25 APRIL 2017

EVAN PENNY GOES TO VENICE

Evan Penny, "Self Portrait after Géricault's Fragments Anatomiques," 2017, pigmented silicone, fabric, resin and wood, 57" x 78" x 18" Photo by Dimitry Levanoff, Courtesy TrépanierBaer Gallery, Calgary

COVER STORY

Evan Penny Goes to Venice

Eight works by Evan Penny have arrived in Venice from his Toronto studio and are being installed for a solo exhibition organized by Calgary’s TrépanierBaer Gallery. Evan Penny: Ask Your Body shows the artist’s mature work in the intimate setting of Chiesa San Samuele, a venerable church near the Grand Canal. The exhibition, one of the myriad events running concurrently with the Venice Biennale, which opens May 13, gives international audiences a chance to see the work of one of Canada’s exceptional contemporary artists. Across town at the Canadian pavilion is Canada’s official representative at the Biennale, Vancouver artist Geoffrey Farmer, whose exhibition explores family history and intergenerational trauma. TrépanierBaer considers Penny’s show, on view until November, their unofficial Canada 150 project. Penny will debut four sculptures he has made over the last 18 months. Those who know his work have come to expect a fascinating technical finish to Penny’s uncannily lifelike representations of the human body. These works are charged by a more evident personal engagement with art history, pulling from Roman statuary as well as paintings by Northern Renaissance artist Hans Holbein the Younger and French Romantic Théodore Géricault. Penny’s works, in their tussle with the West’s cultural and religious inheritance, pack a visceral punch. The church’s ambience promises to heighten both the sensory and spiritual experience, inviting meditation on the temporal nature of life, mortality and the spirit incarnate. The spare structure, with its simple vaulted nave and groined vaults over the side aisles, affords formal clarity to the sculptures. The work’s scale will be compelling within the proportions of the space and the well-worn surfaces of stone, marble and plaster have a kinship with the material qualities of Penny’s sculptures. More ►
– Katherine Ylitalo

Barbara Milne, "Volume #7," 2016, acrylic on wood panel, 40" x 40"

FIVE THINGS

Painting the Whyte

1

People can have strong connections to the objects in their life. Artists, in particular, are often avid collectors. But few are as active as the late Catharine and Peter Whyte, Banff artists who were instrumental in establishing the Whyte Museum of the Canadian Rockies. Catharine Robb, a debutante from a wealthy American family met Peter in the 1920s when they were studying at the School of the Museum of Fine Arts in Boston. They married and she followed him to his home in Banff, where they began amassing the art and regional artifacts that would form the basis of the institution’s collection. The couple built a log cabin in the 1930s near the Bow River that became part of the museum after Catharine’s death in 1979. It was this cabin and its eclectic mix of memorabilia – gifts from friends, random purchases and things the Whytes picked up on their travels – that fascinated Calgary artist Barbara Milne. She spent months exploring the collection, foraging through the cabin, as well as the museum’s archives and vault, and photographed myriad objects. Then, during a 2015 residency at the Banff Centre, she cut up those images and created a series of collages. When Milne returned to her studio, the collages became her gateway into acrylic paintings that evoke a musty modernism. Both collages and paintings are showing at the Paul Kuhn Gallery in Calgary until May 6 as part of Milne’s solo show, Responding to the Whyte. “They all grew organically from the experience of being in the cabin,” says Milne. First shown last fall at the Whyte, the work creates an intimate sense of time and place with its odd distortions and angular juxtapositions of recognizable objects and mountain landscapes in a muted, earthy palette. More ►
– Portia Priegert

Laura Payne, "Hexadec I," 2017, acrylic on panel, 24" x 26"

FIVE THINGS

Shifting Light

2

When Laura Payne started graduate school in Baltimore a few years ago she painted portraits and made videos. She was hoping to bring those interests together somehow into a more coherent practice. Then, in her second year of studies at the Maryland Institute College of Art, as she scanned photographs to refer to in her paintings, she became fascinated with the visual qualities of artificial light. Her painting practice shifted. Payne, who has a solo show until May 1 at the Darrell Bell Gallery in Saskatoon, is probably most easily categorized now as part of a newly revitalized Op Art movement. In her paintings, she uses shaped panels and various colours to create the illusion of folds and bends. She also creates what she calls “gems” – small hexagonal paintings with more personality. “They’re experiments in digital design being interpreted into paint,” says Payne. “Some of them do rely again on the illusion of light, but there’s a lot of patterning.” She groups these pieces on the wall to create an animated interplay of colour and form. And her video work? That has shifted too. She now makes light boxes that emit hazy shifting light in rainbow hues. Each box features coloured lights under a diffusing screen so colours mix and blend. She affixes dichroic film atop the diffusing screen, which affects the way people perceive the light. “Depending on where you’re standing in the room, you actually see different colours through the surface,” she explains. More ►
– Portia Priegert

