20 JUNE 2017

KENT MONKMAN

Kent Monkman, "The Daddies," 2016, acrylic on canvas, 60" x 112.5"

COVER STORY

Kent Monkman Confronts History

Miss Chief Eagle Testickle usually struts across Kent Monkman’s canvases in her spike heels fearlessly battling – and ravishing – cowboys, settlers and Mounties. Monkman’s campy, cross-dressing alter ego has been given additional duties for the Toronto artist’s travelling exhibition, Shame and Prejudice: A Story of Resilience, on view at Calgary’s Glenbow Museum from June 17 to Sept. 10. Miss Chief is the exhibition narrator and snippets from her “memoirs” are posted on gallery walls. “I am the light, the two-spirited gentle man and fierce woman,” Miss Chief tells viewers rather immodestly. Miss Chief still stars in some paintings, notably The Daddies, wearing only heels as she boldly confronts the Fathers of Confederation, demanding a seat at the table during their 1864 talks in Charlottetown. But later in the exhibition, another issue halts and silences the audacious Miss Chief – residential schools. Monkman tells the story in anguished paintings of priests, nuns and Mounties prying frightened youngsters from the arms of their distraught parents. Miss Chief is nowhere to be seen in those paintings. More ►
– Paul Gessell

Karen Tam, "Flying Cormorant Studio (for Lee Nam)," 2014-2017, multimedia installation with paintings by Lui Luk Chun, Tam Yuen Yin Law, Huang Junbi, Gao Jianfu, Qi Baishi and Emily Carr

FIVE THINGS

Karen Tam’s Chinatown Studio

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A Chinese artist who befriended Emily Carr in the early 1930s is the focus of a Victoria exhibition by Montreal’s Karen Tam. Little is known about Lee Nam, apart from several references to him in Carr’s writing. Tam, best known for recreating Chinese restaurants in galleries across Canada as a way of recovering lost histories about migrants, spent a month in Victoria searching for information about Nam. Her installation, With wings like clouds hung from the sky, on view at the Art Gallery of Greater Victoria until Sept. 4, re-imagines what his Chinatown studio might have looked like. It’s equipped with brushes and inks for traditional painting as well as work by various artists, including Montreal-based Lui Luk Chun and Tam’s mother, Yuen Yin Law. Ultimately, Nam remains a shadowy figure. Tam was unable to find any photos of him, although she did a series of watercolours based on period photos of immigrants with the same name. She is not even sure the name that Carr recorded is correct –many early immigrants were “paper sons” who bought travel documents from other people. At the entrance to the show, Tam has posted an unsigned image of some chickens, thought to have been painted by either Nam or Carr. “It’s the closest physical evidence we have of him,” she says. More ►
– Portia Priegert

Tammy McGrath, “Adagio in G Minor: A Lullaby,” 2017, performance, installation and sound, installation view, photo by Claire Coutts

FIVE THINGS

Tammy McGrath’s Adagio in G Minor: A Lullaby

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“Gone the way of the dodo” is an all-too-common lament, uttered when yet another species joins the growing list of recent extinctions. In Tammy McGrath’s exhibition, Adagio in G Minor: A Lullaby, at Calgary’s New Gallery until June 24, a fictional dodo plays a central role in an eloquent yet unsettling tale about truth, knowledge and history. The installation includes a 30-foot paper scroll listing every censored or banned book the artist has noted to date. This perpetual list has been meticulously recorded using an antique typewriter smattered with broken keys, resulting in the random censoring of words as the text is typed. Accompanying these objects is an audio piece infusing the space with the melodic sound of Calgary artist and musician Rita McKeough reciting McGrath’s fictional account of the enigmatic dodo devouring books. More ►
– Lissa Robinson

Installation view of "Oh Ceramics" showing work by Juliana Rempel (wall) and Martin Tagseth (foreground)

