Galleries West Spring 2015 by Galleries West

SPRING 2015

www.gallerieswest.ca

DOUGLAS COUPLAND His secret handshake with the SampsonMatthews prints NIGHT LIGHT GREG GIRARD’S MOODY IMAGES

BRO, IT’S ART

GRAEME PATTERSON ON MALE FRIENDSHIP

HOLA, MEXICO

CANADA’S ARTISTS HEAD SOUTH

Display until April 30, 2015

CANADA $7.95

FEATURED ARTISTS PAM HALL MARK NEUFELD SYBIL ANDREWS

PENINSULA Gallery Fine Art Since 1986 100-2506 Beacon Ave Sidney, BC V8L 1Y2 www.pengal.com 250-655-1282

“November Shoreline”, Oil on Canvas, 24” x 48”, Ray Ward

Mickie Acierno Gaye Adams Don Bastian Robert Bateman Kristina Boardman Lindsay Branson Philip Buytendorp Elynne Chudnovsky Brent Cooke Carol Evans Douglas Fisher

Real Fournier Carol Gold Tim Hall Tom Hamer Allan Hancock Tiffany Hastie Mark Hobson IceBear Gail Johnson Malcolm Jolly Jack Kreutzer

Clement Kwan Sheena Lott Dennis Magnusson Jerry Markham Sheila Mather Richard McDiarmid Catherine Moffat Pieter Molenaar Nancy O’Toole Michael O’Toole Jim Park

Ron Parker Murray Phillips Clive Powsey Janice Robertson Gail Sibley Sandhu Singh Blu Smith Michael Stockdale Mike Svob Ray Ward Alan Wylie

2Q 1RYHPEHU VW RYHU SHRSOH H[SHULHQFHG DQ XQIRUJHWWDEOH /22. LQWR WKH IXWXUH RI FRQWHPSRUDU\ DUW LQ &DOJDU\ /22. WKH SUHPLHUH IXQGUDLVLQJ HYHQW IRU &RQWHPSRUDU\ &DOJDU\ RSHQHG WKH GRRUV DQG ILOOHG WKH LFRQLF &HQWHQQLDO 3ODQHWDULXP ZLWK WKRXJKW DQG YLVLRQ IRU DQ HYHQLQJ RI IXQ DQG SKLODQWKURS\ 7KH JHQHURVLW\ DQG FRPPLWPHQW RI VR PDQ\ LQGLYLGXDOV KHOSHG PDNH WKLV HYHQW D VXFFHVV 7KLV LQFUHGLEOH VXSSRUW ZLOO KHOS QRXULVK RXU RUJDQL]DWLRQDO JRDOV

2XU WKDQNV JR RXW WR 7KH JDOOHULHV DFURVV &DQDGD IRU WKHLU DVVLVWDQFH DQG WKH DUWLVWV ZKR GRQDWHG WKHLU DUWZRUN 7KH DWWHQGHHV ZKR OHG WKH OLYH DQG VLOHQW DXFWLRQV z DGGLQJ QHZ DUWZRUN WR WKHLU FROOHFWLRQV 7KH VSRQVRUV DQG GRQRUV IRU WKHLU UHVRXUFHV WLPH DQG HQGOHVV HIIRUW $ VPDOO DUP\ RI YROXQWHHUV ZKR IODZOHVVO\ RUJDQL]HG DQG KDQGOHG FRXQWOHVV GHWDLOV $QG WR HYHU\RQH ZKR DWWHQGHG /22. WUXO\ KHOSLQJ WR PDNH LW WKH SDUW\ RI WKH \HDU

:H DUH EXLOGLQJ D JOREDO FLW\ RI FKRLFH E\ HQJDJLQJ &DOJDU\ ZLWK WKH DUW RI RXU WLPHV

FRQWHPSRUDU\FDOJDU\ FRP

C O N T E N T S Spring 2015 Vol. 14 No. 1

FEATURES

Night Light

Greg Girard has spent three decades taking remarkable photographs of a changing Asia.

Art or Propaganda?

By Brian Brennan

Secret Citadel Graeme Patterson’s latest multimedia installation looks at male friendship.

Take Them Home Steve Coffey ............................... 33 David Foxcroft ............................ 33 Jonathan Gleed .......................... 34 Nikol Haskova ............................. 34 Bevin Bradley .............................. 35

By Kathleen Higgins

Hola, Mexico! By Paul Gessell

Reviews Keeping Time ............................. 26 Thorneycroft & Boss ................... 27 Cynthia Girard ............................ 27 Patrick Traer ................................ 28 High Muck a Muck ...................... 28 Sherri Chaba ............................... 30 Dylan Miner ................................ 30 Ruptures in Arrival ...................... 31

How a project to distribute landscape prints helped Canada build a national identity.

Western Canada’s historic connection with San Miguel de Allende.

Feature Previews Pam Hall .................................... 20 Oh, Canada ................................ 22 Mark Neufeld ............................. 24

By Beverly Cramp

First Impressions

News and events; art books; Jeffrey Spalding.

Auctions

Previews

Quiet season for abstracts of the ‘50s and ‘60s

Cara Bara; Tony Kristopaitis; Lorena Krause; Ron Shuebrook; Carol Prusa; In Another Place, And Here; Mainstreeters: Taking Advantage, 1972-1982; Eunkang Koh; Colin Smith; Emmanuelle Jacques; Burnt Generation; Kristopher Karklin; Dennis Budgen; Talking Creatures; Verne Busby; Battleground: War Rugs from Afghanistan; Material Girls; Judith and Sharon Ann Johnson; Arctic Adaptations: Nunavut at 15; Yesterday Was Once Tomorrow (or, A Brick is a Tool).

Gallery Sources

Fine art galleries in the West British Columbia ......................... 52 Alberta ....................................... 59 Saskatchewan ............................ 67 Manitoba ................................... 69 Northern Territories .................... 71

Back Room Sybil Andrews: Bringing in the Boat By Portia Priegert

Directory

Products and services for artists and collectors

44 www.gallerieswest.ca

Galleries West Spring 2015 5

Editor

Reviews Editor Art Director Contributors

Publisher & Director of Advertising

Subscriptions

Mailing address and production deliveries

Prepress Printed in Canada

Portia Priegert editor@gallerieswest.ca 1-866-415-3282 reviews@gallerieswest.ca Wendy Pease Dick Averns, Bob Barros, Brian Brennan, Curtis Collins, Beverly Cramp, Cliff Eyland, Bart Gazzola, Paul Gessell, Kathleen Higgins, Doug Maclean, Agnieszka Matejko, Janet Nicol, Lissa Robinson, Maggie Shirley, Jeffrey Spalding, Sarah Swan, Monique Westra Tom Tait publisher@gallerieswest.ca 403-234-7097 Toll Free 866-697-2002 Published in January, May and September. $19.50 per year including GST/HST. For USA $24.50. For International $31.50. Subscribe online at www.gallerieswest.ca or send cheque or money order to: #301, 690 Princeton Way SW Calgary, Alberta T2P 5J9 #301, 690 Princeton Way SW Calgary, Alberta, T2P 5J9 403-234-7097 Fax: 403-243-4649 Toll free: 866-697-2002 Island Digital Services Ltd. Transcontinental LGM-Coronet

Visit our website at: www.gallerieswest.ca Or send your questions and comments to askus@gallerieswest.ca We acknowledge the support of the Alberta Foundation for the Arts for our publishing program.

Publications Mail Agreement # 41137553 Return undeliverable Canadian addresses to: Galleries West Circulation Dept 301, 690 Princeton Way SW, Calgary, AB T2P 5J9

©All rights reserved ISSN No. 1703-2806 Reproduction in whole or in part is strictly prohibited. Galleries West makes every effort to ensure the accuracy of the information it publishes, but cannot be held responsible for any consequences arising from errors or omissions.

On the Cover: D Douglas l CCoupland, l d 3D CCrystal t l JJackk Pine, 2013, plywood and enamel, 9’ 9” x 9’ 9” x 18”. Collection of Oxford Properties Group, Photo: Jennifer Sciarrino, Courtesy Daniel Faria Gallery, Toronto 6 Galleries West Spring 2015

www.gallerieswest.ca

ARGILLITE

HISTORIC TO CONTEMPORARY Enquire about our exhibition and sale coming soon

MORE THAN 100 PIECES SPANNING 150 YEARS

• Insurance Appraisals • Collection Evaluations • Custom Framing • Worldwide Crating and Shipping

• Contemporary and Important Canadian and International Historical Art • Contemporary and Historical Northwest Coast Art

SINCE 1972 SEASIDE AT MOUAT’S #1-104 FULFORD-GANGES RD. SALT SPRING ISLAND V8K 2S3 250-538-8679 toll-free 1.800.668.6131 info@pegasusgallery.ca www.pegasusgallery.ca

from the editor Change is fundamental to Western conceptions of art, where creative production is seen an exploratory process and artists are expected to push into uncharted territory, whether by adapting emerging technologies or catching the leading edge of societal shifts. This mindset is undoubtedly influenced by our consumerist culture and its marketing of "new and improved," but is also driven by the seismic shifts in the digital world, where in the wink of an eye, everything new is almost simultaneously old. Change was on my mind as I worked on this issue, partly for personal reasons – I moved midstream from Kelowna to Victoria – but also because it is odd to be editing a print magazine in the digital age, trying to anticipate what will be current in a few months, yet knowing it may already be over-exposed by the time readers open these pages. Sometimes, there’s something to be said for the comforts – and slower pace – of the old. Like everyone else, I spin in a vortex – holding the past, yet also propelled to the future. The shimmering eclipse of the present moment that the yogis promise always seems to be hot-footing it somewhere else. The theme of change flows through this issue. Our lead feature looks at a once-popular series of vintage prints that may twig memories for older readers, but it's partnered with a story about Douglas Coupland’s efforts to refresh the classics for a new century. Another story reflects on the changing face of San Miguel de Allende and its history as a retreat for Western Canadian artists. We give a nod to emerging talent with a profile of Saskatchewan native Graeme Patterson, a finalist for the Sobey Art Award, while acknowledging the work of a senior photographer, Greg Girard, who has spent three decades documenting changes in Asia. The Far East is also on the mind of our regular columnist, Jeffrey Spalding, who writes about the astounding cultural transformations he encountered on a recent trip to China. I'm looking forward to exploring the art scene in Victoria in coming months and hope you can get out to see the latest shows where you live.

VANCOUVER AN INTERNATIONAL FINE ART EXHIBITION DOWNTOWN VANCOUVER | MAY 21 - MAY 24 LEARN MORE AT WWW.ARTVANCOUVER.NET

8 Galleries West Spring 2015

www.gallerieswest.ca

FIRST IMPRESSIONS

NEWS IN THE VISUAL ARTS

British show raises Emily Carr’s international profile

PHOTOS: (FAR LEFT) NATIONAL GALLERY OF CANADA, OTTAWA, GIFT OF PETER BRONFMAN, 1990, PHOTO © NGC ; (LEFT) COLLECTION OF THE VANCOUVER ART GALLERY, EMILY CARR TRUST, VAG 42.3.1, PHOTO: TREVOR MILLS, VAG

er art went largely unrecognized in her lifetime, but now, more than a century after spending time in London as an art student, Emily Carr is having a major show there. And unlike the young woman who suffered health problems in the city’s dank and gritty environs, the response to her exhibition at the Dulwich Picture Gallery has been decidedly robust. Reviews are positive, and viewers are checking out the show, drawn to the work, yes, but also to the poignancy of the challenges Carr faced as a female artist in the early 20th century. Carr is not well known outside Canada, and From the Forest to the Sea: Emily Carr in British Columbia follows the trajectory of her career, starting with her dark images of the coastal rainforest and opening up to later airier paintings that depict skies and shorelines that reverberate with energy. The show, which continues to March 8, also explores Carr’s relationship with aboriginal communities. Curated by Canadian art critic Sarah Milroy and Ian Dejardin, the director of the Dulwich, with help from James Hart, a Haida hereditary chief and master carver, it’s a joint project with the Art Gallery of Ontario, where the show will run April 11 to July 12.

WHAT THE CRITICS ARE SAYING “Carr is definitely an artist to reckon with, though even in a show as small as this one the number of times the same subject in the same format and colours is repeated without much change suggests that her range may have been limited.” – Richard Dorment, The Telegraph “If ever there was a heroine of true grit in the history of art it was Emily Carr, a painter of such singular strength and beauty it is almost impossible to believe that the revelatory exhibition at Dulwich Picture Gallery is her first in this country.” – Laura Cumming, The Guardian “I love the integration of the First Nation people into Carr’s work, her respect of others and their heritage, the almost sculptural carved forms of both trees and indigenous art; but it is the room of mere trees that captivates me. Surrounded by thickets of trunks, the lightness and freshness of touch, I can almost feel the wind in my hair.” — Karen Wright, The Independent Emily Carr, (above) Self-portrait, 1938-1939, oil on wove paper, mounted on plywood, 33.7” x 22.7”; (right) Totem and Forest, 1931, oil on canvas, 50.9” x 22.1” 12 Galleries West Spring 2015

www.gallerieswest.ca

PHOTO: ©MATTHEW PILLSBURY / COURTESY OF BONNI BENRUBI GALLERY, NYC

FIRST IMPRESSIONS

Photography festivals coming to Alberta and Vancouver The Exposure photography festival expands from southern Alberta to Edmonton for the first time this February, where exhibitions include Tokyo, by leading American photographer Matthew Pillsbury, at the Douglas Udell Gallery from Feb. 7 to Feb. 21. The festival opens in Calgary on Feb. 5 at the Founders’ Gallery, which is showing contemporary Iranian photography. Exposure, an annual event started in 2004 by the Whyte Museum of the Canadian Rockies in Banff, this year features more than 60 exhibitions and 20 special events, including lectures, workshops and panel discussions. Meanwhile, in Vancouver, the second Capture photography festival, which includes almost 100 exhibitions, workshops, talks and special projects, goes ahead in April. Participating venues include the Contemporary Art Gallery, Presentation House Gallery, the West Vancouver Museum, the Richmond Art Gallery, the Surrey Art Gallery and the Burnaby Art Gallery as well as various commercial spaces and artist-run centres. Public art projects include an exterior work on the façade of a BC Hydro substation by Montrealbased Jessica Eaton, and Vancouver artist Erin Siddall’s installation in a shipping container fitted out as a camera obscura. www.gallerieswest.ca

Matthew Pillsbury, Tokyu Plaza, Tokyo (TV14625), 2014, archival pigment ink print, 30” x 40”

The first Capture event was held in the fall of 2013. In Saskatchewan, organizers have decided the Prairie Light photo festival will be held every two years, starting in 2016.

Rebel Heart (2014) mixed media 12 x 6 inches

SHANE GOLBY February 7 - 28, 2015

Winnipeg group for female artists marks milestone Mentoring Artists for Women’s Art is marking its 30th anniversary of support for female artists, arts writers and curators in Winnipeg. The group, formed because women were getting fewer shows and teaching positions than men, helps emerging artists gain skills and build their networks. Celebrations have included a show at the Winnipeg Art Gallery that highlighted the work of mentors and focused attention on Winnipeg’s tradition of feminist art. Some 200 women have parRebecca Belmore ticipated in the year-long program since 1985. Interior in Blue (2014) oil on canvas 12 x 10 inches

New national competition on B.C.’s Salt Spring Island Artists from across Canada have until May 31 to enter a new juried competition organized by the Salt Spring Arts Council. Prizes worth more than $24,000 are on offer. The competition aims to encourage artists who demonstrate “originality, quality, integrity and creativity, resulting in significant

GILLIAN WILLANS April 11 - May 2, 2015

scott gallery

10411 - 124 Street Edmonton AB T5N 3Z5 780.488.3619 info@scottgallery.com www.scottgallery.com

Galleries West Spring 2015 13

FIRST IMPRESSIONS Little is known about

Moving Forward, Never Forgetting

this carved bone depicting a happy face unearthed in 1931.

Vancouver’s ancient history in new shows

February 28 - April 19, 2015 Co-curated by David Garneau and Michelle LaVallee, Moving Forward, Never Forgetting creates a space for intercultural dialogue and storytelling in response to the systemic oppression of Indigenous peoples. It aims to encourage sharing, empathy, and deeper understanding of what it means to co-reside in these territories. Newly commissioned works and performances, as well as significant pieces from the MacKenzie’s Permanent

Two cultural institutions – the Museum of Vancouver and UBC’s Museum of Anthropology – are teaming up with the Musqueam First Nation to explore the region’s early history in a project that features three distinct exhibitions. c̓əsnaʔəm, the city before the city will allow visitors to learn more about one of the region’s largest ancient village and burial sites, first occupied some 5,000 years ago. “People often think of Vancouver as a new city, when in fact it is one of the most significant sites of ancient cultures in Canada – one that has even been compared to other societies such as the Egyptian and Roman societies,” says co-curator Terry Point. Over the last century, archaeologists, collectors and treasure hunters have removed artifacts and ancestral remains from the site, near the mouth of the Fraser River. The area, designated as a National Historic Site in 1933, is crossed by roads, railways and bridges. Nevertheless, it remains important to the Musqueam community, which held a long vigil in 2012 to halt a proposed condominium development after ancestral remains were unearthed. The exhibitions, which open simultaneously on Jan. 25, include maps, videos, artifacts, soundscapes and oral histories.

Collection, are accompanied by living speakers—Story Keepers—a new initiative at the Gallery.

Cheryl L’Hirondelle

•

Adrian Stimson

•

Peter Morin

Michael Belmore, Smoulder, 2010-2011 (detail), carved stone, gilded copper. MacKenzie Art Gallery, University of Regina Collection, 2013. Images: Courtesy of the Artist. Photo: Michael Belmore.

3475 Albert Street | Regina, SK mackenzieartgallery.ca 14 Galleries West Spring 2015

Presentation House hopes to open its new home in 2017 Presentation House Gallery, which recently received a $4-million gift from Polygon Homes Ltd. and the Audain Foundation, is moving forward with plans to open a new gallery, to be named the Polygon Gallery, on North Vancouver’s waterfront in 2017. The gallery, which has presented more than 300 exhibitions of photographic and media art over the last three decades, says

it has lined up more than half its $15-million target for the new 19,000-square-foot facility. And the winner is … ■ Quebec artist Nadia Myre is the recipient of the $50,000 Sobey Art Award. The jury praised Myre’s distinctive visual vocabulary and use of traditional crafts within a contemporary multidisciplinary practice. “Her artwork creates a symbolic image of wounding and resilience that conveys something deeply human while addressing urgent social concerns,” the jury noted. Myre, who exhibits internationally, is an Algonquin member of the Kitigan Zibi Anishinabeg First Nation. Other finalists www.gallerieswest.ca

PHOTO: COURTESY UBC LABORATORY OF ARCHAEOLOGY AND THE MUSQUEAM INDIAN BAND, VANCOUVER

Artist Residencies

work with a real visual impact and depth of meaning.” Finalists will show their work on Salt Spring in the fall, with winners announced in October. For information, go to saltspringartprize.ca.

FIRST IMPRESSIONS were Evan Lee, Neil Farber and Michael Dumontier, Chris Curreri and Graeme Patterson, who each receive $10,000. An exhibition of the finalists’ work continues at the Winnipeg Art Gallery until Jan. 18. ■ Vancouver artist Tiziana La Melia has won the RBC Canadian Painting Competition, which includes a $25,000 purchase prize for her work, Hanging on to the part. The painting by La Melia, who studied at Emily Carr University and the University of Guelph, weaves abstraction and figuration together with female archetypes and her own narratives. Honourable mentions went to Ufuk Gueray, of Winnipeg, and Nicolas Lachance, of Montreal. ■ Photographer Thelma Pepper received a lifetime achievement award at the Saskatchewan Lieutenant Governor’s Arts Awards. The emerging artist prize went to Zachari Logan, who has a solo show at the Chapel Gallery in North Battleford until March 10. Picasso ceramics donated to Saskatoon’s Remai gallery The British-based Frederick Mulder Foundation has donated 23 ceramic works by Pablo Picasso to the Remai Modern Art Gallery in Saskatoon. Included are ceramic Frederick Mulder poses with some of the Picasso ceramics donated to the Remai Modern Art Gallery

plates, tiles, vessels, vases and sculptures, collectively valued at $500,000. The work complements the gallery’s collection of 406 Picasso linocuts, which were assembled by Mulder and subsequently purchased by the Frank and Ellen Remai Foundation. Mulder, who grew up in Saskatchewan, went on to become an expert in European printmaking. He calls the ceramic collection “a wonderful bridge” between the Picasso linocuts and the tradition of art ceramics in Saskatchewan. Passings ■ Joseph Plaskett, one of Canada’s influential artists, has died. Born in British Columbia, Plaskett spent much of his life in France and Britain. His work portrays intimate expressions of everyday life – interiors, still lifes and portraits of friends – and is in major public collections, including the National Gallery of Canada. He was 96. ■ Saskatchewan artist Jack Cowin has died. Cowin was born in Indiana and studied art there and in Illinois, before coming to Regina to teach printmaking at the University of Saskatchewan, later the University of Regina. Cowin is known for drawing, painting and printmaking and his work is in many public collections. Continued on page 17

Deserted Home, Steve Coffey 24x36 Oil on Canvas 2014

WE ARE MOVING! Be sure to visit us at our new location 12323 104 Avenue, Edmonton, Alberta T5N 0V4

OPENING SPRING 2015 10 to 5 - Tuesday to Saturday 12312 Jasper Avenue, Edmonton, Alberta T5N 3K5 www.thefrontgallery.com

THE

FRONT GALLERY

www.gallerieswest.ca

Galleries West Spring 2015 15

FIRST IMPRESSIONS

IN MY OPINION China embraces international contemporary art at almost unfathomable scale By Jeffrey Spalding

rowing up, I was comforted and convinced by the commonly held boast that the confluence of creativity, economic ingenuity and socially progressive policies poised Canada to inherit the 21st century. This was to be the time for our young nation to flourish and emerge as a world leader. Certainly, we have much to be proud of, including the enviable status of Western Canadian cities, adjudged admirably ‘livable’ through comparisons with the qualities, merits and services available in other cosmopolitan centres. This has created a healthy competitive spirit of jostling for bragging rights. Fortunately for patriots of the arts, Richard Florida’s ‘creative cities’ concept positions visual art as an inordinate part of this equation. Florida argues that investment in the arts is an economic driver and motivator of the creative class. American cities such as Milwaukee and Austin, and, in Canada, Toronto, Montreal and even, through the exemplary vision of the Shorefast Foundation, Newfoundland’s Fogo Island, have all used arts infrastructure projects to add vibrancy to flagging communities. Despite the debatable efficacy of these arts funding premises, Florida’s ‘creative cities’ advocated upping the ante for cultural spending. Perhaps, the inverse example is the ongoing economic malaise of Detroit, which is waging a funding siege with the Detroit Institute of Arts. Meanwhile, even in Western Canada, we have witnessed a flurry of commendable, if modest, new public arts buildings and initiatives. However, my confidence in the certainty of Canada’s collective triumphant ascendancy and steadfast drive toward cultural coronation recently received quite a jolt from an unexpected source: China. In November, it was my privilege to be an invited artist to China. It was a much-anticipated first trip; I had read many interesting facts about China’s surging arts scene. However, this in no way prepared me for the lived reality. The sheer magnitude and quality of their stupendous commitment to contemporary art is perhaps unprecedented. I had expected Hong Kong to be superb, given its history and special economic-zone relationship with China. It did not disappoint. After all, it is home to such mega-players as the Art Basel Hong Kong art fair and a branch of Gagosian Gallery. What caught me off guard were the urbane, upscale delights of Shenzhen, Shanghai, Beijing and Zhangjiajie. Each city has developed vibrant large-scale arts and cultural districts resplendent with exquisite commercial galleries and museums of contemporary art. Shanghai’s massive Power Station of Art, established in 2012, would be the envy of any Canadian city, with first-rate gallery spaces on each of its five floors encompassing a total of more than 400,000 square feet. With an internal height of some 80 feet and floor-to-ceiling windows, its public spaces rival, if not eclipse, the grandeur of the Tate Modern. Even the balcony of its restaurant is a colossus. Two football fields in size, it overlooks the Huangpu River 16 Galleries West Spring 2015

(again, the Tate Modern springs to mind). It organizes the Shanghai Biennial and hosts many top-tier international exhibitions. Beijing’s many art districts include the 798 Art District, a huge compendium of some 400 first-rate commercial galleries and contemporary art museums, including the immense CAFA Art Museum, as well as restaurants, design studios and fashionable shops. It is home to a branch of New York’s distinguished Pace Gallery (its recent exhibition funded by Dior) as well as the Danish-based Faurschou Foundation, which is hosting an impressive installation by American video artist Bill Viola until March 22. Staggeringly, China is no longer poised. It has pounced. It has embraced international contemporary art, both public and private, at a scale that is almost unfathomable. China is building public art museums of immense size at the rate of 100 a year. Beijing’s new National Art Museum, at almost 1.4 million square feet, will be the largest museum in the world, more than double the size of both the Louvre and the Museum of Modern Art. China’s solution to democratization and cultural accessibility is not as we have chosen. It invites and embraces the world’s most challenging and advanced contemporary art, architecture and urban design. China admires it, studies it and prepares to do cultural battle with it. China wants to be the next Paris, the next New York. The excellence of its artists and its cities reflects this vision. China has a plan, as did Germany after the Second World War. There seems to be zeal in China for adding value to exquisite built environments. It appears as if the principal questions are: Can it be even more splendid? More interesting? Not: Can we get this done for less? (Calgary’s Calatrava Bridge debate, anyone?) Canada is investing significantly in the visual arts. I fear, comparatively, we are spending more to apply culture as a veneer, masking the appearance of prosaic objects such as underpasses, utility boxes, transit platforms and the like, whether with basrelief trout or graphic murals. Sure, recreational, youth and life-long learning art projects offer terrific social value. Through them, many individuals find personal fulfillment, and arguably, these missionary efforts help build the support base for art. They deserve to be funded. I’m just sayin’, if a Communist country can shed its proletarian past and commit to funding the highest calibre of advanced arts and infrastructure; if it can create sleek, hip and elegant cities with gorgeous public spaces and offer top-ranked international art experiences; then we had better come up with a bold new plan, and quick. Otherwise, Canada’s 21st century just moved east, far east.