Tanya P. Johnson, "Anthropomorph," 2015, found objects, animal bones and doll parts, 9" x 9" photo by Jeremy Addington

FIVE THINGS

Tanya P. Johnson: Edge of the Light

3

Recently, I have been transfixed each evening watching American news channels. Entering Edge of the Light is reminiscent of this nightly ritual. The exhibition is disturbing. It makes one question what is real and what is not. It is entirely captivating. The exhibition, Tanya P. Johnson’s first substantive solo show, is on view at the Touchstones Museum of Art and History in Nelson, B.C., until May 28. Curator Arin Fay has populated the show with a large selection of re-assembled objects, several light boxes and various prints. Johnson’s process of deconstructing and reconstructing objects recalls the Dadaists and Surrealists as well as more recent artists, such as Betye Saar. Like Saar, Johnson draws on family photographs, found objects and spiritual fetishes to create ephemera that offer a political and cultural critique. The assemblages, the largest part of the exhibition, are created from antique books, dolls and photographs, as well as natural materials such as fur, bones and porcupine quills. For instance, in Anthropomorph, Johnson adds splayed doll legs to animal vertebrae, transforming them into two figures topped with a washroom indicator that reads either Engaged or Vacant. Some assemblages are displayed in old museum cases, recalling the Victorian cabinet of curiosities, a grotesque aspect of the colonial era when animals, spiritual objects and even human remains were brought back from far-flung regions and displayed for the titillation of European audiences. More ►
– Maggie Shirley

Heather Cline, "Cows for G," 2016, acrylic panel, 24" x 36"

FIVE THINGS

Small-Town Canadiana

4

Regina artist Heather Cline is on a mission – to mark Canada’s 150th birthday with a series of landscape paintings and audio recordings that honour small-town Canadiana. Her 50 acrylics, Quiet Stories from Canadian Places, are on view until May 14 at the Moose Jaw Museum and Art Gallery in Saskatchewan. The show started in Yorkton at the Godfrey Dean Art Gallery and will travel to the Kelowna Heritage Museum in British Columbia, the Strathcona County Art Gallery @ 501 near Edmonton, and then back to Saskatchewan for a show at the Art Gallery of Swift Current, all before the end of the year. “I’m offering it up as a dialogue with official history, says Cline. “I call it community history.” The idea came to her a decade ago. Her favourite medium at the time was collage and she would glue newspaper clippings to her canvas before covering it with paint, allowing the printed text to bleed through. This created a physical connection between history and location. With Quiet Stories, she took a different tack. “I really wanted to collect oral histories to create artwork,” she says. So, in 2011 she crisscrossed the country with a digital recorder asking some 200 Canadians about their family, work and home. Their responses inspired a flood of paintings. Some depict a specific place while others are more symbolic. Subjects range from urban streets, shops and historic houses to parks, highways and even a herd of cows. “I’m trying to paint them so they feel like a memory instead of a photograph,” says Cline. More ►
– John Thomson

Mark Heine, "Anarchy," 2016, oil on canvas, 60" x 45"