FIVE THINGS

Oh Ceramics Explores Canadiana

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To celebrate the 150th anniversary of Confederation, the Esplanade Art Gallery in Medicine Hat, Alta., invited 17 ceramic artists to explore Canadian themes and identities. The outcome, displayed in Oh Ceramics until July 1, offers diverse work that takes on added symbolic weight in a city known for its historical clay industry. For instance, Stewart Jacobs’ colourful work celebrates the Squamish Nation with traditional Coast Salish depictions of the landforms and wildlife of the Pacific Northwest. Meanwhile, Juliana Rempel, who was raised in Medicine Hat, created One By One, a series of 150 wall-mounted ceramic plates that feature the dramatic lines of the prairie landscape. The first platter in the installation is blank and each subsequent platter includes one additional line or decorative element. The progression to the final image – a farmyard – evokes the process of European colonization. More ►
– Quentin Randall

Keith Wood, "Non-Fiction 13," 2017, encaustic on paper, 22" x 30” Images courtesy Gurevich Fine Art, Winnipeg

FIVE THINGS

A Page From Keith Wood’s Book

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Keith Wood chose a plucky name for his latest show of abstract works on paper: Non-Fiction. The two dozen or so unframed pieces on view at Gurevich Fine Art in Winnipeg until June 30 aren’t really about anything, he says, though they do resemble pages torn from a book. The title, he adds, “just popped into my head.” Wood likes ambiguity and avoids naming individual pieces. “The problem with titling is that people start looking for things,” he says. “You know, if you give it a specific title, then they try to find arms and legs.” His art is process driven, so he has little idea where he’s headed when he starts working. But he’s mainly interested in formal pictorial elements like shape, colour and line and how they relate to each other. “My work isn’t complicated and it’s not heavy work,” he says. “There’s no message in it.” Wood, 73, drifted into abstraction after many years of representational painting. He’s been using encaustic for about a decade, mixing pigments into melted wax, then quickly brushing it on before it cools and hardens. If you visit his Winnipeg studio, you’ll see a bunch of pots and pans that he uses to melt the wax. Wood was drawn to encaustic because of the way it holds light – pigments never dissolve into the wax but are suspended within it. “The light seems to come from inside the painting,” he says. More ►
– Portia Priegert

 

Jean Paul Riopelle, "Vent du nord," 1952/53, oil on canvas, 51" x 76.8" image courtesy of Heffel Fine Art Auction House

FIVE THINGS

Riopelle Tops Spring Auctions

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The spring art auctions in Toronto saw Jean Paul Riopelle’s abstract painting Vent du nord fetch more than $7.4 million, a record for the late Quebec artist and the second most expensive art sale in Canadian history. The work, done in 1952-53, was sold by Heffel Fine Art for far more than its estimated value of $1 million to $1.5 million. Last fall, Heffel sold Lawren Harris’ Mountain Forms  for more than $11.2 million, more than doubling the previous record for Canadian art. Still, the sales season overall  was a bit of a roller coaster ride with plenty of ups and downs, reports Galleries West correspondent Doug Maclean. To read his full report, click here.

 

Andy Warhol, "Wayne Gretzky 99," 1984, serigraph, installation view, Art Gallery of Alberta Collection, gift of Dr. Robert Tate, 1986

NEWS ROUNDUP

Warhol’s Gretzky Gets Ice Time

6

The Art Gallery of Alberta and two East Coast galleries are teaming up to present famous Warhol prints of hockey star Wayne Gretzky in a new exhibition – Gretzky is Everywhere. Warhol was apparently a fan of The Great One back in the day. “He’s more than a hockey player, he’s an entertainer,” Warhol said of Gretzky in 1983. “An entertaining hockey player.” Four versions of Warhol’s 1984 print, Wayne Gretzky 99, are on view in Edmonton until Sept. 24. All are from the gallery’s permanent collection. One is being live-streamed simultaneously with two other prints, one at the Confederation Centre Art Gallery in Charlottetown and the other at The Rooms in St. John’s, Nfld. Visitors can see the prints while also getting a glimpse of viewers at the two other galleries. Their interactions with the camera become part of the show, offering the fabled 15 minutes of fame, however modest. “Gretzky is Everywhere provides us the opportunity to work with colleagues and collections across the country while celebrating an iconic Canadian figure,” says Laura Ritchie, head of exhibitions and collections management at the Art Gallery of Alberta. “It’s a national endeavour that brings arts institutions and celebrity fans alike together in the spirit of Andy Warhol’s practice.” The show is curated by Mireille Egan and Pam Wendt.