Jeffrey Spalding is an artist, a curator and a member of the Order of Canada. He has worked as a museum director and is past-president of the Royal Canadian Academy of Arts. His photos from China may be viewed online at gallerieswest.ca/blogs/in-my-opinion. www.gallerieswest.ca

ARTBooks

FIRST IMPRESSIONS

The Life and Art of Harry and Jessie Webb, Adrienne Brown, Mother Tongue Publishing The unheralded artist series by Mother Tongue Publishing on Salt Spring Island keeps chugging along with the recent release of a seventh book, The Life and Art of Harry and Jessie Webb. And a good thing too, as B.C.’s supply of unheralded artists shows no sign of abating. Author Adrienne Brown, a landscape architect, documents her parents’ work but also offers a glimpse of Vancouver’s cultural life in a bygone era. The Webbs moved among influential artists, poets and musicians after meeting at the Vancouver School of Art. They married in 1950 and lived in basement apartments while painting, drawing and making collages and prints. “Inspired by Abstract Expressionism and Beat culture, Harry and Jessie’s imagery interprets the urban landscape and the rhythms of the local jazz scene and, on occasion, even celebrates the comic strip,” Brown writes. But there were few sales, a common complaint in those days. After Adrienne was born in 1957, Harry began working in landscape architecture. Jessie, who struggled with depression, tried to balance her art career and family duties. The couple eventually divorced. Harry died in 1995; Jessie, who continued to paint into the late 1990s, in 2011. Brown’s text is fluid and well paced, full of details gleaned from her mother’s copious files, which took more than a year to organize. The book’s design is a pleasure with vibrant images, mostly modernist abstracts, interspersed with Harry’s poems. Other artists in the unheralded series include George Fertig, Mildred Valley Thornton, Ina D.D. Uhthoff and Edythe Hembroff-Schleicher. The eighth book, about the late Vancouver artist Jack Ackroyd, is due out this year.

Continued from page 15 ■ Inuit carver Kiugak Ashoona, an inductee into the Order of Canada, has died. He was 81. The Winnipeg Art Gallery organized a 2010 retrospective of his work, which has also been featured on a Canadian stamp. Ashoona received a National Aboriginal Achievement Award in 1997. On the move … ■ Katerina Atanassova is the new curator of Canadian art at the National Gallery of Canada. She replaces Charlie Hill, who held the post for years. Atanassova was chief curator at the McMiwww.gallerieswest.ca

chael Canadian Art Collection in Kleinburg, Ont., and co-curated Painting Canada: Tom Thomson and the Group of Seven, organized by London’s Dulwich Picture Gallery and the National Gallery of Canada. ■ Janice Price takes over as the president of the Banff Centre on March 16. She comes from Toronto’s Luminato Festival, which she has led since its inception in 2006. ■ Michael Audain, former chairman of the Vancouver Art Gallery, has become the gallery’s first honorary chairman – a lifetime position that recognizes distinguished contributions.

Jack Shadbolt Granville Street at Night, watercolour Estimate: $100,000-150,000 Record Price Realised: $112,100

The Canadian Fine Art Department is now accepting consignments for our Spring 2015 Auction

Deadline for consigning is mid-February Contact: Erin Rutherford 275 King Street East, 2nd Floor Toronto, Ontario Canada M5A 1K2 Telephone: 416.504.5100 Facsimile: 416.504.6971 Toll Free: 1.877.504.5700 x6221 E-mail: er@waddingtons.ca Website: canadianart.waddingtons.ca

Galleries West Spring 2015 17

WILD AND SACRED PLACES Group Exhibition Featuring Prominent Canadian Artists

Nicholas Bott, Brent Lynch and emerging artist Charlie Easton

Opens January 10, 2015 - Fairmont Chateau Whistler

Mountain Galleries at the Fairmont @MntGalleries

18 Galleries West Spring 2015

W W W . M O U N T A I N G A L L E R I E S . C O M

JASPER PARK LODGE | BANFF SPRINGS | CHATEAU WHISTLER

www.gallerieswest.ca

CALGARY SPRING 2015 KIM DORLAND 30 JANUARY to 14 MARCH KRISTOPHER KARKLIN 20 MARCH to 2 MAY TARAS POLATAIKO 15 MAY to 27 JUNE

Kristopher Karklin, Backyard (Daytime), 2013

GALLERY HOURS TU to SA 11am to 6 pm (or by appointment)

1114 11 STREET SW CALGARY, ALBERTA T2R 1P1 T 587 349 2014

Jill Sharpe Liquified by Light

Toronto/Calgary becontemporary.com

Linda Jones Up at Dawn

Jill Sharpe: January 17 - 31 Linda Jones: February 21 - March ch 7 www.madronagallery.com www.gallerieswest.ca

606 View St. Victoria, B.C. V8T 1C6

250 380 4660 Galleries West Spring 2015 19

LOOK AHEAD THREE SHOWS THIS SEASON

PAM HALL BRITISH COLUMBIA: HouseWork(s), Jan. 17 to March 14, Kamloops Art Gallery

ABOVE: The Knowledge House, 2014, vintage encyclopedia and atlas pages, thread, fabric and bamboo supports, installation view BELOW LEFT: Dressing Up Works site research in Port Rexton and Maberly, 2006, giclée print on archival paper BELOW RIGHT: Building a Village, 2013-2014, collaborative community project with about 300 mixed-media houses on card stock, envelopes and miscellaneous contents, installation view

20 Galleries West Spring 2015

It’s hard to call Pam Hall’s artistic practice anything but encyclopedic. Visually rich, thematically varied and intellectually dense, it includes small daily rituals, collaborations with other artists and ambitious social-engagement projects that traverse myriad disciplines and locations. More than that, though, Hall is working on her own encyclopedia. Towards an Encyclopedia of Local Knowledge attempts to make visible the kind of know-how not commonly found in the Britannica, the ordinary wisdom that Hall’s fellow Newfoundlanders use in their day-to-day lives in the province’s rural outposts. Started as a doctoral project at Memorial University, Hall’s encyclopedia offers insight into such topics as butchering a moose, collecting partridgeberries and salting cod. Engagingly illustrated with photos, drawings, maps and the like, it fuses Hall’s central concerns as an artist – the production of knowledge, the practice of labour and the importance of place. “The core of my art-making impulse emerges from art-making as a research practice,” Hall says in an interview from Fogo Island, off Newfoundland’s northeast coast, where she is spending three months preparing new entries for her encyclopedia. “Art making for me is a kind of labour, a kind of knowledge practice, a kind of material thinking through which I investigate my world. It’s the way I find meaning, construct meaning and then exchange meaning.” The show, which surveys the last decade of Hall’s production, includes several simple house-like structures suspended above the gallery floor, each focused on a different theme. The Knowledge House, for instance, features pages from vintage encyclopedias and atlases, while Towards a Newfoundland House of Prayer is fabricated from hand-wrought twine net and thin strips of cotton fabric on which people have written their wishes and prayers. Charo Neville, the curator of the Kamloops Art Gallery, notes the political aspect of work that considers everyday labour. “Implicit in this approach is a feminist critique that underlies actions and the outcome of the actions – the exhibition content is strongly grounded in this perspective and yet the work itself is accessible and inviting.” Hall demonstrates that visual art and knowledge can share space with social practice, says Memorial University humanities professor Jennifer Dyer. “What I find most exciting are the conceptual and creative interconnections within and between each work,” she writes in an essay for the show’s catalogue. “Hall makes visible the invisible: habitual social situations, a renewed awareness of something, the memory of a smell, a group energy, a change of mind, a change of heart.” Organized by Melinda Pinfold, an independent curator based in Edmonton, HouseWork(s) was first shown last year at The Rooms, a leading cultural institution in St. John’s. “It’s kind of exhausting,” Hall says of a show that pulls together so much work. “It is dense … people tend to make multiple visits – they do it in pieces and they come back.” — Portia Priegert

www.gallerieswest.ca

Vikky Alexander Istanbul Showroom Series, 2013 Digital print on metallic paper / 28” x 40”

Geoffrey James The Dome from Above, from The Kingston Penitentiary Series, 2013 Black and white photograph / 24” x 36”

TrépanierBaer Winter 2015 January

DaveandJenn: This Sinking Feeling Could Keep You Afloat

February

Exposure Photography Festival Vikky Alexander: The Troublesome Window In the Viewing Room: Geoffrey James: Inside Kingston Penitentiary, 1835-2013

March

Ryan Sluggett

www.gallerieswest.ca

TrépanierBaer Gallery #105 999 - 8 Street S.W. Calgary, Alberta, Canada T2R 1J5

trepanierbaer.com T 403.244.2066 E info@tbg1.com

Tuesday - Saturday 10:30 a.m. - 5:00 p.m.

Galleries West Spring 2015 21

FEATURE PREVIEWS

OH, CANADA ALBERTA: Oh, Canada: Contemporary Art from North North America, Feb. 1 to April 26, Esker Foundation, Glenbow Museum, Illingworth Kerr Gallery and Nickle Galleries, Calgary

ABOVE: Terrance Houle, Iiniiwahkiimah, 2012, vinyl, 96” x 108” RIGHT: Daniel Barrow, The Thief of Mirrors, 2011, projection, installation view

22 Galleries West Spring 2015

If you didn’t get to the vast survey of contemporary Canadian art at the Massachusetts Museum of Contemporary Art, organized by American curator Denise Markonish in 2012, there’s now an opportunity to see it in Western Canada. With 100-plus works by 62 artists and collectives spread among four venues, the project is being billed as “one epic Calgary-wide exhibition.” Many visitors found the original configuration in New England highly engaging but somewhat cramped. For this third iteration – the only stop in Western Canada and the second of just two showings north of the border – local curators are keen to avoid the over-stocked feel, and address any lurking notion that they’re circulating a colonized view of Canadian art. Markonish, they say, has been supportive of variations. Some works were not available and there was a wish to avoid exhibiting pieces that have been shown recently in Calgary, while also facilitating new site-specific projects from the original roster of artists. Consider this a re-visioning for a Canadian audience rather than a singular view for an American climate. There’s also prominent use of the show’s subtitle, not always highlighted in the past: Contemporary Art from North North America. Calgary venues have identified varying contexts. For instance, Wayne Baerwaldt’s selections for Illingworth Kerr include works reflective of process and craft. Functioning as a prelude to the launch of the Alberta College of Art and Design’s MFA in Craft Media (slated for January 2016), this segment will include a site-specific wall flocking by Giselle Amantea and installations by Amalie Atkins and Charles Stankievech, among others. At the Glenbow, Melanie Kjorlien highlights components relevant to the museum’s collections, particularly via indigeneity and historical holdings. This will play into educational programming relating to aboriginal history in the region and also connect to painters. For instance, the Glenbow will exhibit the newly acquired 2013 painting Reincarceration by Kent Monkman in place of his original installation, recently shown in Calgary. Meanwhile, Naomi Potter at the Esker aims to exploit the foundation’s light and airy galleries to accommodate material-based works, particularly sculpture and large projects. It transpires that many of these pieces are by Montreal artists, leading Potter to wonder if Quebec’s more affordable studio spaces foster production of larger work. As a Calgary corollary to space and commodity, Rita McKeough will create a performative installation for the Esker’s compact storefront. The Nickle’s Christine Sowiak is hosting some of the largest works, taking advantage of “the more extreme elements” of the gallery’s architecture, including its high ceilings and generous length. This includes works by Ed Pien and Kim Morgan, as well as David Hoffos. Public programs and adjunct events at artist-run centres, plus off-site venues, have been recurrent topics of conversation (go to OhCanadaYYC.com for details). Everything indicates a cohesive collaboration to expand the dialogue on Canadian culture. — Dick Averns www.gallerieswest.ca

burnt generation on display until 12 April 2015 an exhibition of contemporary Iranian photography curated by Fariba Farshad, Director of Candlestar.

THE FOUNDERSâ&#x20AC;&#x2122; GALLERY AT THE MILITARY MUSEUMS 4520 Crowchild Trail SW, Calgary AB 403 410 2340 ext. 2630 Weekdays 9:00AM-5:00PM Sat. & Sun. 9:30AM-4:00PM founders@ucalgary.ca Follow us on Twitter @FoundersGallery www.themilitarymuseums.ca/gallery-founders

Shadi Ghadirian, White Square #4, 2009

MATTHEW PILLSBURY Tokyo Daibutsu- Kotoku-in Temple Kamakara, Archival Pigment Ink Print, 2014

MATTHEW M ATTHEW PILLSBURY

Recepient of the 2014 G Guggenheim uggenheim Fellowship

Exposure Photo Festival Edmonton February 7th - February 21st

Capture Photo Festival Vancouver Pop-up April 4th - April 25th

DOUGLAS UDELL GALLERY 10332-124 St. Edmonton, AB T5N 1R2 T. 780 488 4445 W: douglasudellgallery.com www.gallerieswest.ca

Galleries West Spring 2015 23

FEATURE PREVIEWS

MARK NEUFELD

MANITOBA: Re-enactments, to Feb. 14, Gallery 1C03, University of Winnipeg

Mark Neufeld creates a rewarding parody of what he calls “curatorial care” in this exhibition, a compact total work that includes painting, photography, appropriated prints, collage, sculpture, found objects such as trays and plastic vessels, and, in a tour de force, a scripted performance by professional actors about both art handling and local history. The largest work is a giant reproduction of the cover of an old Winnipeg Art Gallery catalogue for a historical show called Dreams of Fort Garry. This sets the show firmly within a Winnipeg orbit. Directly across from it is a similarly sized monochrome painting that picks up the catalogue cover’s green background colour, as if to erase its content. A monochrome painting means the highest of high art in our culture but in combination with the large reproduction of a genre painting of settlers hauling a Red River cart it seems to suggest Neufeld’s reflection on his distance from local source material to which he would like to reconcile himself. Neufeld is fairly new to Winnipeg, having accepted a teaching post at the University of Manitoba in 2011. His recent work might be an attempt to personally calibrate that move and to find his artistic place in his new city. Neufeld’s collages of photographs of borrowed Remington cowboy sculptures, his paintings of white-glove art handling and model building, and, most importantly, his theatre, represent what I’d guess is his guarded identification and reconciliation to his new circumstances. As his performers caress borrowed Remington bronzes (an activity real art handlers never do, by the way) Neufeld does a kind of seduction of his show’s local references and perhaps his audience. Neufeld’s cool analytics align with Winnipeg’s recent turn to conceptualism by young artists such as Divya Mehra, older artists such as Jeff Funnell, and midcareer souls such as Neil Farber and Michael Dumontier. Winnipeg art is changing, becoming more intellectual, and Neufeld’s new colleagues at the University of Manitoba are doing their part in this transition. Sigrid Dahle’s essay is a delightful read and essential to the experience of the show, making it a nice collaboration. She sets the historical context for the fun Neufeld has with historical play and play making. — Cliff Eyland

LEFT: All Hands on the Bad One, 2013, photo collage, 24” x 18.8” 24 Galleries West Spring 2015

www.gallerieswest.ca

Exhibition of New work by Karel Doruyter

Opens February 2015 - Fairmont Chateau Whistler

0RXQWDLQ *DOOHULHV DW WKH )DLUPRQW

@MntGalleries

: : : 0 2 8 1 7 $ , 1 * $ / / ( 5 , ( 6 & 2 0 -$63(5 3$5. /2'*( _ %$1)) 635,1*6 _ &+$7($8 :+,67/(5

THE ALBERTA SOCIETY OF ARTISTS

UPCOMING EXHIBITIONS creative obsession: A Celebration of the RCA Members of The Alberta Society of Artists Whyte Museum of the Canadian Rockies 111 Bear St, Banff, AB April 4 - June 7, 2015 Emerging artists unleashed Walterdale Theatre 10322 83 Ave NW, Edmonton, AB February 4 - 14, 2015

The Artist Lens ArtPoint 1139 Adelaide St SE, Calgary, AB February 4 - 28, 2015 Walterdale Theatre 10322 83 Ave NW, Edmonton April 8 - 18, 2015 Guilty pleasures Southern Alberta Jubilee Auditorium 1415 14 Ave NW, Calgary, AB February - March, 2015 Northern Alberta Jubilee Auditorium 11455 - 87 Ave, Edmonton, AB March - April, 2015

The Alberta Society of Artists Crossroads Art Centre I 305-1235 26 Ave SE I Calgary, AB T2G 1R7 www.albertasocietyofartists.com Ron KOSTYNIUK (b. 1941) Tilt No. 2, 2003 Saskatchewan Road Map series

www.gallerieswest.ca

Galleries West Spring 2015 25

REVIEWS

LOOK BACK

CRITICAL ANALYSIS FROM THE WEST

Mary Pratt, Supper Table, 1969, oil on canvas, 24’’ x 36’’

Keeping Time: Ledger Drawings and the Pictographic Traditions of Native North Americans circa 1820-1900, June 21 to Aug. 16, TrépanierBaer Gallery, Calgary

Astoundingly, this fascinating exhibition of historical First Nations art is not presented by a museum but by a commercial gallery best known for avant-garde contemporary art. It came about through the initiative and vision of Yves Trépanier, whose longstanding love of First Nations’ art led to friendship and collaboration with New York connoisseur Don Ellis, a highly regarded collector and dealer of native art. These extraordinary ledger drawings were acquired by Ellis over 20 years. Drawn on lined paper from accountants’ ledger books, the drawings are an exclusively North American phenomenon created by the native peoples of the Plains. They come out of a long graphic tradition of storytelling, going back centuries to pictographs carved into stone, winter count calendars documenting events through symbolic icons, and stylized paintings on buffalo hides. But when the buffalo was hunted to extinction in the mid-19th century, Plains artists turned to paper. Ledger books were filled with drawings by one or more artists, often at the behest of a military officer. There’s a terrible irony in these commissions, which encouraged the recording of aspects of traditional life even as this way of life was being brutally suppressed. Compounding this irony 26 Galleries West Spring 2015

Attributed to Howling Wolf (Southern Cheyenne, Central Plains), Cheyenne at Home, circa 1875, ink, pencil and watercolour on paper, 8.5” x 11.3”

is the fact that ledger books invariably bear the names of the non-natives who commissioned or collected them. Few intact books remain as most were unbound and sold as separate drawings. Exquisitely rendered in fine graphite and coloured pencil, the drawings share many pictorial conventions but remain distinctive. The particular style of individual artists is evident, such as the remarkable clarity, intense colour and complex overlapping compositions in the dynamic action scenes of Howling Wolf, the most famous of the Southern Cheyenne artists (and the most expensive today). One grouping features drawings of military exploits on horseback, a frequent subject. These battle stories are not generic but specific, deemed to be true as sanctioned by the tribe. The owner of the story is the protagonist or hero, but he’s not necessarily the one who commits it to paper. Artists – always male – were entrusted with the important responsibility of relaying the bold achievements of a particular warrior, attesting to his bravery, virility and prowess. These depictions, which served as mnemonic devices to aid oral storytelling, are of inestimable value today as historical www.gallerieswest.ca

REVIEWS documents that present a compelling counter-narrative to the dominant discourse of how the West was won. When the Plains tribes were forcibly confined to reservations and forbidden to practise their traditional ways, they preserved salient aspects of their culture through art. In addition to stories about warfare, the ledger drawings illustrate specific tales of love. Within the context of a fiercely proud and macho warrior culture, these scenes are surprisingly romantic and charming. An entire gallery is devoted to the courtship drawings of several artists, representing the largest single collection ever assembled under one roof. It would make a coveted acquisition for any museum. – Monique Westra

PHOTO BELOW: GUY L’HEUREUX

Diana Thorneycroft and Michael Boss, Hogs and Horses, Gurevich Fine Art, Winnipeg, Oct. 3 to Oct. 25

From earliest times, horses have been mythologized as possessing exceptional, magical properties. They are seen as noble and intelligent, elegant and muscular. Of the horse, Russian writer Nikolai Gogol famously asked: “Is there a sensitive ear, alert as a flame, in your every fiber?” For some, like Winnipeg artist Michael Boss, the same might be asked of a Harley Davidson, though Boss focuses here more on power than elegance. His large-scale drawings of motorcycles are detailed – every brake cable, spark advance and gear shift is there. But step back and it’s easy to see how each is more than the sum of its parts. Rendered in oil pastel, a medium chosen for its position between drawing and painting, each ‘hog’ exudes a concrete, masculine presence. In the engine of Panhead gorgeous black smudges are reminiscent of grease, and Black Ruby has been built in layers both playful and controlled. Occasionally, Boss moves from homage to deeper content. Elmwood Boy, for example, part memoir and part portrait, examines the contradictory nature of traditional male narratives. In soft greys and rich blacks, it depicts a boy sitting on a motorcycle with an older man. “Don’t start a fight,” the accompanying text reads. “But if you get in one – finish it. Be tough. Be tough. Be tough.” Meanwhile, Diana Thorneycroft sets an altogether different tone. Known primarily for photo-based work, she has shifted her practice to include sculpture. Melting plastic toy horses in the oven, she began to disfigure their bodies in strangely beautiful ways. To alter them further, she severed limbs and added prosthetics. Tripod, with his mouth sliced off and a jointed G.I. Joe leg acting as Cynthia Girard, La dictature du peuple/People’s Dictatorship, 2013, textile banner, 39” x 55”

www.gallerieswest.ca

Michael Boss, Black Ruby, 2013, oil pastel on paper, 40” x 60”

prosthesis, looks tortured and demonic. The vibrant red Co-joined Twins wear youthful, almost sweet expressions as they try to balance the weight of their heads on wobbly legs. There are horses with small flies pressed into their skin, horses with bird claws and porcupine quills, horses with protruding nails and barnacle-like sores. Each has its own personality, eliciting empathy, awe and aversion. In short, they are a spectacle. These contradictory feelings are precisely what Thorneycroft felt when she encountered people with horribly disfigured bodies begging in a market in Shenzhen, China, when she and Boss spoke at symposium there. It was the impetus for this work, leading her to explore ideas about visual difference. For her, the horses are also personal talismans, filling a similar role as the carved figurines that West African cultures once used for protection. Thorneycroft acts in two roles; she has both artfully maimed and compassionately healed her horses, turning what was ordinary and common into the fantastically diverse. – Sarah Swan Cynthia Girard, Unicorns and Dictators, Esker Foundation, Calgary, May 31 to Sept. 7