FIVE THINGS

Family Marks 150 Years in Art

5

Canada may be celebrating its 150th anniversary, but one Canadian family can boast its own landmark – a combined total of 150 years of making art. There’s a good chance you have seen the work of the Heine family of British Columbia on coins and stamps or in books and advertising. But along with commercial illustration, family members have created oil and watercolour paintings for galleries. The patriarch is Harry Heine, who lived from 1928 to 2004 and was the first Canadian elected to the Royal Society of Marine Artists in Britain. His children include daughters Caren, a botanical painter, and Jennifer, who is active in the Federation of Canadian Artists. Heine’s son, Mark, has worked for clients such as Disney, Sony, Microsoft and Starbucks, and Mark’s daughter, Sarah, is a photographer studying at the University of Victoria. Their three-generation exhibition, Canadian Legacy, is showing at the McMillan Arts Centre in Parksville on Vancouver Island from May 2 to May 27. Mark, who lives in Victoria, says the show is a tribute to their father. “He was a really big influence on the direction we all chose to go,” says Mark. “That’s why we thought it would be good to put together a Heine family show.” Mark, whose work is featured on 42 postage stamps in circulation in various countries, has been painting for galleries for the last 11 years, topping off 23 years as an illustrator. In Parksville, he is showing some 20 works from his Sirens series, which illustrates a young adult novel he hopes to publish. Mark started the manuscript during a sailing trip from Victoria to Hawaii. His sirens, conduits between sea life and humans, relay messages about marine pollution and environmental destruction. The family exhibits at The Gallery in Oak Bay Village in Victoria, and Mark is also represented by the Peninsula Gallery in Sidney, B.C. More images ►

NEWS ROUNDUP

Unheralded Artists Series Ends

Mother Tongue Publishing is concluding its Unheralded Artists of B.C. series in October with the release of The Life and Art of Arthur Pitts by Kerry Mason, says publisher Mona Fertig. Pitts, who lived from 1889 to 1972, documented the indigenous peoples of the Northwest Coast in watercolours and photographs. The ninth book, released last fall, was The Life and Art of Mary Filer by Christina Johnson-Dean. Filer, who died in 2016, was a glass artist. Major examples of her cold glass sculpture can be seen at SFU Harbour Centre and the Vancouver General Hospital. Her work is in numerous collections, including the National Gallery of Canada and the Art Gallery of Greater Victoria. “Mary was an extraordinary woman” says Fertig. The Unheralded Artists of B.C. is a series of full-colour books about little documented artists from the 1900s to the 1960s. Other artists in the series include David Marshall, George Fertig, Ina D.D. Uhthoff, Edythe Hembroff-Schleicher and Jack Akroyd. Mother Tongue  is based on Saltspring Island. More images ►

In other news:

  • Vancouver Island potter Robin Hopper died April 6 at the age of 77. Hopper, who was named a member of the Order of Canada last year, was ill with cancer for several years. Hopper was also known for his garden, the subject of  an online book, A Potter’s Garden: An Artist’s Approach to Creative Garden-Making.
  • The long list of nominees for the 2017 Sobey Art Award has been released. It includes Western artists Amy Malbeuf, Divya Mehra, Erica Eyres, Kara Uzelman, The Ephemerals, Babak Golkar, James Nizam, Jeneen Frei Njootli, Raymond Boisjoly and Rebecca Brewer.
  • The Hnatyshyn Foundation has given 150 artists $10,000 each as part of its Reveal Indigenous Art Awards. The one-time program honours indigenous visual artists, media artists, craftspeople, musicians, writers, storytellers, dancers and actors. The laureates will receive their awards May 22 in Winnipeg.
  • Jeff Brinton has been named executive director of the Alberta Foundation for the Arts.
  • The Vancouver Art Gallery recently acquired contemporary works by Vancouver-based artists Rodney Graham, Susan Point and Stephen Waddell as well as work by Beijing-based Wang Dongling and Montreal-based Sorel Cohen.
  • The Winnipeg Art Gallery hosts an exhibition by winners of the 2017 Governor General’s Awards in Visual and Media Arts until Sept. 4. The show includes Vancouver artists Glenn Lewis and Landon Mackenzie.
  • Calgary  artists Caitlind r.c. Brown and Wayne Garrett are installing Cloud, a large interactive work made from 6,000  light bulbs with hundreds of pull-strings at the National Arts Centre this summer in Ottawa. The work will show from June 15 to July 23 in the centre’s main lobby to help celebrate Canada’s 150th anniversary.
  • Student Andi Icaza-Largaespada has won the Contemporary Art Gallery’s $2,500 prize for emerging artists in Vancouver.
Steven Nederveen in his Toronto studio. He is represented by Bau-Xi Gallery (Vancouver/Toronto), Canada House Gallery (Banff), Canvas Gallery (Toronto), Foster White Gallery (Seattle) and MX Gallery (Montreal). 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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MASTHEAD

25 April 2017

Volume 2 Number 9
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 Maggie Shirley, John Thomson, Katherine Ylitalo
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
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We acknowledge the support of the Alberta Media Fund for our publishing program.

