be recreational vehicles, they have an age-old history that begins with the First Nations. Constructed from natural materials such as birch bark, canoes were a vital form of transportation as they were much faster than hiking through brush and clambering over rocks. They were quickly adopted by European explorers as far back as Samuel de Champlain, who arrived near what is Tadoussac, Que., in 1603, and also played a vital role in the subsequent fur trade and colonization of Canada. Thus, Romancing the Canoe, on view at the Glenbow in Calgary until Sept. 10, is timely, both as a summer show and as yet another marker of Canada’s 150th anniversary. Curator Roger Boulet pulled works – mostly paintings, though the show includes a vintage birch-bark canoe “in wonderful condition” – from the Glenbow’s storage vaults, and borrowed other pieces from private collections in Calgary, along with some from other institutional collections. He chose a roughly chronological approach, but structured the exhibition around a handful of key themes. “It’s kind of intuitive,” he says of his curatorial approach. “It’s not all kind of rational and calculated. You go with what’s there. You have a couple of ideas and you see what’s possible.” Early Europeans were impressed by how easy it was to manoeuvre canoes. “They marvelled at the design, speed and versatility,” says Boulet. The canoe became the vehicle of choice for fur traders who plied waterways into the interior of the continent. Frances Anne Hopkins, who traveled by canoe in the mid-1800s through the Great Lakes with her husband, Edward, a Hudson’s Bay Company official, is known for her paintings of voyageurs. Canoe Party Around a Campfire, painted in 1870, shows men using light from a torch to inspect an upturned canoe for damage that might need repair. More ►

Amber Bracken, "People carry an American and a Mohawk Warrior Society flag at a protest camp against the Dakota Access Pipeline, in Cannon Ball, North Dakota."

NEWS ROUNDUP

Edmonton Photojournalist Wins International Prize

Images by Edmonton photographer Amber Bracken, who won an international photography award for her images of a pipeline standoff in North Dakota, will be part of the World Press Photo exhibition at the Canadian War Museum in Ottawa until Sept. 13. The show features 152 large-format photographs, including the work that earned Bracken first prize in the Stories section of Contemporary Issues. Her five-week series looks at the Dakota Access Pipeline standoff at Standing Rock. A section of the 1,886-kilometer-long underground oil pipeline close to the Standing Rock Sioux Reservation, was awaiting federal approval in 2016. The Sioux opposed the line, fearing water contamination and damage to sacred sites, and their protest gained wide attention. More than 5,000 photographers from 126 countries submitted some 80,000 images to the contest. The overall winner was Burhan Ozbilici, who photographed the assassination of Russian ambassador Andrey Karlov last year in an Ankara art gallery. Two other  Canadians  won awards in a sports category: Giovanni Capriotti, of Toronto, for his stereotype-busting portfolio of the Muddy York Rugby Football Club — a gay men’s rugby team — and Darren Calabrese, of Halifax, for his images of CrossFit athlete Lindsay Hilton, who was born without full limbs. The World Press Photo Foundation, a non-profit group that works to advance photojournalism, organized the contest. The exhibition is touring 100 cities in 45 countries, including Montreal, Toronto and Chicoutimi, Que.

In other news:

  • Some 50 artists from across Canada  including Winnipeg’s Diana Thorneycroft and Kae Sasaki, Montreal’s Corri-Lynn Tetz, West Kelowna’s John Hall and Vancouver’s Nancy Boyd, Ester Burghardt and Brigitta Kocsis  are finalists for the Salt Spring National Arts Prize. The winner will be announced Oct. 21.
  • Raymond Boisjoly, from the Haida Nation, is one of four artists shortlisted for this year’s $50,000 Aimia | AGO Photography Prize. An exhibition by Boisjoly and the other finalists – Liz Johnson Artur (Ghana/Russia), Hank Willis Thomas (United States) and Taisuke Koyama (Japan) – will open Sept. 6 at the Art Gallery of Ontario in Toronto.
  • Five Western Canadian artists  Vancouver’s Douglas Coupland, Derek Root and Jill Anhalt as well as Calgary’s Geoff McFetridge and Derek Michael Besant – are among the 13 artists selected for some $7.3 million of art in 13 Light Rail Transit stations in Ottawa.
  • A Winnipeg group, Mentoring Artists for Women’s Art, has received Canada Council funding to exhibit the artworks of 50 contemporary Indigenous women on billboards from coast to coast next year. Titled Resilience, the project is curated by Lee-Ann Martin as a response to the report of the Truth and Reconciliation Commission.
  • Liquidity Wines, a winery in Okanagan Falls, B.C., is showing work by Canadian artist Tim Okamura.
  • An image of a grizzly bear by Allan Hancock, represented by the Peninsula Gallery on Vancouver Island, will be featured on a new $20 silver coin produced for collectors by the Royal Canadian Mint.
  • Barry Till is retiring as Asian arts curator at the Art Gallery of Greater Victoria at the end of September.
  • Curator Ben Portis has been killed in an auto accident near Barrie, Ont.

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