Inside a maze of white scaffolding, artist Cynthia Girard displays her collection of recent paintings, banners, sculptures and other objects. At first glance, Unicorns and Dictators is a sugar-coated kaleidoscope of animals, birds, insects, clouds and rainbow patterns. The show builds on À mes amies les licornes (To My Friends the Unicorns), an exhibition Girard developed for Montreal gallery Parisian Laundry in 2013. This expanded version, curated by Naomi Potter, includes new works by Girard and cameos by fellow Quebec artists David Altmejd, Julie Doucet and Noémi McComber as well as German artist Henry Kleine and Groupe d’action en cinéma Épopée, a Montreal film collective. There is a lot of work – possibly too much. While the exposition (or assemblage) transforms the gallery into an enchanted land of political discourse, some of the satire and visual intricacies get lost in the labyrinth of contrasting works. Rather than using plinths or gallery walls, Girard opted to display art on (or in) makeshift scaffolding that references street theatre and political banners, as does her pageant of absurd, powerful and hopeful words. While the scaffolding allows for a wandering interpretation, the overcrowding also makes a more discerning view of the work somewhat challenging. The most meaningful encounters are in areas where open installations invite a deeper view into the provocative and dreamy folds of Galleries West Spring 2015 27

REVIEWS Girard’s intriguing colour, motifs and patterns. Nevertheless, the exhibition exudes whimsy while engaging the vernacular of political rallies and street protests – a theatre of the absurd where Girard openly disrupts common motifs and hierarchies. In Girard’s textile banner, La dictature du peuple (People’s Dictatorship), viewers are confronted with a striking play of words and images sewn together from bits of softly patterned fabric. Vertical stripes suggest a prison cell, while ominous black clubs arouse disturbing thoughts of

off the wall, seem less solid than the shadows cast behind them. They’re like shrouds, suggesting the trappings and rituals of death. Meanwhile, Untitled #1 – 4, from the Embroidered Anatomies, hang black and silent and deep, their solidity contrasting harshly with veils. The stitching in both is precise and intense, as physical as it is visual. Their corporeal texture encourages viewers to draw near to smell them, suggesting the inappropriate touching forbidden in any gallery. At his talk, Traer said he wants to invite intense, almost intimate, looking and interaction. That alluring quality – also present in large “ball” works like Black Stoppers or Black Buttoned – plays on our expectations of furniture with surface lines, forms and knobs that tempt touch. There’s a contradiction between the carnality of Traer’s objects and their meticulous industrial manufacture (Mesh, Cone, Hang, for example). Often, especially with the demonstratively “queer” aspects of some pieces, fetish and art become indistinguishable. Traer worked with several technicians, and frequently – such as how his technician for the testicular Stoppers works in automotive upholstery, another space of hyper-masculinity – this adds another layer. The works in A Survey date from 1991 to 2012. It was engaging to hear Traer speak of the ideas that informed him, as a subtext: such as AIDS and its effects, both positive and negative, on queer communities, as well as his own role in the larger history of art in Saskatoon, mainly, but not solely, manifested during his years teaching at the University of Saskatchewan. These aren’t obvious, but offer a considered history and nuance to this smart, funny and definitely sexy exhibition. – Bart Gazzola

Patrick Traer, Lip-Ruddy Rose, 2003, plywood, cotton, canvas, cardboard, Dacron, polyurethane foam batting, vinyl, zippers, covered buttons, stainless steel buckles, hooks and MDF board, installation view

Tomoyo Ihaya, Website Interface: Nelson, 2014, digitized watercolour and guache, size variable

Patrick Traer, A Survey, College Art Galleries, Saskatoon, May 23 to Aug. 1

High Muck a Muck: Playing Chinese, Oxygen Art Centre, Nelson, B.C, July 5 to July 19

Patrick Traer, in this retrospective survey, exhibits work that occupies a rare space between sculpture, furniture and fine craft. His often-momentous objects and stitched drawings seem unusual – even absurd – as they push, and often break, boundaries of material and idea. Sometimes seductive, sometimes unsettling, his work often refers to the body while supplanting it: stitching as veins, vinyl and wood as flesh, shot taffeta as skin. The show fills both levels of the exhibition space. The upper level functions as a beautiful arrangement, like a sentence moving across the gallery. Lip-Ruddy Rose, at the far end, is a corporeal punctuation mark (both protruding outwards and having an orifice-like recess, puckered and reddish) to Untitled, veils. That latter piece’s ethereal white sheets, draped

You may know Nelson as The Best Art or Ski or Heritage Town. It varies. But before it became The Best, it was a mill town – a mill town with a sizeable Chinese-Canadian population, including former parliamentary poet laureate Fred Wah. His semi-fictional biography, Diamond Grill, offers glimpses into his childhood as the son of a Chinese/Irish/Scottish father and Swedish mother, and how he “passed” as white in a less glamorous Nelson. Nicola Harwood, a Vancouver-based theatre artist who organized this interactive exhibition and website to explore the experiences of ChineseCanadian immigrants, studied under Wah at the former David Thompson University Centre in Nelson. She invited Wah to work on a series of

28 Galleries West Spring 2015

www.gallerieswest.ca

TOP LEFT: COURTESY OF THE ARTIST, PHOTO: KARLA GRIFFIN

silencing the masses with threats of police violence. The oppressive club also appears in other pieces as protruding noses or double-ended penises. Other repeating motifs include googly eyed clouds, swirling horns, decorative fences, winged penises, butterflies and owls. Girard’s art alludes to quotidian craft while it frolics cunningly within the realm of folklore, mythology and the magical. She juxtaposes politics with whimsical imagery to produce her distorted narratives. She challenges hierarchies, both political and painterly, while drawing on vernacular culture and the applied arts. Her influences derive from various movements such as abstract art, Dadaism, cartoons, Op Art, feminist crafts, decorative arts, children’s illustrations, street and burlesque theatre, and surrealism. Ultimately, her work invites viewers to participate in a theatrical experiment that is both eloquent and confounding. – Lissa Robinson

2 01 5 A L B E R TA B I E N N I A L O F C O N T E M P O R A RY A R T

Arbour Lake Sghool Ashleigh Bartlett Kyle Beal Brittney Bear Hat Devon Beggs Nika Blasser Christian Bök Steven Cottingham Hannah Doerksen Joseph Doherty Brenda Draney Gordon Ferguson Jason Frizzell Sarah Fuller Jude Griebel Aryen Hoekstra Dara Humniski Mary Kavanagh Kristen Keegan Robin Lambert Mathieu Lefèvre

Tyler Los-Jones Amy Malbeuf Travis McEwan Brendan McGillicuddy Jay Mosher Yvonne Mullock Wil Murray Brad Necyk Ali Nickerson Erik Osberg Josée Aubin Ouellette Giulliano Palladino Evan Prosofsky Scott Rogers Erin Schwab Sergio Serrano Leslie Sharpe Jill Stanton Alma Louise Visscher Adam Waldron-Blain Nicole Kelly Westman

January 24 – May 3, 2015 youraga.ca/futurestation

T 403 290 0145 1226A Ninth Avenue SE www.circa5060.ca www.gallerieswest.ca

Galleries West Spring 2015 29

REVIEWS poetic narratives along with Chinese-Canadian residents and artists and performers from Nelson and Vancouver. The exhibition includes paintings by Tomoyo Ihaya and music by Jin Zhang, also featured on the website highmuckamuck.ca, along with video clips by various artists. The show’s main attraction is the pak-ah-pu lottery, which is based on a traditional game popular in the gold fields. Visitors select a few Chinese characters from a series printed on paper and then place their selection in a “lottery box” that uses interactive technology to read them, rewarding all players with a few lines of Wah’s poetry. The website continues the lottery theme. When viewers click on icons, they are offered a bit of poetry, an audio clip, or even a short video. Overall, the project is rich and creative. Ihaya’s maps invoke the memory of ancestors sacrificed to the railway, nudging us forward to today’s immigrant workers. Zhang’s soundtrack combines traditional Chinese music with contemporary electronic sound. It’s haunting, but somewhat repetitive when navigating the website. Wah’s poetry, spare yet filling, is the key element, along with audio clips from Chinese-Canadians. In Nelson, the Chinese restaurants on Baker Street are slowly closing. These businesses are visual evidence of the longstanding Chinese-Canadian community, and reminders of Nelson’s working-class past, before it became The Best. Yet the project’s focus seems tilted toward B.C.’s Lower Mainland, perhaps because many of the artists, including Wah, live there. While much of the Chinese immigrant experience is rooted on the West Coast, and tensions between past and present help drive this dynamic project, I hope the website evolves to include more about the ChineseCanadian experience in rural communities. – Maggie Shirley Sherri Chaba, Retreat, Art Gallery of St. Albert, Alta., July 3 to Aug. 2

Building forts and shelters may be one of the most joyful and universal of childhood activities. I recall making such structures by a stream in my grandmother’s yard. These rickety constructions held an unsurpassed promise of sanctuary. Such memories arise as I enter Alberta artist Sherri Chaba’s installation: an enchanted space filled with mysterious fabrications made of sticks, moss, chicken wire and other materials. I eagerly explore the gallery. A spider-net wire structure coils down from the ceiling. It conceals a mirror that extends space deep beyond the floor like an illusory rabbit hole. A tree house made of discarded boards hovers gracefully on stilts. A soft, moss-covered yurt, or sweat lodge, invites me to enter. Warm darkness envelops. But is this feeling of sanctuary illusory, a momentary respite from harsh realities? Black fabric lines the shelter’s dome. Minute lights punctuate it like stars. These peepholes open onto apocalyptic images of decimated fields and forests of black poles silhouetted against smoggy skies. Chaba has spent most of her life in rural Alberta and has witnessed industrial encroachment on the land. This is the focus of her artist statement, which expresses hope that view ers situate themselves within current “dialogues of ecological Sherri Chaba, Retreat, 2014, mixed-media installation, detail 30 Galleries West Spring 2015

Dylan Miner, The Elders Say We Don’t Visit Anymore, 2014, socialengagment project, still from time-lapse video

and societal sustainability.” Retreat can be positioned within the framework of contemporary eco-art, a loose category that continues to evolve, although it often seems like “a trackless thicket, tangled with unanswered questions.” While that line, from James Elkins, the American art historian, refers to the state of contemporary art criticism, his observation could equally apply to much Canadian eco-art, where ambiguity and nuance prevail. Take, for instance, Jeane Fabb, a co-founder of the Quebec artist-run centre Boréal Art/Nature, who created a snow installation atop a frozen lake to refer to natural cycles. Or Vancouver-based Charisse Baker’s series of seasonal outdoor performances that use a red thread as a metaphor for connectedness. The elusiveness of such work contrasts with the robust activism of American ecofeminist artists like Aviva Rahmani, whose trans-disciplinary collaborations have resulted in the reclamation of damaged land. From a visual and sensory perspective, Chaba’s show glows with warmth and humanity; it absorbs and enchants. From an ecological standpoint, it is polite to exasperation. Must artists continue to situate themselves within the discourse of sustainability? A recent federal study has confirmed oilsands toxins are seeping into the Athabasca River. And another catastrophe: effluent from a copper and gold open-pit mine have spilled into British Columbia’s Quesnel-Cariboo river system; the impact may never be reversed. In the context of such environmental urgency, artistic detachment seems like fiddling with metaphor and nuance, while the environment – our collective sanctuary – burns. – Agnieszka Matejko Dylan Miner, Michif–Michin, ODD Gallery, Dawson City, Yukon, Aug. 14 to Sept. 19

Part of The Natural & The Manufactured, an annual residency project organized by the Klondike Institute of Art and Culture, this exhibition includes prints, videos, assemblages, installations and a social-practice work that deftly addresses both the project’s focus on materiality as well as the inherent ambiguity of Métis identity. Dylan Miner’s series of 24 relief prints, Untitled (Michif–Michin), features images of wild plants such as fireweed, yarrow, sage and arrowhead. At first glance, it appears the artist applied ink to the plants and then immediately pressed them onto paper. The blotting, pitting and blurring of the handmade blackberry ink is a clever play on both natural and manufactured effects. On closer inspection, the images reveal themselves as carefully composed linocuts, with a commercial binder added to the ink to ensure consistent colour. Can such an elusive mix or métissage between www.gallerieswest.ca

REVIEWS

IMAGE COURTESY OF THE ARTIST

material and image be understood as a symbolic stand-in for the origins of Métis nations or peoples? Miner, a professor at Michigan State University as well as a curator and author of note, describes himself as “the descendent of Métis from across the subarctic and boreal forests to the Prairies and Great Lakes.” He has exhibited internationally including a recent solo show at the Santa Fe Art Institute. Here, he deploys Métis words for medicine, michin, and the people and their language, Michif, to remedy the colonial degradation of indigenous identities and knowledge, while paying tribute to his greatgrandmother, a maker of healing salves. Miner’s social-practice work, The Elders Say We Don’t Visit Anymore, brings conceptual strength to the embodiment of a mutable Métis aesthetic and infuses it with local relevance. The artist invited the Tr’ondëk Hwëch’in, a First Nation based in Dawson City, along with other area residents, to have conversations over tea. Some teas were derived from local plants that Miner harvested and also bundled for display on an adjacent wall. Visitors can sit on benches at a table, all constructed from dilapidated boardwalks recovered from the local dump, an adroit reference to Dawson City’s origins in the Klondike Gold Rush, which displaced the Tr’ondëk Hwëch’in from their traditional settlements. The table is topped with an old Hudson’s Bay blanket, historically a popular trade item among indigenous peoples. As an adopted identity symbol for First Nations and Métis, perhaps its presence is intended as a comfort to the problematic past. People of Métis ancestry can self-identify or join political bodies such as the Métis National Council.The ambiguity of this process defies rigid definitions of culture as a constant, not to mention that millions of people have indigenous heritage. During the 1980s and 1990s, leading artists, including Jimmie Durham, Joane Cardinal-Schubert and Rebecca Belmore, evoked a collective anger via skilfully orchestrated didactic work that aspired to mend the loss of indigenous identities. Miner represents a new generation of artists who are transforming this aesthetic project of healing into a quiet celebration of growing empowerment. – Curtis Collins

Ruptures in Arrival: Art in the Wake of the Komagata Maru, Surrey Art Gallery, April 12 to June 15 This powerful group exhibition is one of several events this year to mark the 100th anniversary of Canada’s re- Evan Lee, Untitled Migrant Ship fusal to allow entry by 376 Project, 2009-present, rendering from 3D model, archival pigment Indian migrants aboard a print, dimensions variable Japanese steamship, the Komagata Maru. Much has been written about the incident, part of Canada’s troubled history of thwarting Asian immigrants, but curator Jordan Strom believes this is the largest exhibition to engage the topic. The show includes 10 artists who use painting, drawing, sculpture, photography, video and installation to reflect not only on the specific incident, but also on more recent histories of oceanic migration. It features work by Vancouver artists, including notable figures such as Ken Lum and Paul Wong, along with artists who live elsewhere in Canada, as well as India and the United States. – Janet Nicol Find full reviews and more images at gallerieswest.ca www.gallerieswest.ca

JANUARY 1 - 31

CHRISTIAN WORTHINGTON FEBRUARY 6 - 28

GENERAL ARTISTS MARCH 6 - 28

KYLE HERRANEN, CLINT NEUFELD & MARC COURTEMANCHE APRIL 3 - 25

KAE SASAKI W W W. G U R E V I C H F I N E A R T. C O M Galleries West Spring 2015 31

(9; -69 >(9 (5+ 7,(*, +RZ D *UHDW 3XEOLF $UW 3URMHFW +HOSHG &DQDGD 'HoQH ,WVHOI (U PSS\Z[YH[LK OPZ[VY` VM [OL :HTWZVU 4H[[OL^Z WYPU[Z ^YP[[LU I` 0HU :PN]HSKHZVU HUK :JV[[ :[LLKTHU

Book%RRN /DXQFK DQG ([KLELWLRQ Presentation and Exhibition RI +LVWRULFDO 6DPSVRQ 0DWWKHZV 6LONVFUHHQ 3ULQWV of Historical Sampson-Matthews Silkscreen Prints 6WLUPUN :H[\YKH` 1HU\HY` Z[ HUK :\UKH` -LIY\HY` Z[ WT ;HSR I` H\[OVY 0HU :PN]HSKHZVU :H[\YKH` HUK :\UKH` H[ WT (SMYLK 1VZLWO *HZZVU >OP[L 7PUL KL[HPS J :HTWZVU 4H[[OL^Z ZPSRZJYLLU WYPU[

*VU[PU\LZ \U[PS -LIY\HY` [O ) * )PUUPUN J

1 > 4VYYPJL J

,TPS` *HYY

0D\EHUU\ ),1( $57

LQIR#SHJDVXVJDOOHU\ FD

4HÌLYY` -PUL (Y[ @VYR]PSSL (]LU\L ;VYVU[V c c [VYVU[V'THÌLYY`Ã&#x201E;ULHY[ JVT c ^^^ THÌLYY`Ã&#x201E;ULHY[ JVT 4LTILY (+(*

Inspiration Makes Art Makes Inspiration. FindYourselfAtGlenbow Located on Stephen Avenue in the heart of downtown Calgaryâ&#x20AC;&#x2122;s cultural district. glenbow.org

32 Galleries West Spring 2015

www.gallerieswest.ca

ARTIST PROFILES

TAKE THEM HOME ARTISTS WHO SELL IN THE WEST BY PORTIA PRIEGERT

STEVE COFFEY Steve Coffey’s paintings of the prairies around his home in the town of Vulcan in southern Alberta feature such vast and vivid skies they are almost an otherworldly final frontier worthy of the starship Enterprise. “As far back as I can remember I’ve been a sky watcher,” he says. “It’s such a kaleidoscope of colour.” Coffey doesn’t worry about his work slipping into big-sky cliché, saying he simply paints what moves him. His works have surreal touches and sometimes flirt with abstraction. He chooses subjects with a limited human presence, believing they act as doors to invite viewers to muse about space and the passage of time. Although Coffey is drawn to the Canadian landscape, he doesn’t paint outdoors. Nor does he work from photographs. Instead, he explores his memories, accessing veins of swirling imagery from his life experiences. “I call them memory Polaroids,” he says. “I tap into collected mental files.” Born and raised in Manitoba, Coffey has been active in the art world since completing a Master of Fine Arts at the University of Regina in 1990. He is represented by numerous www.gallerieswest.ca

galleries and a quick look at this website reveals that he is selling. Coffey is also known as a singer-songwriter, and performs with his band, The Lokels. Steve Coffey is represented by the White Rock Gallery in B.C., the Front Gallery in Edmonton, the Collectors’ Gallery in Calgary, Frames & More in Fort McMurray, Alta., the Bluerock Gallery in Black Diamond, Alta., the Assiniboia Gallery in Regina, the Rouge Gallery in Saskatoon, and the Woodlands Gallery in Winnipeg. His work sells for $900 to $5,000.

Steve Coffey, Get The Fields Off, 2014, oil on canvas, 36” x 60”

DAVID FOXCROFT David Foxcroft’s paintings are such riotous combinations of colour and form it seems they should fall apart visually. But his strong sense of composition pulls his assemblages together, while feeding his fascination with interior spaces and what goes on in them. His paintings move along a spectrum from abstraction to representation, drawing on myriad references – whether Galleries West Spring 2015 33

ARTIST PROFILES

the history of painting or life as it unfolds around him. Often a starting point is just the miscellaneous objects that collect in his studio, combining and mutating through time. What some might dismiss as clutter is thus Foxcroft’s inspiration. “It’s sort of happenstance that these things fall together and I take notice of them,” he says. While his interest rests more in formal issues – how various colour juxtapositions can work together, for instance, a narrative usually runs through each painting. “You’ve got to figure out what you want to say with it,” he says. Foxcroft works out of the Edge Gallery in Canmore, Alta., which he owns with his wife, Kathy. His art was included in Made in Calgary, the recent decade-by-decade tribute to the city’s artists at the Glenbow Museum. David Foxcroft is represented by Jarvis Hall Fine Art in Calgary and the Edge Gallery in Canmore. His work sells for $600 to $6,000.

JONATHAN GLEED

ABOVE: David Foxcroft, Propeller, 2012, mixed media, acrylic on canvas, 36.5” x 36” RIGHT: Jonathan Gleed, Cement Valley, 2014, acrylic on canvas, 36” x 24”

It took Jonathan Gleed a while to find what he describes as his true calling. Born in Ottawa, he tried his hand at writing, photography and video production before dipping his brush in paint and deciding it was the most effective way he could communicate. Gleed focuses on the everyday world around him – city streets are a common theme, especially at night or on rainy days – and his palette tends toward a darker, more sombre range. Still, he has no problem explicitly stating that his goal is to extract beauty from the mundane – things like rain glistening on a passing bus – and evoke what he calls “emotional vigour” in viewers. “We tend to actively pursue that perfectly poised, perfectly composed piece of art,” says Gleed, who bases his paintings on photographs. “We don’t need to look that hard. We need to start appreciating more what we have right in front of us every single day.” Gleed is self-taught and still relatively new to the art world, emerging out of group shows on Vancouver Island in the last few years to mount a solo exhibition last fall at Couch, a new gallery in Victoria, where he’s lived for a decade. Jonathan Gleed is represented by the Couch Gallery in Victoria and the South Shore Gallery in Sooke, B.C. His work sells for $700 to $5,000.

NIKOL HASKOVA Vancouver artist Nikol Haskova has been painting crows for a few years, finding in them satisfying metaphors for human relationships. The birds are intelligent, she observes, and adapt easily to a world that humans are rapidly reshaping. “Crows are survivors. You can take everything away and they will use materials or find things you wouldn’t expect. They will build a nest out of clothes hangers from a drycleaner, for example.” Her favourite painting, Emotional Intelligence, shows two crows as if they are chatting. One bird looks down and away. It expresses her take on her relationship with her hus34 Galleries West Spring 2015

www.gallerieswest.ca

ARTIST PROFILES

band, who has a different communication style. “It was just this commentary on what we seek and how we go looking for it,” she says. Haskova’s life experiences are unusual. She lived in the former Czechoslovakia until her parents took her and her two siblings out of what was then a Communist country. They lived as refugees for a year in Austria, before coming to Vancouver in 1988, when she was 16. She got her start as an artist by chance after a friend gave her some paints. She was working at the White Rock Gallery at the time and brought in an early effort for framing. A customer saw the work and promptly bought it. More sales soon followed. Nikol Haskova is represented by Mayberry Fine Art in Winnipeg and the Canada House Gallery in Banff, Alta. Her work sells for $1,000 to $10,000.