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11 APRIL 2017

FOUR DECADES OF PHOTOGRAPHY

Jeff Wall, "The Destroyed Room," 1978, printed 1987, Cibachrome transparency in fluorescent lightbox, 70" × 98" × 8" National Gallery of Canada, purchased 1988.

COVER STORY

Four Decades of Photography at the National Gallery

So, where is Stan Douglas? And where, for that matter, is the Vancouver School of photo conceptualism? Those questions hang over a new exhibition, Photography in Canada: 1960-2000, at the National Gallery of Canada. It’s the first in a series of shows that examine both historical and contemporary Canadian art in this, the 150th anniversary of Confederation. This initial photography offering, limited to works held by the National Gallery, is a comforting family album, with brilliant innovators like Michael Snow, Lynne Cohen and Edward Burtynsky now seen, decades later, as more establishment than daring. Although Vancouver’s Stan Douglas is one of the most celebrated photo-artists in the post-Centennial period, not one of the 100 works in this exhibition of 71 artists is his, although the gallery owns several. As well, there is no mention of the so-called Vancouver School of photoconceptualism, to which Douglas is deemed to belong, although works from such other West Coast photoconceptualists as Ken Lum, Rodney Graham, N.E. Thing Co. and Jeff Wall pepper the show. Superstar Wall quite rightly gets his own room, at the end of the exhibition for his gaudy, messy lightbox image, The Destroyed Room, a 1978 image inspired by the Eugène Delacroix painting, The Death of Sardanapalus. Thus, the otherwise staid exhibition ends with a bang, Wall’s image as startling as a freeway car crash. Lum, Graham and the rest, are not grouped together in one cozy Vancouver-centric area. Instead, they are scattered around the five-room, summer-long Ottawa exhibition like a bunch of irate relatives who have stopped talking to one another. And yet, they are among the best-known and most celebrated Canadian artists of the late 20th century. New York and Berlin love them. They have made Canada cool. Don’t they deserve a collective pat on the back in an exhibition covering their heyday? More ►
– Paul Gessell

 

George Littlechild works on a new version of his 1996 installation, "Displaced Indians: The Sixties Scoop," in his studio on Vancouver Island.

FIVE THINGS

Winnipeg Project Looks at the Sixties Scoop

6

The snapshot shows children dressed for Halloween on an Edmonton street in the 1960s. One child wears a cat mask. A blonde girl in a pillbox hat shields her eyes from the sun with one hand. To their left, a little apart from the others, is a boy with dark hair and eyes, dressed in brown. Long feathers ring his head. He holds a mask in one hand. It catches the bright light, washing out to a piercing white. The boy’s expression is hard to read. Confused, perhaps? Or disconnected? The boy is George Littlechild. And it’s easy to see why this photo, Little Indian Foster Boy #4, with the various identities it posits, elides and erases, is part of his reprise of his seminal 1996 multimedia installation. The work, with its text panels and photos, has a much different tone than the vibrantly coloured expressive paintings Littlechild sells through commercial galleries. But he says all his work deals with social and political issues. Art is his tool for resistance – and transformation. Littlechild has faced many struggles in his life. He was part of the Sixties Scoop, when thousands of indigenous children were removed from troubled homes and adopted or fostered, mostly by white middle-class families. Officials at the time may have thought they were acting in the children’s best interests, but an Ontario judge ruled in February that Canada had failed to protect their cultural identity. Littlechild was just four when authorities took him away. He lived with five foster families, enduring racism and, at times, beatings. He lost touch with his siblings and parents, as well as his culture and community. But art helped him survive, giving him a way to express his inner turmoil and feelings of alienation. “I’m very fortunate I had my art,” he says. Littlechild’s installation, Displaced Indians: The Sixties Scoop, is on view until April 28 at Urban Shaman, an aboriginal artist-run centre in Winnipeg. It’s part of a group show titled A Place Between, believed to be the first major Canadian exhibition to look at the Sixties Scoop. The groundbreaking project is complex. It includes more than 20 contemporary artists and various activities, including screenings, artist talks, performances and even a billboard, all aimed at promoting dialogue about a troubled chapter in Canada’s history. More ►
– Portia Priegert