In other news:

Laurie Koss in her Kelowna studio. She is represented by Hambleton Galleries - Kelowna, BC and The Grant Berg Gallery - Grande Prairie, AB. 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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FROM THE EDITOR

When I was studying for a Master's degree at UBC, we read theory – a lot of theory. Often, the most profound insights were the simplest. Like Judith Butler's assertion that the self is never fully transparent to itself, an idea I disputed at the time but have since come to realize is achingly true. Then there is Eve Sedgwick's statement that "people are different." This I had less trouble accepting – I'd made that discovery as a young journalist. Over and over, I would think I knew what people were going to say, and over and over they would surprise me. One wonderful thing about talking with strangers, whether you're a reporter or not, is that you never reach a point where you can no longer be surprised. There is always something to learn.

While working on this issue, I had yet another surprise – a marriage proposal, of sorts. It was a first, popped out in that odd, lopsided intimacy that the best journalists seemingly conjure out of nowhere. "Hey," the artist said, "if you married me, you could have all my work." OK, maybe that's just what passed for flirting back in the day, but I took it more as an artistic cri de coeur of an existential nature: "Who will care for my work after I am gone?" It reminded me of calls I've had from strangers over the years – here at Galleries West and also at the Alternator Centre for Contemporary Arts, when I worked there, from relatives facing a studio crammed with work after an artist's sudden death. Bereft and overwhelmed, they are faced, on an intimate personal level, with preserving meaning or erasing a history.

I understand the pain of dismantling a studio. Before I moved to Victoria, my precious $100-a-month sanctuary in Kelowna was facing redevelopment. I sold what I could, gave away pieces to friends, and made a trip to the dump. There's something heartbreaking about standing at the lip of an open pit and tipping art you've worked and reworked, yet never quite resolved, into the abyss. It's not as sad as breaking up with someone you love, or scattering the ashes of your parents, but it's the loss of something close to the bone, something once imbued with such possibility.

Where is this all leading? Well, not to be too metaphysical, but this issue of Galleries West, like many before it, seems guided by an invisible hand. Stories I assign piecemeal, in haste, somehow morph back finding echoes in other stories, creating a network of invisible threads, a rhizomatic growth I could never have planned. In this issue, the last before a sesquicentennial both celebrated and contested, I feel the ache of history, identity and the passage of time.

As Canadians, our collective understanding of history is more complex than it was 50 years ago. We are less a country of mindless boosterism; we have a more nuanced, if still emerging, understanding of the shadow side of history, the human and environmental costs tithed at the altar of colonialism and the reductionist erasures of unofficial histories and cultural identities, to list but a few. This sensibility, to me, is reflected in the latest work of Kent Monkman, Karen Tam and Tammy McGrath, as well as some pieces in the Oh Ceramics show in Medicine Hat. They invite reflection about where we have been and how that understanding informs the future.

As always, I end this note with a gentle request to sign up for the email reminder  we send out when we publish a new issue each second Tuesday. As a subscriber to this free online magazine, you help sustain our growth, and we, in turn, help sustain artists and their work. Many in the West have been left out of national conversations about culture. Galleries West Digital is a way to make artists more visible. Canadians are diverse, different one from the other. In hearing the stories of others, we mature and become more transparent to ourselves.

Until next time,

 

MASTHEAD

20 June 2017

Volume 2 Number 13
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, Doug Maclean, Quentin Randall, Lissa Robinson
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.