BEVIN BRADLEY Contrasts in the urban environment fascinate Bevin Bradley. She focuses on geometric shapes and layers in her work, reflecting the qualities of change and physical containment inherent in the city. But she also explores how people in cities bustle about in groups yet often remain isolated and lonely. “I’m really looking at things from a lot of different angles,” she says. Bradley evokes the city – whether the grid of office

towers or the linear squares of cars lining the street – more than describing it literally, leaving room for the viewer’s mind to roam. She uses her own photos as references, combining layers of acrylic paint, chalk pastel and varnish in works that owe a debt to Abstract Expressionism, yet sometimes veer into representational tropes. Bradley, who grew up in Saskatoon and earned a BFA from the University of Saskatchewan in 2001, is co-owner of the Stall Gallery, where she promotes artists with work she describes as “a little bit more edgy or meaningful.” She has also worked on art projects with youth at risk. Bevin Bradley is represented by the Stall Gallery in Saskatoon and the Latitude Art Gallery in Calgary. Her work sells for $800 to $3,000. www.gallerieswest.ca

TOP: Nikol Haskova, Moon and Honey, 2013, acrylic on panel, 24” x 24” ABOVE: Bevin Bradley, City Park, 2014, acrylic and varnish on panel, 2’ x 4’

Galleries West Spring 2015 35

LANGUAGE OF LIGHT PHOTOGRAPHER GREG GIRARD BRINGS TOGETHER REMARKABLE IMAGES OF ASIA AND CANADA BY BEVERLY CRAMP

t’s dusk outside as Greg Girard discusses photography techniques in the café at the Vancouver Art Gallery. He describes how a camera would capture the bright orange ceiling in the incandescent glow of the dining area, in contrast to the cooler fluorescent light pouring in from the door to the kitchen. “Film was made to reproduce daylight, so night pictures were going to look a little unnatural,” says Girard, known for fascinating images of social and physical transformations in Shanghai, Tokyo and Hong Kong. “In daylight film, this ceiling is going to be quite yellow and the kitchen is going to be green. You can predict a bit, but there is always going to be a surprise because you can’t predict exactly. And there’s that thrill of seeing something a little unexpected.” It’s a favourite time of day for Girard, who spent three decades in Asia before returning to Vancouver in 2011. His work, mostly done with film, typically explores the possibilities of dark light. He rarely adds his own lighting to the mix, preferring to work with ambient conditions, whether natural or artificial. Girard’s upcoming show at the Richmond Art Gallery includes recent images of Richmond, where many immigrants from China have settled in recent years, as well as older work that documents the Kowloon district of Hong Kong, including its Walled City, a 36 Galleries West Spring 2015

densely populated community in what was originally a Chinese military fort. “Kowloon is a lesser-known part of Hong Kong,” says Girard. “Richmond, like Kowloon, is a lesser-known part of a greater conurbation. They’re both cities within cities. And Richmond has a highrise vertical look, like much of Hong Kong. Richmond is moving to that model, and the way that Hong Kong combines transit and residential and commercial activities.” In essence, the show, which runs April 18 to June 29, is an opportunity for Girard to bring together his two worlds. He has published a number of books based on his time in Asia, including City of Darkness: Life in Kowloon Walled City, which pictures people in tiny rooms, businesses and alleys, always with an interesting use of light. The Walled City, a largely unregulated enclave jammed with some 300 highrises, was home to more than 30,000 people. A cordoned-off area that belonged to China inside British-run Hong Kong, it was “the result of a wrinkle in history” and had a tough reputation, says Girard. “It was a den of iniquity, drugs and prostitution – the kind of place that parents tell their kids: ‘Don’t go there.’ I discovered it wasn’t such a bad place. It was like going into a maze and easy to get lost in. Pipes and cabling ran overhead in the narrow laneways linking the buildings. Places were built up against each other. Factories were side by side with residences and commercial outlets. There were no laws governing health and safety. It was where new immigrants who had little to nothing could get a toehold. It offered cheap rent with trade-offs – no windows, no air and no light.” Girard photographed the Walled City from 1986 until 1992, when the demolition process began. His book has been reprinted 11 times since 1993 and is a favourite with architecture students and film buffs interested in set design. Girard recently released a related book called City of Darkness Revisited. Girard’s other books include In the Near Distance, which presents images from his early travels, and Hanoi Calling: One Thousand Years Now, a project to mark the city’s millennium. Phantom Shanghai, which looks at that city’s fast-paced growth, was named one of the top 10 photography books of all time by Britain’s The Independent newspaper. Futurist William Gibson, who coined the term cyberspace, contributed the foreword. He noted how Shanghai is destroying its own history in its bid to redevelop. “It’s almost more than I can bear to contemplate, though the images themselves are so gorgeous, so extraordinary, that of course, I look and look,” he writes. Girard began taking pictures as a teenager in Burnaby, B.C. Inspired by a high school teacher, he read photo magazines that published work by American legends such as Diane Arbus, Garry Winogrand and Lee Friedlander. “I started going downtown on weekends when I was 16,” he recalls. “I would check into a hotel, places that are now SROs (single rooms only) but were cheap hotels then. It was like $3.75 a night. I was too young to go to bars and I would walk around the streets and go into cafés. I would try to take pictures of people in their rooms. Often they let me because I was just a kid and so unthreatening.” Girard was drawn to the unusual qualities of the people and places. “It was interesting to me at the time, otherworldly. It was www.gallerieswest.ca

OPPOSITE PAGE: Commercial Rooftops #1, Richmond, 2014, archival pigment print, 40” x 50” FAR LEFT: West Side Street (with Overhead Pipes), Kowloon Walled City, 1990, archival pigment print, 24” x 16” LEFT: Greg Girard BELOW: House on Huashan Lu, North View from Phantom Shangai, 2006, chromogenic print, 72” x 84”

like going back in time. These places were stuck in the ’40s and ’50s – the pool halls and the way people dressed. Chinatown was very alive, restaurants open until 4 a.m. And there was lots of great neon, of course.” Girard sometimes shot on colour slide film to capture more detail. Even then he was interested in how film registered artificial light. “A darker sky helps as a backdrop to things,” he says. “My skies are usually never black, they’re usually the colour of the last bit of daylight, or the city’s luminescence reflecting off the clouds.” Meanwhile, Girard was reading novels by Britain’s Graham Greene and American writer Paul Bowles, feeding his interest in other cultures and historical eras. Greene’s anti-war novel, The Quiet American, made a deep impression. “It reflected American hubris in the post-World War II world,” he says. “Greene had seen his country’s star fade, and America’s was on the rise. The setting was a backdrop to world events that, for some reason, appealed to me. And also the way Greene created a work of art from what he was observing.” Bowles’ detached attitude while observing himself and people in his milieu also intrigued Girard. “The characters in his novels were these foreigners who believed their foreignness was going to protect them. Of course, it doesn’t. You get swallowed up by a place and, www.gallerieswest.ca

sometimes, spat out. Also, I liked that darkness he portrayed behind the jolly times.” When his friends went backpacking in Europe, 18-year old Girard took a freighter to Hong Kong. “I was contrarian, even then,” he says. “I took a suitcase.” While driving taxi in Vancouver to earn money for more travels, he met an art student making espresso in a café. It was Roy Arden, later to become one of the city’s renowned photo-conceptualists. “I used to stop in his café to have dinner. Roy started talking to me when the place was half empty one night and we became friends. That’s how I met him and we started hanging out.” Girard moved to Hong Kong in 1983, and Shanghai in 1998. He fell into photojournalism as a day job, picking up assignments for Time, Newsweek and National Geographic. Eventually, Arden introduced him to Monte Clark. It was a pivotal moment. Girard has shown at Clark’s gallery since 2005, and his images are now in the collections of the Vancouver Art Gallery and the Art Gallery of Ontario. It was the consistent quality of Girard’s images that first caught Clark’s eye. “It is extremely sophisticated work” says Clark. “His images are not digitally manipulated. You really need to know the language of the camera to do that.” Galleries West Spring 2015 37

WAS IT ART OR PROPAGANDA? NEW BOOK LOOKS AT A PUBLIC ART PROJECT THAT HELPED CANADA ESTABLISH ITS NATIONAL IDENTITY

It was one of the largest public art projects in Canadian history. Between 1942 and 1963, a series of more than 100 silkscreen prints by 54 of the country’s top artists – including members of the Group of Seven and their associates – were shipped overseas to military barracks, embassies and galleries, and also made available to schools, libraries and government offices across the country. The prints offered a romantic vision of Canada as a land of wide open spaces; as the untamed frontier that dominated national myths before people began looking at the country through urban eyes. The project was sponsored by the National Gallery of Canada and spearheaded by Group of Seven members A.Y. Jackson – who came up with the idea – and A.J. Casson, who worked as a commercial artist for the Toronto graphic arts firm, Sampson-Matthews, which produced the high-quality prints. After it was phased out in the 1960s, the project was quickly forgotten. The former head librarian of the National Gallery, Murray Waddington, has said he couldn’t find a single Sampson-Matthews print in the gallery’s archives in the early 1990s. But then Joyce Zemans, an art history professor at York University in Toronto, published several influential articles about the Sampson-Matthews prints in the Journal of Canadian Art History. She suggested the project was largely responsible for shaping how Canadians understood their country’s art. “It also established the Group of Seven and landscape painting as the sine qua non of Canadian art, creating the lens or aesthetic filter through which Canadian identity would be defined,” she wrote. The National Gallery went on to round up as much of the Sampson-Matthews series as it could; it now has more than 80 of the original prints. These days, the Sampson-Matthews project is receiving renewed attention thanks to the efforts of Ian Sigvaldason, the owner and director of the Pegasus Gallery of Canadian Art on B.C.’s Salt Spring Island. With co-author Scott Steedman, Sigvaldason has produced a sumptuous book, Art for War and Peace: How a Great Public Art 38 Galleries West Spring 2015

Project Helped Canada Discover Itself. It was slated for release in January by Vancouver’s Read Leaf Books, selling for about $60 a copy. Sigvaldason is also working on a plan to tour the prints to venues across Canada, allowing older people to renew their acquaintance with images they may remember from childhood, while also introducing the prints to younger generations. The Sampson-Matthews project started as a Second World War initiative. In 1942, Jackson and several of his fellow artists discussed contributing to the war effort by creating landscapes for what Globe and Mail art critic Pearl McCarthy called “posters of a superior sort” for display in army camps. The idea, McCarthy wrote at the time, was to give the soldiers “something fine to look at,” something to remind them what they were fighting for. Jackson had served in the trenches of France during the First World War and remembered www.gallerieswest.ca

PHOTO: TREVOR MILLS

BY BRIAN BRENNAN

LEFT: A.Y. Jackson, Peace River Bridge, c. 1944, screenprint (Sampson-Matthews / National Gallery of Canada), 30” x 40” BELOW: A.Y. Jackson painting in his Toronto studio in 1945 with Peace River Bridge in the foreground.

Canadian, eh?

Nothing is truly Canadian unless there’s a debate over regional representation. The SampsonMatthews prints were no exception, but ultimately, the project was dominated by artists and scenes

from Ontario. “The original idea had been to celebrate Canada in all its rich variety from coast to coast, but in reality the men (there were no women) who ran it were all based in Ottawa or Toronto and tended to trust an old-boy network that travelled in the same circles,” according to Art For War and Peace. A.Y. Jackson, a Quebecker, sought a wider range of scenes, but was a lone voice. Western contributions included John Ensor’s Summer’s Store, a prairie scene; Jack Humphrey’s Swallow Tail, Grand Manan; and W.P. Weston’s Vancouver Lions. In all, 26 of the 36 wartime prints were by artists based in Ontario. Jackson contributed three works, all of scenes from other provinces – Quebec Village; Pincher Creek, Alberta (Alberta Farm); and Peace River Bridge, in British Columbia. www.gallerieswest.ca

Galleries West Spring 2015 39

Sampson-Mathews continued how drab and soulless the army living quarters and mess halls were. He thought decorating them with images of home would boost troop morale. Original art was out of the question because it might never be seen again. So Jackson suggested sending prints instead. The project was an instant success. By July 1943, more than 7,500 silkscreens on stiff cardboard had been distributed to camps and army hospitals across Canada and overseas. For many young soldiers, it was their first exposure to Canadian art. “Everything turned out even far beyond best hopes,” reported McCarthy. On the home front, schools, banks and other non-military institutions asked the Department of National Defence to make the prints, which measured 30 inches by 40 inches, available to civilian organizations. Meanwhile, the British War Office ordered 2,000 prints for the army, and the Royal Air Force another thousand. By war’s end, they had been sent to American military bases in Newfoundland, to prison camps in Germany, and to government offices in Russia. “The prints are to be found in almost every quarter of the Allied world,” the National Gallery reported at the time. “It is difficult to over-emphasize the value of this publicity for Canada.” Thirty-six designs, commissioned by the National Gallery but financed by private companies, were produced during the war years. Another 81 were added after the war, when the project gathered steam as a peacetime initiative. A who’s who of Canada’s greatest artists, including Emily Carr, David Milne, Charles Comfort, Walter Phillips and B.C. Binning, were included. By the mid-1950s, the prints were everywhere. “What began as Jackson’s relatively simple plan to reproduce some paintings to send overseas ended up as the single most effective promotion of Canadian art to date,” wrote Jackson’s biographer, Wayne Larsen. “No longer did people have to visit art galleries – now they were exposed to the images in the course of their everyday lives.” The momentum continued into the early 1960s, after which changing tastes contributed to the program’s demise. Landscapes increasingly took a back seat to abstract expressionism and other art movements. At the same time, new national symbols were emerging, including the maple-leaf flag and the icons from Expo 67. Sigvaldason’s interest in the prints was piqued after he noticed passing references to the project in books about Canadian art. “Everybody had Continued

TOP: Lawren S. Harris, Maligne Lake, c. 1944, screenprint (Sampson-Matthews / National Gallery of Canada), 30” x 40” MIDDLE: Douglas Coupland, Harris Maligne Lake, Sampson-Matthews Variant, 2011, acrylic on linen, 38.5” x 48” RIGHT: Lawren S. Harris, Maligne Lake, Jasper Park, 1924, oil on canvas, 48” x 60”

One scene, three takes People see the world in different ways, and artists are no exception. This stunning view of Maligne Lake in Jasper National Park was first painted by Lawren Harris in 1924, then adapted as a screenprint

TOP: PHOTO: TREVOR MILLS ; MIDDLE: COURTESY THE ARTIST; COLLECTION OF TD BANK GROUP; PHOTO: RACHEL TOPHAM, VANCOUVER ART GALLERY.; BOTTOM: PURCHASED 1928 NATIONAL GALLERY OF CANADA , OTTAWA ©FAMILY OF LAWREN S. HARRIS, PHOTO ©NGC

40 Galleries West Spring 2015

during the Second World War. Some 60 years later, Vancouver artist Douglas Coupland revisited the work, bringing it into step with new ways of seeing in the digital age. www.gallerieswest.ca

SECRET HANDSHAKE DOUGLAS COUPLAND AND THE SAMPSON-MATTHEWS PRINTS By Portia Priegert

TOP: J.E.H. MacDonald, Mist Fantasy, c. 1943, screenprint (SampsonMatthews / National Gallery of Canada), 30” x 40” MIDDLE: Douglas Coupland, Mist Fantasy, 2010, acrylic on linen, 36” x 48” LEFT: J.E.H. MacDonald, Mist Fantasy, Northland, 1922, oil on canvas, 21” x 26”

Put your stamp on it Even if you don’t follow art, J.E.H. MacDonald’s 1922 painting, Mist Fantasy, Northland, may

You might doubt that Douglas Coupland – The. Ultimate. Arbiter. Of. Cultural. Cool. – would be interested in an almost-forgotten series of fusty landscape prints that once populated Canadian schools, government offices and military bases. But you’d be wrong. Coupland is fascinated by the Sampson-Matthews prints, a project that wound down when he was a youngster, and the role Group of Seven artists like A.J Casson and Lawren Harris played in what some see as a pivotal exercise in nation building. “I think it was very sweet, and slightly naïve, to assume that prints on a barracks wall or in a school hallway could inculcate a sense of national identity – and yet they did, so phooey on me,” Coupland says. “Good art always feels new, and the Canadian painting rooms at the Art Gallery of Ontario are one of my favourite places on earth.” Coupland sees his own digital reworkings of classic landscape imagery – whether Harris’ Maligne Lake, Jasper Park or Mist Fantasy, Northland, by J.E.H. MacDonald – as part of an ongoing conversation about Canadian identity. And he likes the Sampson-Matthews prints so much that he decided to include them in the Toronto reprisal of his solo exhibition, Everywhere is anywhere is anything is everything, launched last summer at the Vancouver Art Gallery. “I think it’s important to show the Sampson-Matthews prints because with them we can see a bridge across a century of Canadian landscape depiction, from the initial painting of an image, to Casson a half century later, and then the group of my own landscape works that pull the genre into this century,” Coupland says. “When I started doing the landscapes a decade back, I got dumped on a lot by people saying it was simply nostalgia, that who cares about the Group of Seven, etc. And now you see them everywhere, and the faceting mode I developed for doing the works is everywhere, too. Following your own hunches is more important than acquiescing to fleeting orthodoxies.” Coupland’s show, the first major survey of his visual production (he has also published 14 novels, including his 1991 breakout, Generation X: Tales for an Accelerated Culture, and his latest, Worst. Person. Ever.) was organized by Daina Augaitis, chief curator at the Vancouver Art Gallery. When the show opens Jan. 31 in Toronto, visitors will have to travel between two major institutions – the Royal Ontario Museum and the Museum of Contemporary Canadian Art – to see all of it. Coupland says the Sampson-Matthews prints will be displayed at MOCCA, in a hallway between his show and the National Gallery’s satellite space. Coupland first heard about the prints in the early 1980s while Continued

look familiar. That’s because Canada Post used the image for a 15-cent stamp issued in 1973 to mark the 100th anniversary of MacDonald’s birth. Coupland was a young stamp collector at the time, and the image, which was brightened for the stamp, remains a favourite. www.gallerieswest.ca

TOP: PHOTO: TREVOR MILLS; MIDDLE: COURTESY THE ARTST; PRIVATE COLLECTION; PHOTO: TREVOR MILLS, VAG; BOTTOM: ART GALLERY OF ONTARIO, GIFT OF MRS. S.J. WILLIAMS, TORONTO, IN MEMORY OF F. ELINOR WILLIAMS, 1927

Galleries West Spring 2015 41

Sampson-Mathews continued something to say about it, but nobody knew where it came from, where it went, or where it expanded to,” he says. “I found that confusing and fascinating at the same time.” He started collecting the prints and then spent more than four years putting together the 248page book, which is replete with illustrations and essays by eight guest contributors, including Douglas Coupland, Ian Thom, Alicia Boutilier, John Libby and Bill Mayberry. Sigvaldason used Zemans’ articles as his point of departure. “Without her hard work and blessing, this would be a much slimmer, less erudite volume,” he says. Co-author Steedman, former associate publisher at Douglas & McIntyre, supplied the writing and publishing expertise that Sigvaldason lacked. Tracking down images of prints he didn’t own was a challenge for Sigvaldason. He found some at the National Gallery and the McMichael Canadian Art Collection in Kleinburg, Ont., and several others at the Vancouver Art Gallery and the Art Gallery of Greater Victoria. “Everybody had a few, but nobody had a full opus,” he says. Whenever he located a new print, Sigvaldason either visited the gallery or collector and had it photographed, or asked the owner for high-resolution digital photos. He also spent hours online searching for other sources. In the end, Sigvaldason had all but four of the images he wanted to reproduce in the book. Were the prints art or just fancy posters? Art or propaganda? Pictures of pine trees or expressions of patriotism? Chocolate-box nationalism or a great populist project? “I’m not smart enough to answer that,” says Sigvaldason, who poses the questions in the book’s introduction. “I think it’s all of the above.” Debating those questions, he predicts, will keep people engaged for years to come. “Every new generation will see the project in a different way.” The book is already generating buzz in Canadian art circles and prompting inquiries from libraries and museums. But the big job of getting the prints out on tour is still ahead. “It’s like eating an elephant,” says Sigvaldason. “How do you do it? One bite at a time.”

42 Galleries West Spring 2015

Painted copy, print original

While some Sampson-Matthews prints were reproductions of existing paintings, many were not. The prints were often created from original designs by commissioned artists. And, in one case, the painting came years after the print. The work in question? A.J. Casson’s White Pine, a classic of Canadian art. The print, completed about 1948, was inspired by a watercolour Casson did near Whitefish Falls, Ont., and was a top seller. “I’ll never know why it became so popular,” Casson said later. “There’s one in almost every school.” A version in oil was not painted until 1957, when wealthy art collector Robert McMichael expressed an interest in buying it. There are minor variations between the two works – for instance, the clouds in the painting are breezier than in the print, according to McMichael, who paid $300 for the painting, all that Casson would accept. White Pine is now in the McMichael Canadian Art Collection in Kleinburg, Ont., where future generations of students can enjoy it.

www.gallerieswest.ca

LEFT: A.J. Casson in 1930 Photo: M.O. Hammond BELOW OPPOSITE: A.J. Casson, White Pine, c. 1957, oil on canvas, 30” x 40” Gift of the Founders, Robert and Signe McMichael, McMichael Canadian Art Collection, 1966.16.119 BELOW: A.J. Casson, White Pine, c. 1948, screenprint (Sampson-Matthews / National Gallery of Canada),

PHOTO: TREVOR MILLS

30” x 40”

www.gallerieswest.ca

Coupland continued attending what was then the Emily Carr Institute of Art and Design – not in a classroom, but from a teacher, Sam Carter, who collected the prints himself. Flash forward to several years ago, when Coupland discovered gallery owner Ian Sigvaldason’s website about his Sampson-Matthews collection. Coupland flew to Salt Spring Island, where Sigvaldason runs the Pegasus Gallery of Canadian Art, for a firsthand look. “It was nice to see them all together – there are still a few he doesn’t have, believe it or not – and I don’t think they’ve ever been all together like that for decades,” Coupland says. “The density was remarkable. It was also sort of like visiting a museum of dead 1940’s colours.” The experience stirred something in Coupland, who had sensed that a new type of national identity was emerging as Canadians increasingly turned their attention to the possibilities of the Internet. “I wanted to find a way of making the works approachable again,” he says. Coupland’s G7 series is composed of geometric abstractions of paintings by Emily Carr, Tom Thomson and the Group of Seven. “I wanted to create what I called secret handshakes,” Coupland writes in an essay for Sigvaldason’s book, Art for War and Peace. “These were images which, when shown to Americans or Europeans, would read as abstracted landscapes but, when shown to Canadians, created a sort of Aha! moment: ‘That’s a Lawren Harris, isn’t it? It is!’ And every time viewers saw my crystallized images and made the right artistic connections, they became just a tiny bit more Canadian than they perhaps thought they might be.” John O’Brian, an art history professor at UBC, describes the technical process in a catalogue essay for Everywhere is anywhere is anything is everything. “The laser pigment prints on watercolour paper and the acrylic paintings on canvas look as if they might have been made by peering through the lens of a kaleidoscope to record the faceted patterns inside,” O’Brian writes. But things aren’t quite that simple. “Coupland took large image files of selected Group paintings and used Adobe Photoshop to break them into polygons, determining the hue of each polygon according to his own colour sense. A print based on a sketch by J.E.H. MacDonald, for example, one of the most highly abstracted in the G7 series, is also one of the most highly coloured.” Michael Prokopow, a professor at Toronto’s OCAD University, notes the radical nature of the work. “Gone are the gestural paint strokes characteristic of art making in the 19th and 20th centuries and the defining techniques of Impressionism and Post-Impressionism transposed to art making in the nascent nation,” Prokopow writes in his essay for Coupland’s catalogue. “Instead, the familiar, stalwart images of forests and water are rendered by Coupland in clean, flat, refracted forms. “With a visual sleight-of-hand and a calculated nod to the defining, arguably sacral status of this category of Canadian art as national patrimony, Coupland uses the potentially deceptive optics of geometry in order to infer three-dimensional, contoured surfaces that result in picture planes of considerable complexity. All at once, the familiar and the new are conjoined and the status of the originals is both affirmed and questioned.” Galleries West Spring 2015 43

GRAEME PATTERSON HIS SECRET CITADEL ANIMATES THE ART OF MALE FRIENDSHIP BY KATHLEEN HIGGINS

raeme Patterson’s home sits on a quiet corner in Sackville, N.B. Remnants of snow mark the lawn and wisps of smoke curl from the chimney in his garage studio. He welcomes me and we settle in front of the stove, coffee in hand. The space is barren, save for a desk, a workbench and the skeletal start of his next project. Given the scale of his past works, and the four to five years he has devoted to each, it’s fun to imagine what will ensue. For now, though, it’s quiet, much like Patterson himself. “Space is a big thing for me,” says Patterson, who settled on the two-acre plot after spending a decade moving back and forth between Halifax and his native Saskatchewan. “It’s nice to be in a place where I can build and do crazy things, and get little bits of money here and there. I have time and space.” Patterson’s childhood fascination with stop-motion animation led him first to the Dundas Valley School of Art in Ontario and, eventually, to the Nova Scotia College of Art and Design, where he thrived, despite