Howie Tsui, "Retainers of Anarchy," 2017, key frame drawing for algorithmic animation sequence, courtesy of the artist

FIVE THINGS

Howie Tsui: Retainers of Anarchy

7

Howie Tsui’s tour de force exhibition at the Vancouver Art Gallery, a collaboration with the Ottawa Art Gallery and the Art Gallery of Greater Victoria, is a fascinating fusion of characters and tropes from the world of wuxia – Chinese martial arts fantasy fiction – with events from Hong Kong history and politics. Vancouver-based Tsui, who was born in Hong Kong and raised in Lagos, Nigeria, and Thunder Bay, Ont., has long investigated themes from Asian popular culture and history. Whether referencing ghost stories, ancient cosmology and bestiaries, Hokusai’s manga drawings, or erotic Shunga paintings, Tsui’s abiding interest has been how these narratives have relevance to contemporary socio-political events. He explores these themes from the vantage point of a Western-educated Hong Kongese whose knowledge of his native culture came initially from movies and television. As he explains, wuxia was “very popular within the Chinese diaspora because, for many of us, you become disconnected with your culture, beyond the domestic applications of language and home cuisine.” The journey through Tsui’s exhibition, Retainers of Anarchy, on view until May 28, begins in a dark gallery with the sound sculpture Hei Gung Deviation, a wooden structure built to resemble a kung fu training dummy. Motion sensors trigger percussive tapping, mimicking the sound martial artists make when training on wooden dummies. Burnt into the surface of the wood are Tsui’s characteristic grotesqueries, drawings of monstrous and exaggerated faces, animals and objects that represent a visual catalogue of martial arts techniques. More ►
– Rachel Rosenfield Lafo

 

Pilar Mehlis, "Antrofish," 2016, Hydrostone plaster, encaustic medium, canvas, paper patterns, acrylic gels, feathers, fishing line, oil paint and wire mesh, 19" x 6" x 8" (each) photo by Byron Dauncey

FIVE THINGS

Hybrid Sculptures Reflect Immigrant Experience

8

When Pilar Mehlis was a girl in Bolivia, she went to festivals where traditional dancers wore fanciful costumes. “You have these huge groups of people in coordinated dances with musicians and it’s very festive,” says Mehlis. “When you’re little, like I was when these things first made an impression on me, you see a lot of human legs and then the rest of the body is something else that is very magical or colourful, very exotic.” Mehlis thinks that experience informed her latest work Antrofish, on view at the Herringer Kiss Gallery in Calgary until May 6. For each sculpture, Mehlis sewed a fish costume out of canvas, with fins made from tissue sewing patterns firmed up with gel medium. She then popped the fish over human legs cast in plaster, giving new form to age-old ideas of human-animal hybrids. Antrofish, which takes the first half of its name from the Spanish word antropomórfico or anthropomorphic, also reflects on her experience of living between two cultures. Mehlis moved to Yukon with her family in 1983 when she was 12, and returned to Bolivia for her final year of high school and university. She eventually returned to Canada, and studied visual arts at the University of Victoria, before moving to Vancouver, where she now makes her home. More ►
– Portia Priegert

Andrea Kastner, "Home Again," 2017, oil on canvas, 22" x 26"

FIVE THINGS

Urban Rubble and Everyday Life

9

Imagine a city without inhabitants. No stray dogs prowl through back alleys, no weeds sprout through cracks in the concrete. Such unsettling urban vistas are the subject of Andrea Kastner’s show, Shadow Cities, on view at Edmonton’s Scott Gallery until April 29. With such dystopian images, you might think visitors would take one look and turn on their heels. Yet Kastner’s oil paintings, with soft blues or vibrant reds scattered like jewels in the rubble, offer unexpected pleasure. Something new, mysterious and insightful is hidden within this old-fashioned medium. Kastner knows the urban landscape intimately. She has lived in five Canadian cities, including her hometown of Montreal and Edmonton, where she received her Master’s degree in visual arts in 2012 from the University of Alberta. She is not drawn to popular sites where tourists gather. Instead, she explores cities from the inside out. “I have always been drawn to neglected, in-between places and things: alleyways, backyards, garbage, construction and demolition sites,” she says. “There is something vulnerable and luminous about the rubble of everyday life.” More ►
Agnieszka Matejko