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06 JUNE 2017

JASON DE HAAN’S TIME CAPSULE

Jason de Haan, "Hope, Love, Peace, Generosity, Purpose, Harmony," 2008, minerals, crystals, car speakers, amplifier, CD player and soundtrack, installation view, courtesy the artist and Clint Roenisch Gallery

COVER STORY

Jason de Haan’s Time Capsule

Calgary-based artist Jason de Haan is respected across Canada and abroad, and was due for greater recognition at home when the Esker Foundation stepped up with a solo show. Oh for eyes! At night we dream of eyes! gives his multidisciplinary work the space and support it needs and deserves. Curated by Naomi Potter and Shauna Thompson, it’s playful, captivating and, at times, elegiac – a gem of an exhibition that provides an effective framework to grasp why there’s so much buzz around de Haan. The show, which runs until Aug. 27, is a synthesis of de Haan’s abiding interests. It starts by immersing viewers in a soundscape of gentle vibrations, inviting them to listen, see and feel, as they breathe in de Haan’s art-making process. Moving through the spaces, you might think you are in a science lab or a sci-fi set, a cabinet of curiosities or a gallery of minimal conceptual sculpture. Or all of the above, but with a twist. The art takes various forms – installation, sculpture, photography and collage – but is always rich with associations, fascinating materials and unconventional processes. De Haan first showed Hope, Love, Peace, Generosity, Purpose, Harmony in 2008 at Galerie Sans Nom, an artist-run centre in New Brunswick, as “a gesture of good will” with a characteristic tone of gentle humour. The materials include a teenager’s dream collection of crystals and car speakers, along with cinder blocks and an old sound system. It’s rigged up in a do-it-yourself manner so sound waves oscillate from the highest to lowest frequencies perceptible to the human ear through a circle of the upturned speakers, each piled up with crystals that reverberate at various frequencies. There’s a healthy skepticism about the presumed “healing” properties of crystals, mixed with a dash of “what if?” The work has been shown in many venues, but at the Esker, de Haan magnifies its effect, using the scale and acoustics of the gallery to full advantage by enlarging the circle with two additional speakers and allowing the hypnotic, ambient drone to infuse the entire gallery. More ►
– Katherine Ylitalo

 

Kelly Jazvac, "Plastiglomerate Sample," 2013, displayed as a found object sculpture (Plastiglomerate is a new type of stone made by the fusion of molten plastic with beach sediment, such as sand, wood, coral and rock. It is researched by a collaborative team including Jazvac, geologist Patricia Corcoran and oceanographer Charles Moore.) Photo by Jeff Elstone.

FIVE THINGS

Kelly Jazvac Makes Art from Plastic Waste

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Kelly Jazvac’s heart fell when she first saw the plastic littering Kamilo Beach on the southeast coast of Hawaii’s Big Island. “You could name a plastic object and find it on that beach,” she says. “You know, a door, a toothbrush, glue, a flip-flop, a pen that has a little sexy lady inside that slides up and down when you move the pen.” To scoop up a handful of sand on that beach was to see myriad bits of degraded plastic, scraps that birds and other wildlife often mistake for food. Eventually, those animals are so full of plastic they can no longer eat and starve to death. The garbage comes from the Great Pacific Garbage Patch, a vast soupy island of marine debris, mostly plastics, amassed by ocean currents from different countries around the world. At times, the beach is piled waist high, despite efforts by a couple of area residents to haul it away to a nearby dump. “It was devastating,” says Jazvac, a professor at Western University in London, Ont. Higher on the beach, she picked up what’s been dubbed plastiglomerate, a stony mix of melted plastics – things like ropes and bottle caps – bonded with natural materials such as sand, rock and coral. This is not a beach that tourists visit. But locals use it, starting bonfires and perhaps also burning the plastic waste, as is done in other parts of the world where plastiglomerate is found. Jazvac has displayed this strange new amalgam in art exhibitions across Canada and the United States. One chunk, about the size of a cantaloupe, is on view until June 30 at the Art Gallery of Southwestern Manitoba in Brandon as part of Jazvac’s solo show, Sharp and Numb. It’s a survey of art she has made from plastic refuse over the last decade. Her plastiglomerate will also be part of a group show, An Absolute Movement, which looks at climate change and environmental crisis, at Vancouver’s Or Gallery from June 17 to July 22. More ►
– Portia Priegert

David Garneau, "Surface Tension," 2013, acrylic on American flag, 36" x 61"