ABOVE: Camp Wakonda, 2013, animation still RIGHT: Secret Citadel, 2013, multimedia installation 44 Galleries West Spring 2015

www.gallerieswest.ca

Galleries West Spring 2015 45

Player Piano Waltz, 2013, mixed-media installation, 7’ x 5’ x 3’

project, Woodrow, and his most recent undertaking, Secret Citadel, which runs Feb. 14 to April 12 at the Southern Alberta Art Gallery in Lethbridge. Patterson was a finalist for last year’s Sobey Art Award, his second time on the shortlist for the prestigious prize for artists under 40. His first, in 2009, was largely the result of a 2007 piece that saw him return to his late grandfather’s home in Woodrow, Sask. “I was kind of obsessed with that for a while, the idea of the West, and especially my grandparents and their lifestyle out there,” he says. “That rural lifestyle, it’s something I always had romantic thoughts about.” The resulting installation was composed of 10 intricate sculptural tributes to the buildings and people in the unincorporated community. It was wildly ambitious for a young artist, combining Patterson’s first love, stop-motion animation, with puppetry and large-scale sculptures, and received a good response at exhibitions across the country. But, more significantly to Patterson, the residents of Woodrow embraced it. An open house he held shortly before the work debuted at the Mendel Art Gallery revealed what he had been doing out at the old farm. Many locals made the trip to Saskatoon, bringing along friends and family to see their town, in miniature, at the gallery. Secret Citadel is another work fuelled by obsession. This time, 46 Galleries West Spring 2015

though, the theme is friendship. By melding animation and miniature models, Patterson created four large-scale tableaus that examine the complexities of male friendship during different life phases. His initial exploration of his relationship with his best childhood friend grew into The Mountain, a sprawling installation comprised of two house-like structures connected to a mountain. “There was more I needed to talk about, more I needed to explore,” Patterson says. “It wasn’t resolved for me, so I had more time with it, and it grew and grew and grew.” Three other pieces followed – Camp Wakonda, Grudge Match and Player Piano Waltz – creating a quasi-chronological journey through a lifetime of friendship. Sports and competition, in the form of wrestling, archery and table tennis, play out inside tiny living rooms and a gymnasium with a set of full-size bleachers. Two dapper animals – a buffalo and a cougar – serve as avatars, not just for Patterson and his friends, but also for the idea of masculine friendships, enacting rivalry and comradery in sculptures and accompanying animations. There’s something at once childlike and sinister about the pieces; while the anthropomorphic buffalo and cougar shoot arrows at targets inside cabin-like structures atop two life-sized bunk beds in Camp Wakonda, a bus engulfed in flames sits below them. The animation features the avatars in battle with more animalistic versions of themselves and the bunk-bed miniatures burn down to ash. Perhaps most stark and telling is Player Piano Waltz, which features a beautiful bar built into a functioning player piano, also constructed by Patterson. This take on adult friendships sees the buffalo and cougar isolated and removed from one another, not quite connecting. “That’s why it’s the player piano,” says Patterson. “It just kind of loops the song, like we’re just stuck in this. We don’t really change the way we interact with our friends any more. We’re just locked into our own world. We have our friends, but we’re just looping.” As a whole, the pieces create an over-arching narrative, at once intensely personal, reflecting Patterson’s own experiences and relationships with his male friends, but also a general commentary on the ebb and flow of friendship relevant to any viewer. The animal avatars allow a universality Patterson considers vital. “That’s why I removed language from it, why there’s no dialogue,” he says. “There are symbols, visual stuff, but it’s nothing that couldn’t be taken in another way. I’ve intentionally opened myself up, but I’m only using that as a way to connect with people, to somehow express a language that’s been part of me. But people don’t have to know any more about me. Maybe they know more about themselves or somebody else, and relate it to another experience.” Obsession is a funny thing. Patterson’s enveloping, almost overwhelming installations contain such detail that each viewing reveals more nuances and surprises. Sculpture, sound and animation create layer upon layer of meaning and experience, so one can almost feel the emotion poured into every figure and sculpture. Patterson lives with his projects for years, not only while creating them, but also in the way he works to position and install them in different venues. In the end, each obsession is put to bed, laid out to be interpreted and internalized by viewers, clearing the way for the next obsession to take hold and take form. www.gallerieswest.ca

PHOTO: MIKE LALICH

an inauspicious start. “I guess my portfolio was pretty bad,” he says with a laugh. “But I did this stop-motion animation, and … after I did really well within that first year, these hilarious profs told me: ‘Your portfolio wasn’t great, but there was something in that animation that showed you’re dedicated.’ ” While at art school, Patterson became interested in painting and sculpture, which he combined with animation for his 2002 award-winning student project, Don’t Ride Shopping Carts. He soon galvanized into a practice that incorporates different media and multiple layers, creating what he calls full-bodied installations that develop over time. This exacting process would be key in his major

SAN

MIGUEL WESTERN CANADA’S CONNECTION TO MEXICO

BY PAUL GESSELL

PHOTO: GUANAJUATO TOURISM SECRETARIAT

popular tourist attraction in San Miguel de Allende, a colonial city in central Mexico, is an unfinished mural by one of the country’s most celebrated artists, David Alfaro Siqueiros. The mural is inside an 18th-century convent that, in the 1930s, became an art school called Escuela Universitaria de Bellas Artes. A geometric abstraction in the modernist style, it covers the walls and vaulted ceiling of a room the size of a tennis court, and was meant to tell the life story of San Miguel’s favourite son, 19th-century revolutionary hero Ignacio Allende. But there were problems. Siqueiros was temperamental, a Communist and something of a revolutionary himself. After a quarrel with the building’s owner, too much of a capitalist for an artist who helped establish the Mexican mural movement with Diego Rivera and José Clemente Orozco, Siqueiros abandoned the project in 1948. In many ways, the mural is an apt symbol for the often-rocky relations between San Miguel and its eccentric, counter-culture artists. Hundreds of leftist bohemians from Canada and the United States came to San Miguel after the Second World War to study art at the Escuela, founded with the help of U.S. painter Stirling Dickinson in 1938, and later, the Instituto Allende, when it became the favoured art school. American legislation facilitated free education for war veterans, even at some foreign schools. Many jumped at the chance to study art in an exotic environment where, as Life magazine reported in 1948, “apartments are $10 a month, servants are $8 a A picturesque street in San Miguel de Allende, Mexico.

www.gallerieswest.ca

Galleries West Spring 2015 47

BELOW: Tom and Donna Dickson in San

month, good rum or brandy 65 cents a quart, cigarettes are 10 cents a package.” Mexican authorities were not always welcoming. From the pulpit, priests condemned the students’ drunken partying. During the 1950s’ McCarthy era, suspected Communists, including San Miguel’s most famous Canadian ex-pat, Leonard Brooks, were expelled, but usually only briefly. Jack Kerouac’s Beat Generation disciples clashed with police in the 1960s. Later, hippies arrived and were sometimes forcibly given haircuts by the police. These days, the young, starving artists that so long roamed San Miguel’s streets are being squeezed out, this time by economics. While some bargains can be found, housing prices are often comparable to those in Canada and the United States. A downtown real estate office recently advertised houses with price tags exceeding $1 million. The result is that most Canadian artists in San Miguel nowadays are older people with pensions and investments trying to turn a longtime hobby into a post-retirement career. Vancouver-born Donna Dickson calls this new wave of artists “wannabes.” Dickson and her artist husband Tom, both in their 60s, are part of a dying breed in San Miguel. They embraced leftist ideals back in the 1960s, travelled the world on the cheap, developed careers as artists and, before coming to San Miguel in 2006, ran a gallery on B.C.’s Hornby Island. Now, they have their own San Miguel shop, Galeria Dickson, mere steps from the tourist-filled central square, El Jardin, to sell their paintings of local street scenes and nearby rural landscapes. Donna also teaches art to the many foreigners who come to San Miguel each year for a week or two of lessons. Her specialty is plein air painting. 48 Galleries West Sp;ring 2015

Donna says she and Tom avoid the many openings and charity events favoured by the “wannabe” artists. “Our life is visual,” says Donna. “It’s pretty fulfilling to spend your life painting. We don’t need the partying.” Meanwhile, another B.C. artist, Suzanne Mir from Victoria, was attending the opening of a quilt and fabric arts show at Bordello Galeria. Sponsored by a group of mainly ex-pat artists to raise funds for a local seniors’ residence, it was held in a room containing photos of former resident prostitutes. Mir, a member of the group, ran the Gallery on Herald in Victoria for many years. Now, she and her husband split their time between Victoria and a rural property near San Miguel. Originally a painter, she is experimenting with mixed media. Two of her metaland-fabric assemblages were in the show. She’s no longer attached to any one gallery in Mexico or Canada, but continues to sell work created in her spacious rural studio. She believes the tranquility of her “ranchito” has channelled her art in satisfying directions. “I’m not distracted,” she says. “It’s like a monastery or a convent here.” Many of the young, adventurous artists who studied and painted in San Miguel in the 1950s and 1960s returned to Canada to become successful artists. Sometimes their work still echoes their Mexican experience. James Gordaneer, now living in Victoria, was a young art teacher at the Doon School of Fine Arts near Kitchener, Ont., when he first went to San Miguel in the 1950s, spending two winters there. Other Doon teachers from that era who travelled to San Miguel included Jack Bechtel, Alex Miller and Toni Onley. www.gallerieswest.ca

PHOTO: ROBERT BARROS

Miguel de Allende.

LEFT: Richard Reid, Juego, 1957, oil on canvas, 35” x 17”

BELOW: David Alfaro Siqueiros, Vida y Obra del Generalísimo don Ignacio de

RIGHT: Jane Anne Evans, Sierra Gorda 3, 2006, constructed photo, archival print

Allende, 1948, unfinished mural

PHOTO ABOVE RIGHT: GUANAJUATO TOURISM SECRETARIAT

on Epson ultrasmooth, 20” x 66”

“For someone who had never been away from Broadview and Dundas (in Toronto), it was a real treat for me,” says Gordaneer, now in his 80s. In San Miguel, he “did nothing else but paint” for the first time in his life. It was heaven, he says. He was not a big player in the party scene but does recall Brooks’ home as “our headquarters.” Elements of surrealism and the bright pastel palette favoured by so many Mexicans are evident in his recent paintings. A friend of Gordaneer’s, Richard Reid, came to San Miguel in 1957 for one winter after graduating from the University of Manitoba. Now based in Christina Lake, B.C., Reid says the light and colours of San Miguel still influence his art. He remembers going to Mexico with $600 in his pocket and returning six months later with $100. Reid shared a house in San Miguel with two other Winnipeg artists – his future wife, Beverley Williams, and Don Reichert. During the 1960s, a strong relationship developed between the Alberta College of Art in Calgary and San Miguel’s Instituto Allende. Among the Calgary students who attended the Instituto were Roy Kiyooka, Wendy Toogood and Ron Moppett. Teacher Ron Spickett, who had a foot in each school, scored a coup in the 1960s when he convinced the Instituto to give, for several years, two of its 10 scholarships for non-Mexicans to students from Calgary. Among the recipients was John Hall, who first went to San Miguel in 1965. Hall’s love affair with the city lasted for decades. He and his artist wife Joice commuted annually between Calgary and San Miguel for years. “I like everything about the place,” says Hall, who now lives near Kelowna. “I like the oldness of it. I like the textures of things.” In the 1960s, the notion that artists had to go to Paris to learn www.gallerieswest.ca

their craft still existed. But Hall, and others, rebelled. “We were turning our back on that,” says Hall, “because there was a new belief that the art of the time was coming from the (North American) continent. Pop art was just starting to rear its head and Abstract Expressionism was still big. Minimalism was starting to come along. And those were all movements that seemed to have their roots on this continent.” Other Western Canadian artists with strong connections to San Miguel include Wynona Mulcaster, Bruce O’Neil, Don Mabie and Jane Anne Evans. San Miguel is still considered safe despite the violence plaguing some parts of Mexico. Nevertheless, artist Marcia Dworkin, formerly of Toronto, died from injuries sustained during a home invasion in 2013. “The ex-pat community is quite affluent – lots of jewelry,” says Barry Coombs, a Toronto artist who has visited San Miguel annually for a decade, giving classes in watercolour and ink drawing. “I call it the facelift capital of the world.” The most famous Canadian artist in San Miguel these days is Toller Cranston, the legendary figure skater. He is described by more conservative artists as “flamboyant” and attention-seeking. But, unlike the work of many other ex-pats, Cranston’s paintings of brilliantly coloured fantasy figures are selling briskly. Recently, a for-sale sign posted on Cranston’s 16th-century, twoacre estate in central San Miguel fuelled gossip about his future. Everyone had a different story. But Cranston himself told tourists who visited his home, a dazzling temple to extravagance, that the city’s most successful, eccentric counter-culture Canadian would be staying in San Miguel. Galleries West Spring 2015 49

AUCTIONS

QUIET SEASON FOR ABSTRACTS FROM THE 1950S AND 1960S BY DOUG MACLEAN The Internet is a great source of information, but the fall auction season featured a veritable tsunami of art offered for sale online by auction houses across Canada. One can find bargains, but sadly, it’s a virtual overload for the market to digest in a short time. Heffel Fine Arts started the trend in Calgary with the download of some 200 Imperial Oil works online. Results were mixed with some important pieces falling well below retail values. However, the subsequent live sale of 88 works was successful with some substantial values, notably for Nicholas de Grandmaison’s Portrait of a Plains Indian at $44,250. Sales were to benefit United Way partners across Canada. Meanwhile, Hodgins Art Auctions offered over 300 works in a two-night sale. The catalogue cover was illustrated with a fine painting by George Pepper, Tobacco Patch, St. Urbain, P.Q. A work of this quality by Pepper is a rare find in the West. It sold for $21,060.

Sybil Andrews’ Coffee Bar, 1952, showed sustained interest for this fine Canadian printmaker at $37,440. I was pleasantly surprised to see a positive result for Arthur Shilling, a brilliant painter of portraiture. His Ojibwa Portrait found solid interest at over $12,000. Hodgins followed the live sale with an online offering. Also in Calgary, Levis Fine Art Auctions’ live sale had more than 500 lots on offer. A few items came from the estate of Jim Coutts, a great collector and supporter of many Western artists. Highlights included Joe Fafard’s Vincent Van Gogh, 1983; Illingworth Kerr’s Mountain Sheep, 1956; Ernest Lindner’s Smoke Pattern, 1941; Luke Lindoe’s Untitled - Winter Forest; and a wonderful early John Snow, Roadside, 1953. Other than the Fafard, you can detect my pattern: excellent, early examples by good artists, works that 50 Galleries West Spring 2015

are increasingly rare in this day and age. High prices are not everything. Two other pieces at Levis had me reaching for my wallet: Louis Archambault’s Untitled - The Priest and Gordon Rayner’s Pot Luck. It’s rare to see such great works by either artist in the West. The sale had good results overall and was followed by an online sale later in the season. My Toronto rounds began with previews, galleries, walks and hustle. Waddington’s Canadian Fine Art was first and it started well with a strong sale of an early Jack Bush, Côte St. Rose, 1934, at $15,340. This is a beautiful early example of his work, relating in some ways to his later abstract paintings, the subject of an incredible survey at the National Gallery of Canada until Feb. 22. Another favourite was Sorel Etrog’s Harbour at Night, 19531954. One of his incredible constructive sculptures, rarely seen or even known within art circles, it sold at $47,200. There was also a wonderful painting by Graham Coughtry, Two Figure Series XIX, 1964. Coughtry was one of the lively Toronto Painters group. His sprawled-out figures, full of colour and energy in thick oil, were cutting edge. It was time we saw a great one of his do well, and it did, selling for $129,800. Another fine piece was J.E.H. MacDonald’s Near Mt Odaray, Rocky Mts, 1928. It was so lively in colour and light it made me think he was having a fine day. And possibly one of the best Lawren Harris paintings I’ve seen in some time, from the early boxcar trips to Algonquin, sold for $188,000. Sybil Andrews hit a new high at $106,200 with the wonderful print Speedway, 1934. Although tiny and in a vintage frame grey with age, J.E.H. MacDonald’s Sketch for Tracks and Traffic, 1912, reached $200,600. It was an incredible find, illustrating his brilliant control of paint and subject. Linda Rodeck’s diligence in finding rare and fresh works to bring to market proved successful overall. www.gallerieswest.ca

OPPOSITE FAR LEFT: Gordon

RIGHT: Dorothy Elsie Knowles,

Appelbe Smith, Winter Forest D,

Soft Green in May, 1979,

1979, acrylic on canvas, 60” x 67”

acrylic on canvas, 78” x 49”

— $88,500 at Heffel

— $29,900 at Consignor

OPPOSITE LEFT: John Graham

BELOW, RIGHT: George Douglas

Coughtry, Two Figure Series XIX,

Pepper, Tobacco Patch, St. Urbain,

1964, oil on canvas, 72” x 60”

P.Q., no date, oil on panel, 12” x 14”

— $129,800 at Waddington’s

— $21,060 at Hodgins

Heffel presented its two-part fall sale at the University of Toronto. Combinations of work at the preview were well thought out. Paintings by Gordon Smith (Still Life with Red & Black and Winter Forest D), Pierre Gendron (Les dragons), and Guido Molinari (Quantificateur bleu), stood out for me, as did Paterson Ewen’s Lightning Storm and Ivan Eyre’s Uplands. Sales results were strong. Paintings by William Kurelek – there were 10 – sold well throughout the afternoon. Surprises were the Ewen, which sold at $153,400, a huge result for a painting recently priced under $10,000 in a Toronto gallery. The Eyre painting took off and sold for $318,600, a record. Highlights at Heffel’s second part included J.E.H MacDonald’s Winter Study, 1912. This tiny painting sparkled with light and sold for $41,300. A classic subject by Robert Pilot, Market Place, 1924, sold for $188,800. The room was quiet as some lots fell short of estimates, until a small lively panel by Arthur Lismer Georgian Bay, Near MacCallum’s Island, 1916, was brought to the easel. Lismer captured the energy surrounding him, with passing clouds and a roaring wind, from a place so important to the Group of Seven. It sold for $88,500. Lawren Harris stole the show with the painting, Houses on Gerrard Street, circa 1918. If one were to own a perfect small Toronto street scene, this would be it. Full of colour and light and well structured, the sketch sold for $1.1 million, the highlight of the evening. Another small work caught my eye at preview, A.Y. Jackson’s, Indian Home, Great Slave Lake, Fort Resolution, circa 1928. Jackson captured everything important in this sketch, and his brush was lively and full of colour as he painted the owner of a cabin, his dogs, and a tree draped with laundry. The small panel, a perfect example of Canadian impressionism, sold for $47,200. The final preview in Toronto was Consignor Canadian Fine Art. Its auctions are online only, but previews are open to the public. Worth noting was William Kurelek’s Ukrainian Proverb, a small work with a fascinating provenance and still in the original Kurelek frame. It sold for $41,400. A vintage work by Norval Morrisseau, Warrior, circa 1965-1968, was a perfect example of what a “true” Morrisseau is all about. Importantly, the provenance was accurate and the quality of the image perfect. It sold for $27,600. The only Dorothy Knowles’ work noted in the sales was a spectacular acrylic painting of the late 1970s from the collection of Rothmans, Benson and Hedges. Soft Green in May sold for $29,900 – a major work for a good price. Late in the sale was a perfect Arthur Shilling, The Artist’s Niece Margaret, 1972, another example of his brilliance as a portrait painter. It sold at $3,220. The emotional value of his subject was noticeable and captured perfectly. Overall, there were a few surprises. Notably, it seems the bloom is off the rose for sales of abstracts of the ‘50s and ‘60s by Painters 11. Where have those collectors gone? Maybe they’re feeling full. Or maybe they need to explore beyond the name brands. www.gallerieswest.ca

Douglas Maclean of Canadian Art Gallery is an art adviser and private dealer in Canmore, Alta. Prices include buyers’ premiums. For more images go to: gallerieswest.ca/art-reviews/auction-reviews

SPRING 2015 AUCTIONS

Consignor Canadian Fine Art (online) - consignor.ca Heffel Fine Art, Vancouver and Toronto - heffel.com Hodgins Art Auctions, Calgary - hodginsauctions.com Lando Art Auctions, Edmonton - landoartauctions.com Levis Fine Art Auctions, Calgary - levisauctions.com Maynards Fine Art & Antiques, Vancouver - maynardsfineart.com Waddington’s Canadian Fine Art, Toronto - waddingtons.ca Walker’s Fine Art & Estate Auctioneers, Ottawa - walkersauctions.com Galleries West Spring 2015 51

GALLERY SOURCES Your guide to more than 200 fine art galleries in Western Canada For our comprehensive guide go to www.gallerieswest.ca

BRITISH COLUMBIA GALLERIES ABBOTSFORD Public Gallery THE REACH GALLERY MUSEUM ABBOTSFORD 32388 Veterans Way, Abbotsford, BC V2T 0B3 T. 604-864-8087 F. 604-864-8048 info@thereach.ca www.thereach.ca The Reach Gallery Museum Abbotsford is committed to preserving and sharing the stories of our rich and diverse cultural heritage and showcasing the best in visual arts. Exhibitions include local history, local, regional and national visual artists and Canadian travelling exhibitions. Tue to Fri 10 am - 5 pm, Thurs till 9 pm, Sat, Sun noon - 5 pm. BOWSER Commercial Gallery SALISH SEA MARKET Box 86, 6996 West Island Hwy, Bowser, BC V0R 1G0 T. 778-424-2012 insight@salishseamarket.com www.salishseamarket.com Opened in 2010 with a Where did you find that? mantra, the gallery is directed by founding partner Sharon Waugh. It offers artistic expression in pottery, glass, culinary, metal, paint, jewellery, wood, photography, fabric and literature from the shores of the Salish Sea. Located in Magnolia Court, next to the Library. Mon to Fri 10 am - 5 pm, Sat & Sun 11 am - 4 pm. ENDERBY, BC Cooperative Gallery COURTYARD GALLERY 907 Belvedere St, Enderby, BC V0E 1V0 T. 250-832-8898 info@courtyardgallery.ca www.courtyardgallery.ca Recently opened with support from the Enderby and District Arts Council, the gallery shows the work of more than twenty artists — paintings, fibre art, sculpture, stained glass, woodwork, and more. Guests can meet the creators of the works who staff the gallery. Offers art classes and workshops. Tues to Sat 11 am - 4 pm. GRAND FORKS Public Gallery GALLERY 2 ART AND HERITAGE CENTRE 524 Central Ave, PO Box 2140, Grand Forks, BC V0H 1H0 T. 250-442-2211 F. 250-442-0099 gfag1@shaw.ca www.gallery2grandforks.ca Established in 1984 the gallery is committed to the idea that the visual arts play a fundamental role in forming and fostering the regional and national cultural heritage. To do so, the gallery presents a balanced exhibition and educational program rep-

BRITISH COLUMBIA INDEX Abbotsford ............................................................ 52 Bowser................................................................... 52 Enderby ................................................................. 52 Grand Forks ........................................................... 52 Kamloops............................................................... 53 Kelowna................................................................. 53 Nanaimo ................................................................ 53 Penticton ............................................................... 53 Qualicum Bay/Beach ............................................... 53 Salmon Arm........................................................... 54 Salt Spring Island ................................................... 54 Sidney .................................................................... 54 Silver Star Mountain ............................................... 54 Vancouver (Greater) ............................................... 54