Bentley Meeker, "#weedworld," 2017, incandescent lights and dichroic templates, installation view, photo by Stephanie Seaton, Penticton Art Gallery

FIVE THINGS

#Grassland Smoking Up the Okanagan

10

#Grassland, an exhibition with work from some 100 artists who explore the art, history and politics of marijuana, is on view at the Penticton Art Gallery until May 14. Although the Okanagan is best known as wine country, it also contributes to British Columbia’s blooming cannabis industry, a fact not lost on the gallery’s director and curator, Paul Crawford. He grew interested in cannabis culture when he worked at an art gallery in the nearby Kootenay region, where grow ops keep many small-town economies afloat. Now, with Prime Minister Justin Trudeau poised to introduce legislation to legalize marijuana by July 1, 2018, the timing for an exhibition seemed right. “It’s a really curious period in history,” says Crawford, who believes it’s the first time a public gallery in Canada has done a major exhibition about marijuana. Public response has been great with people popping in to see an immersive installation by New York lighting artist Bentley Meeker. There are also videos, editorial cartoons and various artworks from as far away as Florida and Brazil. “People are just streaming in,” says Crawford. “I wish it was always this easy.” Crawford found many of the exhibiting artists online, and says he tried to stay away from stereotypical pot culture imagery, except in the college dorm room he recreated in one part of the gallery. The show runs in conjunction with #Glassland, which features a selection of bongs crafted by Patrick “Redbird” Vrolyk, a Penticton glass blower. The gallery has scheduled public discussions with police officers, city officials and mental health experts during the exhibition. There’s no smoking lounge, but the show is enhanced, shall we say, with foliage. More Images ►

Beau Dick, photo by Farah Nosh

NEWS ROUNDUP

Beau Dick Dead at 61

Celebrated Northwest Coast carver Beau Dick has died at age 61. Dick, a Kwakwaka’wakw hereditary chief from the northern tip of Vancouver Island, was known for his masks and political activism. CBC reported that Dick, who lives in Alert Bay, had a stroke several months ago and never fully recovered. His masks are currently on view in Athens at documenta 14, a major international contemporary art exhibition. Candice Hopkins, part of the documenta curatorial team, says Dick had hoped to travel to Athens to meet with migrants forced to leave their homelands. “Beau rose up because he was fearless,” Hopkins writes in an documenta 14 essay. “His work as an artist, his role as a father, and his leadership in his community knew no bounds. True to his nature, he was always sharing his knowledge, skills, stories and songs, mentoring anyone with the time and the interest.” The Box of Treasures: Gifts from the Supernatural, Dick’s groundbreaking 2015 exhibition of rare ceremonial works, along with pieces by other carvers, drew wide attention at the Bill Reid Gallery in Vancouver. Dick’s political activities included copper-breaking ceremonies – a traditional shaming activity – at the B.C. legislature in Victoria and on Parliament Hill in Ottawa. He was trying to bring attention to the injustices faced by aboriginal communities.

In other news:

  • Vancouver artist Carol Itter has been awarded this year’s Audain Prize for Lifetime Achievement in the Visual Arts. Lyse Lemieux, also of Vancouver, received the VIVA Award, granted annually by the Jack and Doris Shadbolt Foundation for the Visual Arts. Grant Arnold, a curator at the Vancouver Art Gallery, was given the Alvin Balkind Curator’s Prize. The awards ceremony will be held April 19.
  • Vancouver-based Anishinaabe artist Rebecca Belmore is showing her work as part of documenta 14 in Athens.
  • The father and son duo of Ron and Damian Moppett will show their work in tandem at the National Gallery of Canada from May 12 to Sept. 10. They are part of the Ottawa gallery’s Masterpiece in Focus series.
  • The Art Gallery of Ontario is hosting a major retrospective of American artist Georgia O’Keeffe from April 22 to July 30. It’s the show’s only North American stop.
  • Kimberly Phillips has been appointed curator of the Contemporary Art Gallery in Vancouver. She was the director and curator across town at Access Gallery for four years.
  • American artist Ann Hamilton will speak at the Winnipeg Art Gallery on April 13.
  • The latest online project from the Remai Modern in Saskatoon is a video by Berlin-based Italian artist Rosa Barba.

MASTHEAD

11 April 2017

Volume 2 Number 8
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, Rachel Rosenfield Lafo, Agnieszka Matejko
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

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