FIVE THINGS

Canada’s Flag in London

8

The Group of Seven fuelled Canadian nationalism a century ago with paintings of the untamed forest. The patriotism evoked by those trees was distilled in 1965 to a single red maple leaf that became our flag. Today, at the 150th anniversary of Confederation, we see artists deconstructing that flag. “This reduction of landscape to symbol continues to be investigated by Canadian artists,” Lindsey Sharman, curator of the Founders’ Gallery at the Military Museums in Calgary, says in a catalogue for an exhibition she has organized for Canada House in London. Felled Trees, which includes work by five artists, was to open June 6, but has been postponed due to the latest terrorist attack in London, which killed seven people. The exhibition, now expected to open later this month and run until Sept. 3,  grew out of another one curated by Sharman in 2015 at the Founders’ Gallery that presented silkscreen prints of landscapes by the likes of Emily Carr, David Milne and the Group of Seven. More ►
– Paul Gessell

Laurent Craste, "Révolution III," 2016, porcelain, glaze and axe, 30" x 12" x 17"

FIVE THINGS

Laurent Craste Wields His Axe

9

Montreal-based ceramic artist Laurent Craste sinks axes, as well as knives and baseball bats – the kind of weapons wielded by thugs and sometimes protesters against class privilege – into elegant porcelain vases. You might expect an explosion of clay shards, but it’s less the moment of violence that Craste exploits than the implied attack on the art object. For instance, in Révolution III, the vase’s white porcelain seemingly warps and distends to accommodate the axe, defying the brittle properties of fired clay and suggesting instead something more fluid and malleable, albeit frozen in time. Don’t worry, Craste jokes: “No vase was hurt during this process.” In other words, he builds the sculptures in their final punctured, battered and lopsided shapes, adding the actual weapon as a finishing touch after firing. “It looks violent, but it’s not a violent process,” he says. “It’s all completely controlled.” Craste is showing 17 pieces from Abuse, an ongoing series he has worked on for more than seven years, at the Back Gallery Project in Vancouver from June 8 to July 1. It’s his first show in Western Canada. More ►
– Portia Priegert

Kristopher Karklin, "Home," 2016, vinyl, 144" x 216", courtesy of the artist

FIVE THINGS

Mixed Results at the Alberta Biennial

10

It’s hard to overstate the value of biennials. These bastions of experimentation and fresh vision can catapult artists to new heights while offering the public snapshots of contemporary art from around the world. Biennials are to art what the Olympics are to sport. The Alberta Biennial of Contemporary Art, while smaller and less encompassing than the 100 or so international events, is nonetheless highly anticipated. Over the last two decades, it has featured 222 regional artists. This 10th iteration, on view until Sept. 10, is titled For the Time Being. Two curators from the Banff Centre, Peta Rake, curator of the Walter Phillips Gallery, and Kristy Trinier, director of visual, digital and media arts, visited studios across Alberta. They invited 24 artists to a retreat last summer at the Banff Centre. Internationally acclaimed curators led workshops on themes such as the status of biennials and their regional and global impact. The resulting conversations helped structure the ideas this cohort of artists subsequently developed into the work featured at two sister exhibitions. The first opened May 27 at the Art Gallery of Alberta in Edmonton; the second opens June 24 at the Walter Phillips Gallery. The results of this intriguing curatorial emphasis on collective engagement and discussions are mixed. Perhaps grounding the artists in the cultural impact and global significance of biennials prompted some amongst this relatively young cohort – at least half graduated after 2010 – to overreach. More ►
– Agnieszka Matejko

 

Maureen Gruben, "Stitching My Landscape," installation on a section of the ice road outside Tuktoyaktuk, N.W.T., on March 9, 2017. Photo by Kyra Kordoski.