52 Galleries West

Spring 2015

Cara Barer’s work is a real page-turner. Using old books for her latest series, Origins, she revisions them as organic objects, manipulating them by curling their pages and dying them so they evoke flowers in bloom or butterflies in flight. She then photographs each piece, creating a record of what she calls “that book and its half-life” and raising questions about digital ephemera displacing physical objects. “I arrive at some of my images by chance and others through experimentation,” says Barer, who is based in Texas. “Without these two elements, my work would not flow easily from one idea to the next.” April 16 to April 30 at the Bau-Xi Gallery in Vancouver Cara Barer, Dahlia, 2014, archival pigment print, 50” x 50”

Vernon................................................................... 57 Victoria (Greater).................................................... 57 Whistler ................................................................. 58 ALBERTA INDEX Banff...................................................................... 59 Black Diamond ....................................................... 59 Bragg Creek ........................................................... 59 Calgary .................................................................. 59 Camrose ................................................................ 62 Canmore ................................................................ 62 Cochrane ............................................................... 63 Cold Lake ............................................................... 63 Drumheller ............................................................. 63 Edmonton (Greater) ............................................... 63

Grande Prairie ........................................................ 65 Jasper .................................................................... 66 Lethbridge ............................................................. 66 Medicine Hat ......................................................... 66 Okotoks ................................................................. 66 Pigeon Lake............................................................ 66 Ponoka .................................................................. 66 Red Deer ................................................................ 66 SASKATCHEWAN INDEX Assiniboia .............................................................. 67 Estevan .................................................................. 67 Melfort .................................................................. 67 Moose Jaw............................................................. 67 North Battleford ..................................................... 67

Regina ................................................................... 67 Saskatoon .............................................................. 68 Swift Current.......................................................... 69 Yorkton .................................................................. 69 MANITOBA INDEX Brandon................................................................. 69 Morden ................................................................. 70 Portage La Prairie ................................................... 70 Selkirk .................................................................... 70 Winnipeg ............................................................... 70 NORTHERN TERRITORIES INDEX Yellowknife ............................................................ 71

www.gallerieswest.ca

resenting historical and contemporary works by established and emerging regional, national and international artists. Tues to Fri 10 am - 4 pm, Sat till 3 pm. KAMLOOPS Commercial Gallery CHAZOU GALLERY 791 Victoria St, Kamloops, BC V2C 2B5 T. 250-374-0488 chazou@telus.net www.chazou.com Chazou Gallery is an exhibition and project space that caters to contemporary Canadian and international visual artists. The solo, group or collaborative exhibitions are curated, and change five times a year. The space consists of three exhibition rooms that can be transformed into a single gallery. Usually Wed to Fri 11 am - 4 pm, or by appointment. Public Gallery KAMLOOPS ART GALLERY 101-465 Victoria St, Kamloops, BC V2C 2A9 T. 250-377-2400 F. 250-828-0662 kamloopsartgallery@kag.bc.ca www.kag.bc.ca The Kamloops Art Gallery is the principal gallery in the southern interior of British Columbia, supporting contemporary and historical visual art on a local, national and international level as well as hosting ongoing public and educational programs. The KAG is also home to a permanent collection and The Gallery Store. Mon to Sat 10 am - 5 pm; Thurs till 9 pm with free admission sponsored by BCLC. KELOWNA Commercial Galleries HAMBLETON GALLERIES 1290 Ellis St, Kelowna, BC V1Y 1Z4 T. 250-860-2498 info@hambletongalleries.com www.hambletongalleries.com/ Established in 1964, the Hambleton has provided a showcase for leading Canadian artists whose works grace many national and international private and corporate collections. At their new location, owners Stewart and Tracy Turcotte offer investment art opportunities to their clientele and have added ceramics, and bronze sculpture to complement the paintings. Tues to Sat 10 am - 5:30 pm. SOPA FINE ARTS 2934 South Pandosy St, Kelowna, BC V1Y 1V9 T. 250-763-5088 info@sopafinearts.com www.sopafinearts.com Okanagans major contemporary art gallery, Sopa Fine Arts prides itself on providing an ever-changing selection of contemporary art from leading international artists, with new exhibitions opening the first Thursday each month. Sopa features high calibre, original and innovative artworks; in the media of painting, sculpture, and assemblage. Tues to Sat 11 am - 5 pm, Sun noon - 4 pm or by appointment. TURTLE ISLAND GALLERY 115-1295 Cannery Lane, Kelowna, BC V1Y 9V8 T. 250-717-8235 info@turtleislandgallery.com www.turtleislandgallery.com The gallery has a stunning selection of Northwest Coast wood carvings including ceremonial masks, totem poles, talking sticks, plaques and bentwoodstyle boxes. Also stone carvings, hand-carved gold and silver jewellery, original paintings and limited edition prints both contemporary and traditional. Mon to Sat 10 am - 5:30 pm (Summer only: also Sun 11 am - 4 pm). TUTT STREET GALLERY 9-3045 Tutt St, Kelowna, BC V1Y 2H4 T. 250-861-4992 F. 250-861-4992 info@tuttartgalleries.com www.tuttartgalleries.ca Established in 1984, Tutt Street Gallery is a recognized dealer of original fine art — representing regional, national and international artists whose works can be found in private, corporate, and government collections, in Canada and abroad. The gallery extends a warm welcome to art enthusiasts and experienced collectors. Tues to Fri 10 am - 5 pm, Sat 10 am - 4 pm or by appt. Public Gallery KELOWNA ART GALLERY 1315 Water St, Kelowna, BC V1Y 9R3 T. 250-762-2226 F. 250-762-9875 info@kelownaartgallery.com www.kelownaartgallery.com Located in the heart of Kelownas Cultural District, the gallery serves the Central Okanagan Valley with

www.gallerieswest.ca

regular exhibitions by contemporary Canadian artists, while the permanent collection has a focus on Okanagan and other BC-based artists. The gallery is a unique venue for special events and offers a variety of classes, workshops, etc for people of all ages. Tues to Sat 10 am - 5 pm, Thur till 9 pm, Sun 1 pm - 4 pm. NANAIMO Commercial Gallery BARTON LEIER GALLERY DOWNTOWN 99 Chapel St, Nanaimo, BC V9R 5H3 T. 250-591-1111 bartonleiergallery@shaw.ca www.bartonandleiergallery.com Nixie Barton and Grant Leier are professional fulltime artists represented and exhibiting across Canada. Well-known for the use of colour and unusual imagery combinations, their studio/gallery and garden near Ladysmith has long been a seasonal destination. This downtown gallery is open year-round and includes works by other selected artists. Mon to Sat 10 am - 5 pm, Sun 11 am - 4 pm. Cooperative Gallery ART 10 GALLERY 123-4750 Rutherford Rd, Nanaimo North Town Centre, Nanaimo, BC V9T 4K6 T. 250-756-6136 art10gallery@shaw.ca www.myartclub.com/art.10.gallery Established in 1982 by 10 artists, Art 10 Gallery now features the work of more than 20 artists plus a jeweller from Central Vancouver Island. This popular artist-run gallery offers unique pottery and a range of painting styles to suit varied tastes. Open daily during regular Nanaimo North Town Centre mall hours. Public Gallery NANAIMO ART GALLERY 900 Fifth St, Nanaimo, BC V9R 5S5 T. 250-754-6350 info@nanaimogallery.ca www.nanaimoartgallery.com Nanaimo Art Gallery is the regions public art gallery and offers contemporary exhibitions, and art education programs for all ages. The Gallery has two locations: the Campus Gallery at Vancouver Island University (Mon to Fri 10 am - 5 pm, Sat noon - 4 pm) and the Downtown Gallery at 150 Commercial Street (250-754-1750) in Nanaimos Arts District (Tues to Sat 10 am - 5 pm).

The Salt Spring National Art Prize • 2 dimensional and 3 dimensional art • open to Canadian residents • over $24,000 in prizes

CALL FOR ARTIST SUBMISSIONS January 15 to May 31, 2015 Details and entry form on website Juried exhibition on Salt Spring Island September 25 to October 26, 2015 Winners presented at Gala Awards Night October 24, 2015

www.saltspringartprize.ca Sponsored by

PENTICTON Commercial Gallery THE LLOYD GALLERY 18 Front St, Penticton, BC V2A 1H1 T. 250-492-4484 art@lloydgallery.com www.lloydgallery.com New location on colourful Front St. Experience the beauty of the Okanagan through artists eyes. Browse through a large viewing gallery hung French salon-style. Original oil, acrylic, watercolour, pastel, mixed media and sculptures depict the many faces of the Okanagan, Canada and Asia. Mon to Sat (Summer) Tues to Sat (Winter) 9:30 am - 5:30 pm. Public Gallery PENTICTON ART GALLERY 199 Marina Way, Penticton, BC V2A 1H3 T. 250-493-2928 F. 250-493-3992 info@pentictonartgallery.com www.pentictonartgallery.com A place of inquiry, interest and enjoyment, the Penticton Art Gallery presents contemporary and historical exhibitions of both established and emerging artists. Visit website for current exhibition, program and event listings. Admission: Adults $2, weekends by donation; Students and children free. Tues to Fri 10 am - 5 pm, Sat and Sun noon - 5 pm. QUALICUM BEACH Public Gallery THE OLD SCHOOLHOUSE ARTS CENTRE 122 Fern Road West, Qualicum Beach, BC V9K 1T2 T. 250-752-6133 gbtosh@shaw.ca www.theoldschoolhouse.org The arts centre provides rewarding opportunities to enjoy, learn and experience art with three galleries offering a pleasant venue for appreciating and purchasing distinctive works. Artist studios are open to visitors. Creations by artisans are available in the gift shop. Gallery concerts on Sundays. Mon noon - 4:30 pm; Tues - Sat 10 am - 4:30 pm; (Summer only: Sun noon - 4 pm).

Galleries West Spring 2015 53

SALMON ARM

February/March 2015

(Seeing (Red)) Tricia Sellmer, Do You Want to Know a Secret? #2, acrylic on canvas, 16”x16”

Opening Reception Thur, February 12 @ 6pm – 9pm

Ann Diehl Royden Josephson Marie Scott Tricia Sellmer April/May 2015

Drawing on the Edge Opening Reception Thur, April 9 @ 6pm – 9pm

Aganetha Dyck Laura Hargrave Ann Kipling Tricia Sellmer

791 Victoria St Kamloops, BC, V2C 2B5 250-374-0488 chazou@telus.net www.chazou.com

Shannon Ford Summertime Snooze Mixed Media 24” x 24”

Nadines 3101 - 31st Ave, Vernon P. 250.542.8544 • C. 250.308.0758 www.nadinesfineart.com

Fine Art & Frames

• Working studio featuring Alberta artist Therese Dalë-Kunicky • Unique paints, personally hand-ground and created on-site • In the heart of ‘Olde Towne Okotoks’

Bond of Daughters, oil on canvas, 40” x 40”

45 McRae ST OKOTOKS, AB T1S 1B3 403-601-0348 dgallery@telus.net www.dalegallery.ca

Public Gallery SALMON ARM ART GALLERY 70 Hudson Ave NE, PO Box 1181, Salmon Arm, BC V1E 4P6 T. 250-832-1170 sdarts@telus.net www.salmonarmartscentre.ca Built in 1937 as Salmon Arms first post office, the Salmon Arm Arts Centre has presented visual arts exhibitions and community arts events since 1994. Exhibitions feature contemporary local, regional and international artists in a variety of media. Admission by donation. Tues to Sat 11 am - 4 pm. SALT SPRING ISLAND Commercial Galleries PEGASUS GALLERY OF CANADIAN ART Mouats Mall, 1-104 Fulford-Ganges Rd, Salt Spring Island, BC V8K 2S3 T. 250-537-2421 F. 250-537-5590 pegasus@saltspring.com www.pegasusgallery.ca Established in 1972, Pegasus offers investmentquality historical Canadian art including The Group of Seven, Robert Pilot, WJ Phillips, Sybil Andrews, The Beaver Hall Group and Cornelius Krieghoff. They also represent fine contemporary painters and sculptors as well as rare Northwest Coast Native art and baskets. Summer: Mon to Sat 10 am - 5 pm, Sun noon - 5 pm; Winter: Tues to Sat 10 am - 5 pm, Sun, Mon by appt. STEFFICH FINE ART GALLERY 3105-115 Fulford-Ganges Rd, Salt Spring Island, BC V8K 2S3 T. 250-537-8448 F. 250-537-9233 Toll Free: 1-877-537-8448 info@steffichfineart.com www.steffichfineart.com Formerly the Thunderbird Gallery, established in 1992. Contemporary, historic, Inuit and Northwest Coast art. Local and national artists. Kids and dogs welcome. Mon to Sat 10 am - 5 pm, Sun 11 am - 4 pm. SIDNEY Commercial Gallery PENINSULA GALLERY 100-2506 Beacon Ave, Landmark Bldg., Sidney, BC V8L 1Y2 T. 250-655-1282 Toll Free: 1-877-787-1896 pengal@pengal.com www.pengal.com Since 1986 the gallery has offered original paintings and sculptures as well as a wide range of limited edition prints for sale onsite and through comprehensive website. Mon to Sat 9 am - 5 pm, Sun 11 am - 4 pm. SILVER STAR MOUNTAIN Commercial Gallery GALLERY ODIN 215 Odin Road, PO Box 3109, Silver Star Mountain, BC V1B 3M1 T. 250-503-0822 F. 250-503-0822 info@galleryodin.com www.galleryodin.com The gallery proudly represents a talented group of Okanagan, British Columbian and Canadian artists, some of them well-established and highly accomplished, others just emerging, but all of them work in a distinctive and original style — oils, acrylics, watercolours, scrimshaw, sculpture, pottery. (Summer) Thur and Sat 2 pm - 6 pm; (Winter) Wed and Sat 1 pm - 6 pm or by appt. GREATER VANCOUVER Commercial Galleries ART WORKS GALLERY 225 Smithe St, Vancouver, BC V6B 4X7 T. 604-688-3301 F. 604-683-4552 Toll Free: 1-800-663-0341 info@artworksbc.com www.artworksbc.com Celebrating 25 years in business, Art Works offers one of the largest selections of art and framing solutions in Western Canada. Providing installation services, custom-framed mirrors and large-scale commissions. Deliver locally and ship worldwide. Art Works is a long-time official sponsor of the Interior Designers Institute of BC. Mon to Fri 9 am - 6 pm, Sat 10 am - 6 pm, Sun noon - 5 pm. BAU-XI GALLERY 3045 Granville St, Vancouver, BC V6H 3J9 T. 604-733-7011 F. 604-733-3211 info@bau-xi.com www.bau-xi.com

54 Galleries West Spring 2015

Vancouver artist Tony Kristopaitis loves to garden – and the evidence is in his work. “I pay attention to the order and randomness of organic growth and decay in the garden,” he says. “This natural cycle continues in my painting as I allow the paint to flow naturally as a statement of the medium.” Kristopaitis, who studied at Emily Carr University, says his interest in layering and transparency reflect his training in glass. He shows with Tannis Turner and Eva Francis in Nature Re-imagined. Jan. 27 to Feb. 15 at the Ferry Building Gallery in West Vancouver Tony Kristopaitis, Nigella, 2014, encaustic, 60” x 52” BUCKLAND SOUTHERST GALLERY 2460 Marine Drive, West Vancouver, BC V7C 1L1 T. 604-922-1915 bsag@telus.net www.bucklandsoutherst.com An eclectic gallery owned by Chris Boulton. His aim is to hang quality art without too high a price tag. The gallery represents 18 artists, many with international roots. Mon to Sat 10 am - 5.30 pm, Sun noon to 4 pm. FRAGRANT WOOD GALLERY 2447 Granville St, Vancouver, BC V6H 3G5 T. 604-558-2889 F. 604-558-2890 info@fragrantwood.com www.fragrantwood.com The Fragrant Wood Gallery, located on popular South Granville street, was established in 2011. It focuses on wooden sculptures, oil paintings, batik paintings and other artworks created by wellknown artists in Southeast Asia. The delicate works reflect the artists unique experiences and interpretations. Daily 10 am - 6 pm. GALLERY JONES 1725 West 3rd Ave, Vancouver, BC V6J 1K7 T. 604-714-2216 info@galleryjones.com www.galleryjones.com The gallery represents established and emerging Canadian and international artists in the mediums of painting, sculpture and photography. Exhibitions change monthly. Tues - Fri 11 am - 6 pm, Sat noon - 5 pm. INITIAL GALLERY 2339 Granville St, Vancouver, BC V6H 3G3 T. 604-428-4248 info@initialgallery.com www.initialgallery.com One of Vancouvers newest contemporary art galleries exhibits a series of philosophically based shows in its inaugural year. Tues to Sat noon - 6 pm. JENNIFER KOSTUIK GALLERY 1070 Homer St, Vancouver, BC V6B 2W9 T. 604-737-3969 F. 604-737-3964

www.gallerieswest.ca

info@kostuikgallery.com www.kostuikgallery.com KATHERINE MCLEAN STUDIO 1-1359 Cartwright St (rear), Railspur Alley, Granville Island, Vancouver, BC V6H 3R7 T. 604-377-6689 katherinemcleanstudio@gmail.com www.katherinemclean.com Katherine McLean’s working studio and gallery features her colourful still-life ceramics and large encaustic paintings with the garden as theme. Visitors can watch as her art comes alive. Located in Railspur Alley directly opposite the Agro Cafe in the heart of Granville Island. Thurs to Sun 11 am - 5 pm.

Opened in 1965 in Vancouver Bau-Xi Gallery celebrates 50 years of contemporary art. LATTIMER GALLERY 1590 W 2nd Ave, Vancouver, BC V6J 1H2 T. 604-732-4556 F. 604-732-0873 info@lattimergallery.com www.lattimergallery.com Since 1986, clients have enjoyed the unique, warm atmosphere of a Northwest Longhouse while browsing the large selection of original paintings and limited edition prints by many well-known native artists — as well as finely-crafted gold and silver jewellery, argillite carvings, soapstone sculptures, steam bent boxes, masks, totem poles and more. Mon to Sat 10 am - 6 pm, Sun & Hol noon - 5 pm. MASTERS GALLERY VANCOUVER 2245 Granville St, Vancouver, BC V6H 3G1 T. 778-628-7486 peterohler@shawcable.com www.vancouver-mastersgalleryltd.com Celebrating 35 years as dealers of top quality Ca-

Lorena Krause invokes European and preHispanic references in paintings that mix figuration and surrealism. By altering proportions and combining the ornamental with the symbolic, she seeks a world where fauna becomes a living jewel. March 5 to Aug. 2 at the Reach Gallery in Abbotsford, B.C. Lorena Krause, Fauna Crowned IV, 2014, oil and mixed media on wood, 21” x 14”

nadian historical and contemporary art from its base in Calgary, Masters Gallery recently opened this second location on trendy South Granville with returning Vancouverite, Peter Ohler Jr as Director. Tues to Sat 10 am - 5 pm. MONNYS GALLERY 2675 W 4th Ave, Vancouver, BC V6K 1P8 T. 604-733-2082 monny@shaw.ca envisionoptical.ca/gallery This gallery of longtime collector Monny, has a permanent collection as well as a rotating schedule of exhibitions by local artists Kerensa Haynes, Ted Hesketh, Sonja Kobrehel, Shu Okamoto, Ruth Lowe and others working in a variety of media. Mon to Sat 10 am - 6 pm.

DAVID TYCHO | FINE ART www.tychoart.com

PACIFIC WAVE GLASS ART (FORMERLY PACIFIC HOME AND ART CENTRE) 1560 West 6th Avenue, Vancouver, BC V6J 1R2 T. 604-566-9889 info@pacificwaveglassart.com www.pacificwaveglassart.com Pacific Wave Glass Art features a wide selection of mouth blown glass from local and international artists including Murano Glass Artists from Italy: A.Tagliapietra, M.Gambaro, L. Vidal, Oscar Zanetti and Arnaldo Zanella. The gallery also presents contemporary paintings from local artists. Only 5 min from Granville Island. Mon & Sat 10 am - 5 pm, Tue to Fri 10 am - 6 pm. PETLEY JONES GALLERY 1554 W 6 Ave, Vancouver, BC V6J 1R2 T. 604-732-5353 F. 604-732-5669 info@petleyjones.com www.petleyjones.com Established in 1986 by Matt Petley-Jones, nephew of the late Canadian and British artist Llewellyn Petley-Jones, the gallery specializes in 19th - 20th century Canadian, European and American paintings, sculpture and original prints. It also offers a range of fine art services, including framing, restoration and appraisals. Around the corner from former Granville location. Mon to Sat 10 am - 6 pm. POUSETTE GALLERY 403 and 404-1529 West 6 Ave, Vancouver, BC V6J 1R1 T. 604-837-2716 info@pousettegallery.com www.pousettegallery.com Recently opened on the rooftop of the W-Six building in South Granvilles Gallery Row, Pousette Gallery offers contemporary art with flare from Canadian and international artists. The view alone from the twin galleries is worth the brief elevator ride. Director Maryann Pousette Gebauer brings an international sensibility to her selection of artists and their works. International shipping. Tues to Sat noon - 6 pm or by appointment. Consult website for extended hours during exhibitions.

Urban Study #2, 2014, acrylic on canvas, 11” x 14”

The Urban Rhapsody Series By appointment only #430 - 1000 Parker Street, Vancouver BC tel. 604.401.1833 e-mail david@tychoart.com

RENDEZVOUS ART GALLERY 323 Howe St, Vancouver, BC V6Z 3N2 T. 604-687-7466 F. 604-687-7466 Toll Free: 1-877-787-7466 info@rendezvousartgallery.com www.rendezvousartgallery.com Located on the bright southwest corner of Howe and Cordova, this vibrant gallery represents more than 40 talented Canadian artists, some of whom are exclusive to Rendezvous. Contemporary and post-impressionist paintings and sculptures are displayed in an atmosphere conducive to viewing fine works of art. Tue to Sat 10 am - 5:30 pm, Sun & Mon by appointment. ROBERT LYNDS GALLERY 1639 West 3 Ave, Vancouver, BC V6J 1K1 T. 604-558-3806 r@robertlyndsgallery.com robertlyndsgallery.com/ Established in 2012, Robert Lynds Gallery specializes in contemporary art. It is an artist-friendly gallery dedicated to emerging and established artists who embrace new media and contemporary art practice - resulting in new artistic languages and experiences. They aspire to make Canadian art accessible to both the new and established collector across the country. Tues to Fri 10 am - 6 pm, Sat 11 am - 5 pm or by appointment. STUDIO GALLERY 33 4850 Mackenzie St, Vancouver, BC V6L 2B5 T. 604-838-8670 lahoward@telus.net Artist owned and operated, this small neighbourhood gallery offers a wide range of well-priced, quality artworks from Vancouver artists Paul Burgoyne, Denna Erickson, Louise Howard, Chad Krowchuk, Carylann Leoppky, Julie Mai, Pilar Mehlis, Jay Senetchko and Lorraine Thompson.

www.gallerieswest.ca

Galleries West Spring 2015 55

WHITE ROCK GALLERY 1247 Johnston Rd, White Rock, BC V3B 3Y9 T. 604-538-4452 F. 604-538-4453 Toll Free: 1-877-974-4278 info@whiterockgallery.com www.whiterockgallery.com A destination for art lovers throughout the Lower Mainland since 1989. They feature an extraordinary selection of original fine art, ceramics and sculpture. Their custom framing is a blend of creativity, expert design, and skilled workmanship. Tues to Sat 10 am - 5:30 pm, Sun variable (call ahead). Closed holiday long weekends.

Tilting, NFLD, oil on canvas, 48”x60”

Jean Claude Roy

F I N E

A R T

604 563 2717 Rooftop 403 & 404-1529 W.6th Vancouver BC

Public Galleries ART GALLERY AT EVERGREEN CULTURAL CENTRE 1205 Pinetree Way, Coquitlam, BC V3B 7Y3 T. 604-927-6550 F. 604-927-6559 ellenv@evergreenculturalcentre.ca www.evergreenculturalcentre.ca/ Art+Gallery/default.htm This public gallery features seven exhibitions each year showcasing international, national and local artists. Educational programs emphasize and encourage literacy in the visual arts and are available for groups of all ages from September - June. Mon to Sat noon - 5 pm. BILL REID GALLERY OF NORTHWEST COAST ART 639 Hornby St, Vancouver, BC V6C 2G3 T. 604-682-3455 F. 604-682-3310 info@billreidgallery.ca www.billreidgallery.ca A public gallery for contemporary aboriginal art of the Northwest Coast named after the acclaimed Haida artist Bill Reid (1920 - 1998). The gallery showcases the permanent collection of Bill Reid alongside changing exhibitions of contemporary Northwest Coast art. Highlights include stunning gold and silver jewellery, monumental sculptures and a towering totem pole by James Hart of Haida Gwaii. Wed to Sun 11 am - 5 pm. GORDON SMITH GALLERY OF CANADIAN ART 2121 Lonsdale Avenue, North Vancouver, BC V7M 2K6 T. 604-998-8563 info@gordonsmithgallery.ca www.gordonsmithgallery.ca The recently-opened 4000 square foot gallery houses an outstanding collection of Canadian art amassed from 50 artists including Gordon Smith, Jack Shadbolt, Bill Reid, Robert Davidson, Angela Grossman, E.J. Hughes, Kenojuak Ashevak, Rodney Graham, Guido Molinari, Etienne Zack, Douglas Coupland and Toni Onley. Tues to Sat noon - 5 pm.

MAPLE RIDGE ART GALLERY 11944 Haney Place - in The ACT, Maple Ridge, BC V2X 6G1 T. 604-467-5855 barbarad@mract.org www.theactmapleridge.org/qs/page/2166/0/1 Founded in 1982, the Maple Ridge Art Gallery promotes the visual arts and educates through ongoing exhibitions, educational tours, workshops, artists talks, art rental programs, and a gallery shop. The gallery provides a facility for both amateur and professional artists of all ages. Tues to Sat 11 am - 4 pm. MORRIS AND HELEN BELKIN ART GALLERY 1825 Main Mall, University of British Columbia, Vancouver, BC V6T 1Z2 T. 604-822-2759 F. 604-822-6689 belkin.gallery@ubc.ca www.belkin.ubc.ca Mandated to exhibit, collect, research, publish and educate, the Belkin Art Gallery is one of BCs premier showcases for contemporary art. Visit website for program information and to download the selfguided UBC Outdoor Art Tour. Tues to Fri 10 am - 5 pm, Sat and Sun noon - 5 pm.

Dennie Segnitz and her team of Amy, Frances and Byron at White Rock Gallery are celebrating 25 years. MUSEUM OF ANTHROPOLOGY, UNIVERSITY OF BRITISH COLUMBIA 6393 NW Marine Dr,, Vancouver, BC V6T 1Z2 T. 604-822-5087 F. 604-822-2974 Jennifer.webb@ubc.ca www.moa.ubc.ca MOA is a place of architectural beauty, provocative programming, and exciting exhibitions — including Bill Reids iconic ‘The Raven and the First Men,î and the new Multiversity Galleries, showcasing 10,000 objects from around the world. CafÉ MOA, an elegant shop, and free tours. Spring/Summer: daily 10 am - 5 pm Tues to 9; Fall/Winter: closed Mon, open Tues 10 am - 9 pm and Wed to Sun 10 am - 5 pm. Closed Dec 25 & 26. PLACE DES ARTS 1120 Brunette Ave, Coquitlam, BC V3K 1G2 T. 604-664-1636 F. 604-664-1658 info@placedesarts.ca www.placedesart.ca Place des Arts is a multi-disciplinary arts centre offering a variety of innovative programs including fibre arts, pottery and drawing and painting in a variety of media. It offers gallery and gift shop display space where local emerging artists and arti-

Ron Shuebrook, a senior Canadian artist, is known for his paintings but also has a robust drawing practice. Shuebrook, who splits his time between Guelph, Ont., and a summer home in Nova Scotia, exhibits a series of largely abstract charcoal drawings on paper. The show is curated by John Kissick, a nationally recognized painter who teaches at the University of Guelph. March 7 to April 26 at the Kelowna Art Gallery Ron Shuebrook, Wharf, 2012, charcoal on rag paper, 42.5” x 69” 56 Galleries West Spring 2015

www.gallerieswest.ca

LEFT: COLLECTION OF THE ARTIST

Staff enjoy assisting people new to purchasing original works of art. An in-house gold/silversmith Martin Vseticka creates original custom designs. Tues to Fri 2 - 6 pm, Sat 10 am - 5 pm or by appointment.

South Granville

GALLERY ROW

SOUTH GRANVILLE GALLERY ASSOCIATION 5th AVE Take the elevator in the courtyard to the 4th floor 3

1 2

6th AVE 4

6 7 8

7th AVE 9

Carol Prusa constructs spheres that evoke thoughts of the universe as well as real-life structures. “In my spheres, I explore a number of mathematical models that physicists developed to explain our universe,” says Prusa, who has studied both science and art. “The mathematics of my expressed geometries offers a spiritual force that organizes structures from the microscopic to the political. Here, geometry isn’t simply abstract but creates a real world, sustained by its own logic.” Jan. 29 to Feb. 22 at the Jennifer Kostuik Gallery in Vancouver Carol Prusa, Interface, 2013, silverpoint, graphite, titanium white pigment with aluminum leaf on acrylic sphere, 8” in diameter sans may exhibit and sell their works in any media. Mon to Fri 9 am - 10 pm, Sat 9 am - 5 pm, Sun 1 pm - 5 pm. PRESENTATION HOUSE GALLERY 333 Chesterfield Ave, North Vancouver, BC V7M 3G9 T. 604-986-1351 F. 604-986-5380 info@presentationhousegallery.org www.presentationhousegallery.org Described as the largest non-profit photographic gallery in Western Canada, the gallery has offered a variety of contemporary and historical photographic and media exhibitions since 1981. It has a mandate to exhibit and publish photography and media art, emphasizing contemporary Canadian work within a context of historical and international art. Open Wed to Sun noon - 5 pm RICHMOND ART GALLERY 180-7700 Minoru Gate, Richmond, BC V6Y 1R9 T. 604-247-8300 F. 604-247-8301 gallery@richmond.ca www.richmondartgallery.org The Richmond Art Gallery plays a dynamic role in the growth of visual art in Richmond, and is a vital part of the contemporary art network in BC and Canada. Through excellence in exhibitions and education, the RAG strives to enhance an understanding and enjoyment of contemporary art. Mon to Fri 10 am - 6 pm, Sat and Sun 10 am - 5 pm. SATELLITE GALLERY 560 Seymour St - 2nd Floor, Vancouver, BC V6B 3J5 T. 604-681-8425 info@satellitegallery.ca www.satellitegallery.ca VANCOUVER ART GALLERY 750 Hornby St, Vancouver, BC V6Z 2H7 T. 604-662-4700 F. 604-682-1086 info@vanartgallery.bc.ca www.vanartgallery.bc.ca The largest art gallery in Western Canada is a focal point of downtown Vancouver. Presenting a full range of contemporary artists and major historical masters, it is recognized internationally for its superior exhibitions and excellent interactive education programs and houses a permanent collection of almost 7,000 works of art. Daily 10 am - 5 pm, Tues 10 am - 9 pm.

www.gallerieswest.ca

8th AVE 10 11

12th AVE

Commercial Galleries HEADBONES GALLERY - THE DRAWERS 6700 Old Kamloops Road, Vernon, BC V1H 1P8 T. 250-542-8987 info@headbonesgallery.com www.headbonesgallery.com Located only minutes from downtown Vernon, Headbones Gallery is moving forward with a group of artists under the aesthetic of NeoPriest, an acronym for New Pop Realists Intellectually Engaged in Story Telling. At the same time, The Drawers specializes in drawing and contemporary works on paper with a small component of sculpture. Tues to Sat noon - 6 pm.

Public Gallery VERNON PUBLIC ART GALLERY 3228 31 Ave, Vernon, BC V1T 2H3 T. 250-545-3173 F. 250-545-9096 info@vernonpublicartgallery.com www.vernonpublicartgallery.com The Vernon Public Art Gallery presents exhibitions of emerging and established artists working in a variety of media, including paintings sculpture, video, and installation art. The Vernon Public Art Gallery is the largest public gallery in the North Okanagan, and provides exhibition opportunities to local artists and artisans. Mon to Fri 10 am - 5 pm, Sat 11 am - 4 pm.

13th AVE 12

14th AVE 13

15th AVE

UNO LANGMANN 604.736.8825 langmann.com

HEFFEL 604.732.6505 heffel.com

KIMOTO GALLERY 604.428.0903 kimotogallery.com

DOUGLAS REYNOLDS 604.731.9292 douglasreynoldsgallery.com

POUSETTE GALLERY 604.563.2717 pousettegallery.com

10 MARION SCOTT 604.685.1934 marionscottgallery.com

PETLEY JONES 604.732.5353 petleyjones.com

11 KURBATOFF 604.736.5444 kurbatoffgallery.com

IAN TAN 604.738.1077 iantangallery.com

12 ART EMPORIUM 604.738.3510 theartemporium.ca

ELISSA CRISTALL 604.730.9611 cristallgallery.com

13 BAU-XI GALLERY 604.733.7011 bau-xi.com

MASTERS GALLERY 604.558.4244 vancouver-mastersgalleryltd.com

GREATER VICTORIA Commercial Galleries AVENUE GALLERY 2184 Oak Bay Ave, Victoria, BC V8R 1G3 T. 250-598-2184 F. 250-598-2185 info@theavenuegallery.com

11th AVE

HEMLOCK

FIR

10th AVE

VERNON

NADINES FINE ART & FRAMES 3101 31 Ave, Vernon, BC V1T 2G9 T. 250-542-8544 nadinesfineart@shaw.ca www.nadinesfineart.com Artist/owner Nadine Wilson opened her gallery in 2005. She represents several local artists, presents regular classes in watercolour, oil and acrylic painting and drawing as well as offering professional framing services. In summer the gallery hosts guest artist workshops. Mon to Fri 9:30 am - 5:30 pm, Sat 9:30 am - 4 pm (winter: Sat 10 am - 2 pm).

GRANVILLE

WEST BROADWAY

www.sgga.ca Galleries West Spring 2015 57

Cooperative Galleries COAST COLLECTIVE ART CENTRE 3221 Heatherbell Road, Victoria, BC V9C 1Y8 T. 250-391-5522 info@coastcollective.ca www.coastcollective.ca The Coast Collective is a different kind of art centre housed in the 1928 Pendray House on the shore of Esquimalt Lagoon. The wood-paneled second floor Gallery hosts juried, themed shows choosing work from more than 200 local artists, famous and just emerging, while the Gift Shop carries original work in a full range of prices. Art classes and workshops are also offered in a variety of media and skill levels. Music and great views. Wed to Sun noon - 5 pm.

In Another Place, And Here brings together work by eight local, national and international artists. The exhibition takes its cues from the Dionne Brand novel that inspired its title, exploring questions related to politics, geography, identity and photography. Jan. 24 to May 31 at the Art Gallery of Greater Victoria Nadia Huggins, Quicksilver, 2014, digital photograph www.theavenuegallery.com Especially noted for finding and establishing new talent, the gallery considers itself a showcase for contemporary British Columbia, Canadian and international art, serving both corporate and private collectors — those new to the contemporary art scene as well as knowledgeable collectors. Mon to Sat 10 am - 5 pm, Sun noon - 4 pm.

gallery is dynamic, welcoming and above all, dedicated to the love of art. Along with regular new paintings by award-winning painter Marion Evamy, other artists also showcase artwork that is contemporary, confident and affordable. Relax on the red couch and enjoy art described (by critic Robert Amos) as ‘a blast of joyî. Tues to Sat Tues to Sat 11 am - 5 pm.

COUCH* A TANYA HORN GALLERY 1010 Broad St, Victoria, BC V8W 1Z9 T. 778-432-4777 INFO@couchartgallery.com www.couchartgallery.com As the name invokes, couch* is a casual and welcoming place to explore and enjoy one s connection to the arts. A couch, a coffee machine, surrounded by art and good company! Good to go. Tues to Sat 10 am - 6 pm.

THE GALLERY AT MATTICKS FARM 109-5325 Cordova Bay Rd, Victoria, BC V8Y 2L3 T. 250-658-8333 info@thegalleryatmatticksfarm.com www.thegalleryatmatticksfarm.com The Gallery at Matticks Farm takes pride in sourcing and promoting original art work by a variety of Canadian and international artists. Each month the gallery features the work of a different artist. Daily 10 am - 5:30 pm.

MADRONA GALLERY 606 View St, Victoria, BC V8W 1J4 T. 250-380-4660 info@madronagallery.com www.madronagallery.com Open June 2010, Madrona Gallery represents emerging, mid-career and established Canadian artists. The gallery offers a welcoming environment to all visitors and Michael Warrens expertise in Canadian art history and the contemporary art market facilitates the discovery of new artists and rare pieces from Canadian masters. Tues to Sat 10 am - 6 pm, Sun 11 - 6 pm. OUT OF THE MIST GALLERY 740 Douglas St, Victoria, BC V8W 3M6 T. 250-480-4930 oomistg@telus.net www.outofthemistgallery.com Dealers in classic and contemporary Northwest coast native art — including traditional potlatch masks, basketry, shamanic devices, button blankets, totem poles, artefacts and more. There is also a selection of plains beadwork and artefacts and other North American, Oceanic, and African tribal art. Mon to Sat 10 am - 5 pm, Sun noon - 3 pm.

Later this spring, Elaine Monds and her team at Alcheringa Gallery will be moving a few doors west from 655 Fort St in Victoria to 621. RED ART GALLERY 2249 Oak Bay Ave, Victoria, BC V8R 1G4 T. 250-881-0462 me@redartgallery.ca www.redartgallery.ca A small gem in the heart of Oak Bay Village, the

58 Galleries West

Spring 2015

Eagle Feather First Nations Artists’ Gallery recently relocated from Gordon St to 633 Courtney St (Nootka Court) in Victoria. THE GALLERY IN OAK BAY VILLAGE 2223A Oak Bay Ave, Victoria, BC V8R 1G4 T. 250-598-9890 F. 250-592-5528 thegallery@shaw.ca Just a short distance from downtown in the picturesque Oak Bay Village, the gallery shows a variety of works by mostly local artists including Kathryn Amisson, Sid and Jesi Baron, Andres Bohaker, Bryony Wynne Boutillier, Tom Dickson, Robert Genn, Caren Heine, Harry Heine, Shawn A. Jackson, Brian R. Johnson, David Ladmore, Jack Livesey, Dorothy McKay, Bill McKibben, Ernst Marza, Hal Moldstad, Ron Parker, Natasha Perks. Mon to Fri 10 am - 5 pm, Sat 10 am - 3 pm.

GALLERY 1580 1580 Cook St, Victoria, BC V8T 3N7 T. 250-415-2307 gallery1580@gmail.com www.gallery1580.com Gallery 1580 is an artist-run gallery with eight adjoining artist studios. The gallery shows art that explores contemporary art-making and culture: mixed media, painting and drawing, printmaking, photography, installation and sculpture. Just north of Pandora. Tues, Thurs, Fri and Sat noon - 5 pm. Public Galleries ART GALLERY OF GREATER VICTORIA 1040 Moss Street, Victoria, BC V8V 4P1 T. 250-384-4171 F. 250-361-3995 communications@aggv.bc.ca www.aggv.bc.ca Engaging, challenging and inspiring! Victorias public art museum presents a variety of visual art experiences, media and cultures through historical to contemporary art from Asia, Europe and Canada — including the work of BCs premiere landscape artist, Emily Carr, portrayed through paintings, writ-

ings and photographs. Tues to Sat 10 am - 5 pm, Thurs till 9 pm; Sun noon - 5 pm. LEGACY DOWNTOWN 630 Yates St, Victoria, BC V8W 1K9 T. 250-721-6562 F. 250-721-6607 legacy@uvic.ca uvac.uvic.ca The Legacy Downtown is the primary gallery space for the University of Victoria and features paintings, drawings and sculptures by some of the bestknown artists in the Pacific Northwest, bequeathed to the University of Victoria by Dr. Michael C. Williams. Two gallery spaces feature a variety of rotating exhibits. Wed to Sat 10 am - 4 pm. LEGACY MALTWOOD AT MCPHERSON LIBRARY Box 3025 Stn CSC, McPherson Library, Room 027 Finnerty Road, Victoria, BC V8W 3P2 T. 250-721-6562 F. 250-721-6607 maltpub@finearts.uvic.ca www.uvac.uvic.ca The Legacy Maltwood, located on the lower level of the McPherson Library, exhibits prints, drawings, paintings and photographs from the University of Victorias permanent art collection, including a large contemporary First Nations print collection. Hours of operation coincide with McPherson Library. Call for current hours. WHISTLER Commercial Gallery MOUNTAIN GALLERIES AT THE FAIRMONT Fairmont Chateau Whistler, 4599 Chateau Blvd, Whistler, BC V0N 1B4 T. 604-935-1862 Toll Free: 1-888-310-9726 whistler@mountaingalleries.com www.mountaingalleries.com Located in The Fairmont Chateau Whistler, Mountain Galleries is a favourite stop for collectors of Canadian art, featuring museum-quality paintings, sculpture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/ studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 10 am - 10 pm.

Mainstreeters: Taking Advantage, 1972-1982 looks at the activities of a gang of socially engaged artists who came of age on Vancouver’s Main Street – once the dividing line between the city’s middle-class west side and multicultural working-class east side. This project considers how Kenneth Fletcher, Deborah Fong, Carol Hackett, Marlene MacGregor, Annastacia McDonald, Charles Rea, Jeanette Reinhardt and Paul Wong explored the new medium of video, drawing from glam, punk and the gay scene. Curated by Allison Collins and Michael Turner as a coproduction of grunt gallery and Presentation House Gallery, it includes a website and video documentary as well as storefront video screenings. Jan. 9 to March 14 at the Satellite Gallery in Vancouver Deborah Fong, Jeanette Reinhardt, Annastacia McDonald, Carol Hackett and Paul Wong, Tour de 4 preparations, 1980

WEST END GALLERY 1203 Broad Street, Victoria, BC V8W 2A4 T. 250-388-0009 info@westendgalleryltd.com www.westendgalleryltd.com First established in Edmonton in 1975, Dan and Lana Hudon opened a second Gallery located in the heart of downtown Victoria in 1994. Visitors are encouraged to explore and select from a wide range of styles and prices, from emerging to established artists and to purchase with confidence. Mon to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm, Sun/Holidays noon - 4 pm. WINCHESTER GALLERIES 2260 Oak Bay Ave, Victoria, BC V8R 1G7 T. 250-595-2777 F. 250-595-2310 art@winchestergalleriesltd.com

www.gallerieswest.ca

LEFT: COURTESY OF PAUL WONG

www.winchestergalleriesltd.com Exclusive fine art dealers handling Canadian historical and contemporary art. Opened in 1974, the gallery has been under the ownership of Gunter H.J. Heinrich and Anthony R.H. Sam since 1994 and in 2003 has moved to its own building in Oak Bay Village. They regularly run major exhibitions of two to three weeks both here and at Winchester Modern, downtown at 758 Humboldt St. Tues to Sat 10 am - 5:30 pm.

Korean artist Eunkang Koh combines human and animal attributes to satirize the foibles of society. His hybrids symbolize individuals who choose ignorance. Jan. 8 to Feb. 14 at the Society of Northern Alberta Printmakers in Edmonton Eunkang Koh, Down to Earth, 2011, intaglio, 9” x 20”

ALBERTA GALLERIES BANFF Commercial Galleries CANADA HOUSE GALLERY PO Box 1570 201 Bear St, Banff, AB T1L 1B5 T. 403-762-3757 F. 403-762-8052 Toll Free: 1-800-419-1298 info@canadahouse.com www.canadahouse.com A Banff destination since 1974, just a short drive from Calgary. This friendly and fresh gallery represents a large collection of current Canadian art — paintings and sculpture from Canadas best landscape, contemporary and Native artists. Check website for daily updates. Member of Art Dealers Association of Canada. Open daily. MOUNTAIN GALLERIES AT THE FAIRMONT Fairmont Banff Springs, 405 Spray Ave, Banff, AB T. 403-760-2382 Toll Free: 1-800-310-9726 banff@mountaingalleries.com www.mountaingalleries.com Located in The Fairmont Banff Springs, Mountain Galleries is a favourite stop for collectors of Canadian art, featuring museum-quality paintings, sculpture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 10 am - 10 pm. WILLOCK & SAX GALLERY Box 2469, 210 Bear St, Banff, AB T1L 1C2 T. 403-762-2214 Toll Free: 1-866-859-2220 fineart@willockandsaxgallery.com www.willockandsaxgallery.com Art reflects the spiritual and physical reliance of humanity on the natural world. The Willock & Sax Gallery is innovative and eclectic, rooted in the idea that art is about people, place, and community. They carry work by mainly Western Canadian contemporary and historic artists, who enjoy international, national, and regional reputations. Daily 10 am - 6 pm. Public Galleries WALTER PHILLIPS GALLERY 107 Tunnel Mountain Road, Box 1020 Stn 40, Banff, AB T1L 1H5 T. 403-762-6281 F. 403-762-6659 walter_phillipsgallery@banffcentre.ca www.banffcentre.ca/wpg/ The gallery is exclusively committed to the production, presentation, collection and analysis of contemporary art and is dedicated to developing a thoughtful and stimulating forum for visual art and curatorial practice. The WPG develops exhibitions, commissions new works and engages in dialogues about curatorial practice through symposia and

www.gallerieswest.ca

workshops. Wed to Sun 12:30 pm - 5 pm, Thurs till 9 pm. Free gallery tours Thurs 7 pm. WHYTE MUSEUM OF THE CANADIAN ROCKIES PO Box 160, 111 Bear St, Banff, AB T1L 1A3 T. 403-762-2291 F. 403-762-8919 info@whyte.org www.whyte.org Located on a spectacular site beside the Bow River in downtown Banff. Discover the rich natural and cultural heritage of the Canadian Rockies. The Museum offers guided tours of Banffs heritage log homes and cabins; historic walking tours of the Banff townsite; and exhibition tours of the galleries. Admission by donation. Summer (Jun 1 - Sep 15) 9:30 am - 6 pm; Winter (Sep 16 - May 31) 10 am - 5 pm, closed Dec 25 and Jan 1. BLACK DIAMOND Commercial Gallery BLUEROCK GALLERY 110 Centre Ave, Box 1290, Black Diamond, AB T0L 0H0 T. 403-933-5047 F. 403-933-5050 store@bluerockgallery.ca www.bluerockgallery.ca Bluerock Gallery is a go-to place for one-of-a-kind fine art and craft, jewellery, cards and inspiring books. New art arrives regularly and the impressive collection by more than 100 artists is constantly being expanded and rotated. Daily 10 am - 6 pm, Thurs till 9 pm. BRAGG CREEK Commercial Gallery SUNCATCHERS DESIGN STUDIO PO Box 840, Bragg Creek, AB T0L 0K0 T. 403-949-4332 F. 403-278-6299 info@suncatchersdesigns.com www.suncatchersdesigns.com The gallery boutique, at the corner of White Ave and Burntall Dr, offers an eclectic mix of original art, antiques, jewellery and artistic clothing. Suncatchers continues to provide Calgary and area with custom and pre-made stained glass as they have since 1979. Wed to Sun 11 am - 6 pm. CALGARY Artist-run Galleries ARTIST PROOF GALLERY 4025 4 St SE, PO Box 6821 Station D, Calgary, AB T2P 2E7 T. 403-287-1056 gallery@albertaprintmakers.ca www.albertaprintmakers.ca

JAN 29 - MAR 7 5 CAMERAS reprise / EXPOSURE PHOTOGRAPHY FESTIVAL

+ 15% off CUSTOM FRAMING IN FEBRUARY MAR 12 - APR 18 MICHAEL SCHREINER

& INTRODUCING William Downey

APR 23 - JUN 30 MADELEINE LAMONT

THE NEW GALLERY 208 Centre St SE, Calgary, AB T2G 2B6 T. 403-233-2399 F. 403-290-1714 info@thenewgallery.org www.thenewgallery.org From its new location in Chinatown, Calgarys oldest artist-run centre is committed to providing a forum for a wide spectrum of critical discourse

Galleries West Spring 2015 59

and multi-disciplinary practices within the contemporary visual arts. Second location at John Snow House 915 18 Ave SW (by appointment only). Tues to Sat noon - 6 pm. TRUCK CONTEMPORARY ART IN CALGARY 2009 10 Ave SW, Calgary, AB T2C 0K4 T. 403-261-7702 F. 403-264-7737 info@truck.ca www.truck.ca/ TRUCK is a non-profit, artist-run centre dedicated to the presentation of contemporary art. Their goal is to incite dialogue locally, which contributes to the global critical discourse on contemporary art. TRUCK presents dynamic programming, fosters innovative artistic practices, encourages experimentation, and promotes a dialogue between artists and the public. Free admission. Tues to Fri 11 am - 5 pm, Sat noon - 5 pm. Commercial Galleries BARBARA EDWARDS CONTEMPORARY 1114 11 St SW, Calgary, AB T2R 1P1 T. 587-349-2014 F. 587-349-2015 viviane@becontemporary.com www.becontemporary.com Barbara Edwards Contemporary is committed to exhibiting contemporary art of high calibre on the Canadian stage. The gallery represents a selection of the best Canadian and international artists and estates including the work of Eric Fischl, Jessica Stockholder, Betty Goodwin, Ray Mead, Tim Zuck, and April Gornik. Tues to Sat 11 am - 6 pm. CIRCA 1226A 9 Ave SE, Calgary, AB T2G 0T1 T. 403-290-0145 Toll Free: 1-877-290-0145 circa5060@yahoo.ca www.circa5060.ca Circa is a one-of-a-kind gallery specializing in midcentury modern art glass from around the world. All items are hand blown works of art from the 1940-1960s. The focus is on European art glass from the best known studios and furnaces. Circa brings world-class vintage art glass to Calgary from centres across Europe. A visual spectacle of color, form and modernism. Daily 10 am - 5 pm. CKG / CHRISTINE KLASSEN GALLERY 321 50 Ave, Calgary, AB T2G 2B3 T. 403-262-1880 info@christineklassengallery.com www.christineklassengallery.com CKG / Christine Klassen Gallery, an evolution of The Weiss Gallery, represents a dynamic group of artists united by their craft-intensive approach to artmaking. CKG endeavours to stimulate gallery visitors through innovative projects and exhibitions of painting, drawing, photography and sculpture. Tues - Sat 10 am - 5 pm or by appointment.