FIVE THINGS

Parks Project Communes With Nature

11

In the early 1990s, Vancouver artist Rebecca Belmore travelled the country with a giant megaphone so people could voice their protests to the land. Now, Belmore has created a large metal cone that allows participants to hear, rather than to address, the land and its waterways. Wave Sound can be found throughout the summer at three national parks – Banff in Alberta, Pukaskwa in Ontario and Gros Morne in Newfoundland – as part of the Landmarks 2017 art initiative, a signature Canada 150 project at 20 national parks and historic sites. Many of the artworks, like Belmore’s, offer opportunities to commune in new ways with this chunk of Earth we call Canada. Landmarks 2017 includes 10 projects by contemporary artists, along with initiatives by students at 16 universities. Many projects are collaborations with residents of a local community and many take an indigenous perspective. An example is Weaving Voices by artists Chris Clarke and Bo Yeung at the Klondike National Historic Sites. Living willow installations relay voices from the Tr’ondëk Hwëch’in First Nation offering their view of the Yukon gold rush. Most projects, even ephemeral land art, will endure in films, documents, audio recordings and displays elsewhere beyond the official exhibition dates of June 10 to June 25. More ►
– Paul Gessell

Damian Moppett, "Studio in Basement (Combine)," 2005, watercolour on paper, National Gallery of Canada, Ottawa, gift of the Rennie Foundation, 2017 © Damian Moppett, Courtesy Rennie Collection, Vancouver, photo by Blaine Campbell

NEWS ROUNDUP

Moppets Show at National Gallery

12

The National Gallery of Canada is presenting Related Works: Ron Moppett and Damian Moppett, as part of its ongoing Masterpiece in Focus series. The father and son duo are established Canadian artists whose works have been collected by the gallery for years. The Moppetts recently had a joint show at the Art Gallery of Alberta in Edmonton. This latest exhibition in Ottawa tells how key works by each artist became part of the National Gallery’s collection, whether through purchase or by donation from collectors or the artists themselves. The show considers the nature of artistic production and conceptions of the artist’s studio. It includes Ron’s multi-panel production Whatif/Twilight, a 2008 work nearly destroyed during  the 2013 Calgary flood. National Gallery conservators spent a year restoring the painting, which was donated in 2015. The show also includes a selection of more than 40 works from Damian’s Watercolour Drawing Project. Vancouver collector Bob Rennie acquired the entire suite of some 130 works, which he recently donated to the gallery. The show is on view until Sept. 10.

In other news:

 

 

 

  FROM THE EDITOR

One of the pleasures of my life is talking to artists and writing about art. I especially enjoy art that engages with social and political issues, helping us consider the realities of contemporary life. In optimistic moments, I like to think art can help change the world, whether by prompting dialogue, offering space for contemplation, or reframing seemingly insoluble dilemmas, of which there is no current shortage.

The troubled state of the environment is one such problem. I recently watched a documentary film called A Plastic Ocean, at a Victoria screening organized by the Vancouver Island Surfrider Foundation, a group that works to preserve oceans and beaches. The film’s horrific images of animals that had starved to death after their stomachs became engorged with plastic waste – as well as chilling scientific research about the impact of the tiny plastic fibres that wash out of our stretchy, form-fitting garments and into lakes, rivers and oceans – has led me to see how much plastic I can remove from my life.

When I noticed a show in Manitoba by artist Kelly Jazvac, who has been making art from plastic refuse for a decade, I jumped at the chance to interview her. She offered a fascinating account of her work, but what most caught my imagination was her research into a new kind of rock, for lack of a better word, created by beach fires when melted plastic bonds with sand, rocks and coral.

You’ll find that article in this issue, along with a cover story by Katherine Ylitalo about Calgary artist Jason de Haan, whose fascinating show at the Esker Foundation includes crystals and fossils in works that both collapse and expand the perception of time. We also have a review of the latest Alberta Biennial of Contemporary Art by Agnieszka Matejko, and a preview about Montreal-based artist Laurent Craste, who is showing his ceramic sculptures at Vancouver’s Back Gallery Project, his first show in Western Canada. There are also two stories from further afield by Paul Gessell, one about a show of Canadian art in Britain and the other about a new project to create art in Canada’s national parks.

I encourage you to sign up for a free email reminder. The magazine, which we post every second Tuesday, is free and we never share your personal information. As a subscriber, you support a dialogue about the arts and help artists reach a wider public.

Until next time,

 

MASTHEAD

06 June 2017

Volume 2 Number 12
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, Agnieszka Matejko, 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
gallerieswestdigital.ca

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

ABgov

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