DADE ART AND DESIGN LAB 1327 9 Ave SE, Calgary, AB T2G 0T2 T. 403-454-0243 F. 403-454-0282 info@dadegallery.com www.dadegallery.com With a distinctive product mix and presentation philosophy DaDe ART & DESIGN LAB offers a complete product range for modern living — including original art and sculpture by local artists, and exclusive furniture from around the world. Tues to Sun 11 am - 6 pm; Thurs till 8 pm. DIANA PAUL GALLERIES 737 2 ST SW, Calgary, AB T2P 3J1 T. 403-262-9947 F. 403-262-9911 dpg@dianapaulgalleries.com www.dianapaulgalleries.com Recently relocated to the heritage Lancaster Building just off Stephen Avenue Walk. Specializing in high quality fine art — small and large format works — in styles from super-realism to impressionism to semi-abstract. Featuring the work of emerging and well-established artists. Tues to Sat 10:30 am - 5:30 pm. ENDEAVOR ARTS 200-1209 1 St SW, Calgary, AB T2R 0V3 T. 403-532-7800 info@endeavorarts.com www.endeavorarts.com Endeavor Arts represents local artists who create art in new ways, focusing on mixed media and other types of innovative artwork and avoiding more traditional media and methods. Recognizing that art is being consumed differently, there is also a digital gallery, with 5 monitors, showing rotating artwork and videos or photos of the process of how some artists make a specific piece. Tues to Sat 11 am - 5 pm. FORTUNE FINE ART 3-215 39 Ave NE, Calgary, AB T2E 7E3 T. 403-277-7252 F. 403-277-7364 info@fortunefineart.com www.fortunefineart.com This Canadiana gallery offers an extensive collection of fine realism paintings depicting scenes from across Canada. Works by more than 240 artists including such well-known names as Norman Brown, Dorothy Chisholm, “Duncan” MacKinnon Crockford, Anne Gallant, W.R. deGarth, N. de Grandmaison, Roland Gissing, George Horvath, Georgia Jarvis, Glenn Olson, Torquil Reed, Colin Williams and Marguerite Zwicker. For sale or lease. Browsers welcome. Please call for hours. FRAMED ON FIFTH 1207 5 Ave NW, Calgary, AB T2N 0S1 T. 403-244-3688 info@framedonfifth.com www.framedonfifth.com A framing shop? Yes, but also a charming gallery presenting local artists in monthly shows. Owner

Burnt Generation, an exhibition by eight contemporary Iranian photographers, seeks to convey the impact of decades of political unrest and social upheaval. The show’s themes include the isolation, loneliness and desolation of youth and the personal, political and social consequences of war. Jan. 9 to April 12 at The Founders’ Gallery in Calgary Azadeh Akhlaghi, By An Eye Witness (Taghi Arani), 2012, digital print on photo paper 2/9, 43.5” x 65” 60 Galleries West Spring 2015

www.gallerieswest.ca

GAINSBOROUGH GALLERIES 441 5 Ave SW, Calgary, AB T2P 2V1 T. 403-262-3715 F. 403-262-3743 Toll Free: 1-866-425-5373 art@gainsboroughgalleries.com www.gainsboroughgalleries.com Extensive collection of fine artists including Tinyan, Raftery, Wood, Desrosiers, Lyon, Hedrick, Min Ma, Simard, Brandel, Schlademan, Bond, Cameron, Crump and Charlesworth. Calgarys largest collection of bronze — by Stewart, Cheek, Lansing, Taylor, Danyluk and Arthur. Gemstone carvings by Lyle Sopel. Mon to Fri 10 am - 5:30 pm, Sat till 5 pm. GALLERIA - INGLEWOOD 907 9 Ave SE, Calgary, AB T2G 0S5 T. 403-270-3612 galleria@shaw.ca www.calgarycraftedgifts.com Galleria Inglewood represents more than 25 emerging and established artists. Their contemporary works include oils, watercolour, acrylics and mixed media. In 3 separate galleries they also show functional, decorative and sculptural pottery by local clay artists and fine handcrafts by Canadian artisans. Minutes from downtown in historic Inglewood. Free parking. Mon to Sat 10 am - 5 pm, Sun noon - 5 pm. GERRY THOMAS GALLERY 100-602 11 Ave SW - lower level, Calgary, AB T2R 1J8 T. 403-265-1630 F. 403-265-1634 communications@gtgallery.com www.gerrythomasgallery.com This contemporary, New York-style gallery boasts an impressive 4600 sq ft of original art ranging from abstract oil paintings, glass sculpture and photography to historic works by Roland Gissing. The stylish Gallery includes an art deco bar, modern lounge furniture and catering facilities perfect for corporate and private events. Tues to Sat 10:30 am - 5:30 pm. GIBSON FINE ART LTD 628 11 Ave SW, Calgary, AB T2R 0E2 T. 403-244-2000 info@gibsonfineart.ca www.gibsonfineart.ca Now located in the Design District, the gallery showcases contemporary art in a wide variety of styles and media and of significant regional and national scope — from emerging and established artists of the highest quality. Tues to Sat 10 am - 5 pm. HERRINGER KISS GALLERY 709 A 11 Ave SW, Calgary, AB T2R 0E3 T. 403-228-4889 F. 403-228-4809 info@herringerkissgallery.com www.herringerkissgallery.com A member of the Art Dealers Association of Canada, the gallery represents over 25 artists working in a range of mediums including painting, photography, printmaking, sculpture and mixed media works. Tues to Fri 10 am - 5:30 pm, Sat 11 am - 5 pm. JARVIS HALL FINE ART 617 11 Ave SW (lower level), Calgary, AB T2R 0E1 T. 403-206-9942 info@jarvishallfineart.com www.jarvishallfineart.com Jarvis Hall Fine Art is committed to supporting the practice of contemporary art by emerging, midcareer and established Canadian artists. Currently representing Mark Dicey, Carl White, Jeffrey Spalding, John Will, Larissa Tiggelers, Herald Nix, Billy McCarroll and more. Various works of art are also available throughout the year by historical and contemporary Canadian and international artists. Tues to Sat 10 am - 5 pm. LATITUDE ART GALLERY 150-625 11 Ave SW, Calgary, AB T2R 0E1 T. 403-262-9598 info@latitudeartgallery.com www.latitudeartgallery.com Located in the Design District on 11 Ave SW, Latitude Art Gallery showcases a variety of Canadian and international artists. They specialize in contemporary style art including landscapes, still lifes, abstract, and figurative. Tues to Fri 10 am - 5:30 am, Sat 11 am - 5 pm, and by appointment. LOCH GALLERY 1516 4 St SW, Calgary, AB T2R 1H5 T. 403-209-8542 calgary@lochgallery.com www.lochgallery.com

www.gallerieswest.ca

Established in 1972 in Winnipeg, the Loch Gallery specializes in building collections of quality Canadian, American, British and European paintings and sculpture. It represents original 19th and 20th century artwork of collectable and historic interest, as well as a select group of gifted professional artists from across Canada including Ivan Eyre, Leo Mol, Ron Bolt, Peter Sawatzky, Anna Wiechec, Philip Craig and Carol Stewart. Also located in Winnipeg and Toronto. Tues to Sat 10 am - 5:30 pm. LOUGHEED HOUSE GALLERY 707 13 Ave SW, Calgary, AB T2R 0K8 T. 403-244-6333 F. 403-244-6354 info@lougheedhouse.com www.lougheedhouse.com/gallery Lougheed House Gallery, located on the Ballroom level of the historic Lougheed House, hosts a variety of temporary artistic and historic exhibits throughout the year. Themes often relate to the occupants of the House, local history, and architecture, and are developed both in-house and presented in partnership with other organizations. Museum shop and restaurant on site. Wed to Fri 11 am - 4 pm, Sat and Sun 10 am - 4 pm. MASTERS GALLERY 2115 4 St SW, Calgary, AB T2S 1W8 T. 403-245-2064 F. 403-244-1636 mastersgallery@shawcable.com www.mastersgalleryltd.com Celebrating more than 35 years of quality Canadian historical and contemporary art. Tues to Sat 10 am - 5:30 pm. MIDTOWNE GALLERY 9250 Macleod Tr SE, Calgary, AB T2J 0P5 T. 403-252-7063 iwf@telus.net www.midtownegallery.ca Specializing in original representational painting and sculpture from emerging and established Canadian artists, this contemporary space was designed for showcasing art. Each month the gallery features group, or solo exhibitions, in celebration of the artists artwork. Located within Its Worth Framing (ample free parking) on Macleod Trail. Mon to Sat 10 am - 4 pm; Tues to Thurs till 6 pm. MOONSTONE CREATION NATIVE GALLERY 1219 10 Ave SE, Calgary, AB T2G 0W6 T. 403-261-2650 F. 403-261-2654 yvonne@moonstonecreation.ca www.moonstonecreation.ca Along with showcasing the traditional artwork of owner Yvonne Jobin, the gallery represents many First Nations and Metis artists. Fine art, pottery, carvings, turquoise and Westcoast jewellery, beadwork, leatherwork and authentic, locally-made gifts can be found in this unique gallery. Tues to Sat 10:30 am - 6 pm, Sun 11 am - 4 pm.

Established in 1986 and representing over 40 Western Canadian artists

DERYK HOUSTON

NEWZONES GALLERY OF CONTEMPORARY ART 730 - 11 Ave SW, Calgary, AB T2R 0E4 T. 403-266-1972 F. 403-266-1987 info@newzones.com www.newzones.com/ Opened in 1992, Newzones is one of Canadas leading contemporary art galleries, promoting prominent Albertan, Canadian and international artists as well as young, up-and-coming artists both at home in Calgary, and internationally. The Gallerys program has an emphasis on process-orientated artwork that challenges both the traditional use of materials and formal aesthetics. Tues to Fri 10:30 am - 5:30 pm, Sat 11 am - 5 pm.

Sunflowers, acrylic on canvas, 30”x 30”

Hannah White offers a unique experience for artists and collectors alike. Located in eclectic Kensington with ample on-street parking. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm.

PAUL KUHN GALLERY 724 11 Ave SW, Calgary, AB T2R 0E4 T. 403-263-1162 F. 403-262-9426 paul@paulkuhngallery.com www.paulkuhngallery.com Focuses on national and regional contemporary Canadian paintings, drawings, prints and sculpture; also shows contemporary American prints. Exhibitions change monthly featuring established and emerging artists along with themed group shows. Tues to Sat 10 am - 5:30 pm. RUBERTO OSTBERG GALLERY 2108 18 St NW, Calgary, AB T2M 3T3 T. 403-289-3388 anna@ruberto-ostberg.com www.ruberto-ostberg.com This bright exhibition space in the residential community of Capitol Hill shows a variety of contemporary art styles and media in an inner city location for artists and art lovers to meet and interact. Some of the work is produced on-site by artists working in the adjoining Purple Door Art Studio space. Wed to Sat 12:30 pm - 5 pm, Thurs till 9 pm.

Open daily Extended Wknd/Hol hours

104-709 Main Street, Canmore, AB T1W 2B2 theavensgallery@telusplanet.net

403.678.4471

Visit us at theavensgallery.com for full collections and event listings Galleries West Spring 2015 61

art exhibitions and educational events. Tues to Sat 10 am - 5 pm, Thurs & Fri till 8 pm, Sun noon - 5 pm. GLENBOW MUSEUM 130 - 9 Ave SE, Calgary, AB T2G 0P3 T. 403-268-4100 F. 403-262-4045 glenbow@glenbow.org www.glenbow.org/ Located in the heart of downtown Calgary - visitors experience Glenbow Museums diverse exhibits, special programs and vast collections including Asian, Contemporary, Modernist and Historical Art. Tues to Thurs 9 am - 5 pm; Fri 11:30 am - 7:30 pm; Sat 9 am - 5 pm; Sun noon - 5 pm. Adult $14, Seniors $10, Students $9, Family $32; Members and under 6, free. Glenbow Shop open Mon to Sat 11 am - 6 pm; Sun noon - 5:30 pm.

Calgary photographer Colin Smith investigates simple lens-based technologies based on his experience as a lighting technician and cinematographer in the film industry. Building on previous work documenting abandoned and decaying structures such as prairie farmhouses and lookout shelters, Obscure Inversions brings together the camera obscura and archetypal hotel rooms. To March 1 at the Art Gallery of Alberta in Edmonton Colin Smith, Vancouver Hotel, 2013, acrylic mount photograph

THE COLLECTORS GALLERY OF ART 1332 9 Ave SE, Calgary, AB T2G 0T3 T. 403-245-8300 F. 403-245-8315 mail@cgoart.com www.cgoart.com Specializing in important Canadian art from the 19th to the 21st century including early topographical paintings, Canadian impressionists and Group of Seven. The Collectors Gallery represents over 30 prominent Canadian contemporary artists. Tues to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm. TRÉPANIERBAER 105, 999 8 St SW, Calgary, AB T2R 1J5 T. 403-244-2066 F. 403-244-2094 info@tbg1.com www.trepanierbaer.com A progressive and friendly commercial gallery specializing in the exhibition and sale of Canadian and international art. In addition to representing wellknown senior and mid-career artists, the gallery also maintains an active and successful program for the presentation of younger emerging Canadian artists work. Tues to Sat 11 am - 5 pm and by appointment. VAN GINKEL ART GALLERY & STUDIO 1312A 9 Ave SE, Calgary, AB T2G 0T3 T. 403-830-0061 paulvg@shaw.ca www.PaulVanGinkel.com Recently opened, Calgary artist Paul Van Ginkel paints in oils and watercolours while specializing in Western and Dance themes. He also does custom (commission) pieces and has limited edition paper and giclee prints available. ‘In the heart of Inglewood’ Check website for hours.

62 Galleries West

Spring 2015

WALLACE GALLERIES LTD 500 5 Ave SW, Calgary, AB T2P 3L5 T. 403-262-8050 F. 403-264-7112 colette@wallacegalleries.com www.wallacegalleries.com In the heart of downtown Calgary, Wallace Galleries Ltd. has been a part of the art community since 1986. With regular group and solo shows the gallery is proud to represent some of Canadas most accomplished and upcoming contemporary artists working in oils, acrylics, mixed media and watercolor as well sculpture and pottery. There is always something visually stimulating to see at Wallace Galleries Ltd. Mon to Sat 10 am - 5:30 pm. WEBSTER GALLERIES 812 - 11 Ave SW, Calgary, AB T2R 0E5 T. 403-263-6500 F. 403-263-6501 info@webstergalleries.com www.webstergalleries.com Established in 1979, the gallery exhibits an extensive collection of original oil and acrylic paintings, bronze, ceramic, stone sculptures and Inuit art in a 10,000 square foot space. Webster Galleries Inc also houses a complete frame design and workshop facility. Free parking at the rear of the gallery for customer convenience. Tues to Sat 10 am - 6 pm.

NICKLE GALLERIES Taylor Family Digital Library, University of Calgary, 410 University Court NW, Calgary, AB T2N 1N4 T. 403-220-7234 nickle@ucalgary.ca library.ucalgary.ca/nickle Now reopened in a landmark location on campus, the Nickle Galleries showcases the best of Alberta artists, currently featuring Marion Nicoll and Arthur Nishimura. Mon to Fri 10 am - 5 pm, Thurs till 7 pm, Sat noon - 5 pm, closed Sun. FREE admission.

CAMROSE Commercial Gallery CANDLER ART GALLERY 5002 50 St, Camrose, AB T4V 1R2 T. 780-672-8401 F. 780-679-4121 Toll Free: 1-888-672-8401 candler@syban.net www.candlerartgallery.com Fresh, vibrant and alive describe both the artwork and the experience when you visit this recently restored gallery. You will discover a diverse group of both emerging and established artists including J. Brager, B. Cheng, R. Chow, H. deJager, K. Duke, J. Kamikura, E. Lower Pidgeon, J. Peters, A. Pfannmuller, K. Ritcher, D. Zasadny — all well priced. Mon to Fri 9 am - 5:30 pm, Sat 9:30 am - 5 pm. Or by appt. CANMORE Commercial Galleries CARTER-RYAN GALLERY AND LIVE ART VENUE 705 Main St, Canmore, AB T1W 2B2 T. 403-621-1000 info@carter-ryan.com www.carter-ryan.com Carter-Ryan Gallery is home to one of Canadas most prolific contemporary Aboriginal artists, Jason Carter. Both a painter and soapstone carver, Carter illustrated “WHO IS BOO: The Curious Tales of One

Montreal artist Emmanuelle Jacques’ exhibition was inspired by The Library of Babel, a short story by Jorge Luis Borges that conceived a universe in the form of a vast library containing all the books of a certain format. Similarly, Jacques’ experimental project is based on a series of 25 linocuts featuring a motif of stars that she recombined to generate imaginary space landscapes as they might be viewed from a telescope. “By pursuing endless tasks, like mapping areas that are too vast and compelled to relentless transformations, I challenge the absurdity of the human condition,” she says. Feb. 25 to April 11 at the Artist Proof Gallery in Calgary Emmanuelle Jacques, La création de l’univers (detail, 12-14-11), 2010, linocut and typography, 7” x 7”

Cooperative Gallery ARTPOINT GALLERY AND STUDIOS 1139 - 11 St SE, Calgary, AB T2G 3G1 T. 403-265-6867 F. 403-265-6867 info@artpoint.ca www.artpoint.ca Two galleries and 23 onsite-artist studios. The 50+ artist members and invited artists show and sell their works in monthly changing exhibitions —from painting to sculpture; photography to textiles. Located next to the CPR tracks in Ramsay. Turn E from 8 St onto 11 Ave SE and follow the gravel road. Thurs & Fri 1 pm - 5 pm, Sat 11 am to 5 pm, or by appointment.

TOP LEFT: COURTESY OF PETER ROBERTSON GALLERY

STEPHEN LOWE ART GALLERY 2nd level, Bow Valley Square III, 251, 255 - 5 Ave SW, Calgary, AB T2P 3G6 T. 403-261-1602 F. 403-261-2981 stephenloweartgallery@shaw.ca www.stephenloweartgallery.ca and West Market Square 509-1851 Sirocco Dr SW Calgary, AB T3H 4R5 Established since 1979, and now with two locations, the gallery features an extensive portfolio of distinguished Canadian artists offering fine original paintings, glass, ceramics and sculptures in traditional and contemporary genres. Ongoing solo and group exhibitions welcome everyone from browsers to experienced collectors. Personalized corporate and residential consulting. Mon to Sat 10 am - 5 pm. (Free Sat parking).

LEIGHTON ART CENTRE Box 9, Site 31, R.R. 8 Site 31, Comp. #9., RR 8 By Millarville, 16 km south of Calgary off Hwy 22 west, Calgary, AB T2J 2T9 T. 403-931-3633 F. 403-931-3673 info@leightoncentre.org www.leightoncentre.org The Centre is a public art gallery, museum and shop located just outside Calgary, overlooking the Alberta Foothills and Rocky Mountains. It is open to the public year round and offers a wide range of art exhibitions, museum displays, programming, art sales and special events. A not-for-profit organization, it strives to promote artistic community, and to sustain a setting for art and the creative process. Tues to Sun 10 am - 4 pm.

THE MILITARY MUSEUMS — FOUNDERS GALLERY 4520 Crowchild Tr SW, Calgary, AB T2T 5J4 T. 403-974-2847 F. 403-974-2858 artcurator@themilitarymuseums.ca www.themilitarymuseums.ca/galleryfounders Officially opened in 2009, and under The University of Calgary administration since 2012, The Founders Gallery contributes to Canadians understanding of military experience by displaying historic and contemporary works of art and related artifacts. The gallery hosts local, national, and international exhibitions, which change every few months. Mon to Fri 9 am - 5 pm, Sat and Sun 9:30 am - 4 pm.

Public Galleries ESKER FOUNDATION GALLERY 444-1011 9 Ave SE, Calgary, AB T2G 0H7 T. 403-930-2490 info@eskerfoundation.com www.eskerfoundation.com Opened in June 2012, the Esker Foundation, an initiative of Calgary philanthropists and art patrons Jim and Susan Hill, is the largest privately-funded, non-commercial gallery in Calgary. Featuring over 15,000 square feet of environmentally-controlled, purpose-built exhibition space, its a cultural platform for innovative and exceptional contemporary

www.gallerieswest.ca

THE AVENS GALLERY 104-709 Main St, Canmore, AB T1W 2B2 T. 403-678-4471 theavensgallery@telusplanet.net www.theavensgallery.com Established in 1986, the Avens Gallery is a fixture in the town of Canmore. Their mandate is to showcase high quality western Canadian artists and they take an understandable pride in their eclectic collection of original paintings and sculpture. Daily 10 am - 6 pm with extended wknd/hol hours.

SNAP GALLERY 10123 121 St, Edmonton, AB T5N 3W9 T. 780-423-1492 F. 780-424-9117 snap@snapartists.com www.snapartists.com Established in 1982 as an independent, cooperatively-run fine art printshop, the SNAP (Society of Northern Alberta Print-artists) mandate is to promote, facilitate and communicate print and printrelated contemporary production. A complete print shop and related equipment are available to members. Ten exhibitions are scheduled each year. Tues to Sat noon - 5 pm.

THE EDGE GALLERY 612 Spring Creek Drive, Canmore, AB T1W 0C7 T. 403-675-8300 theedgegallery@shaw.ca www.edgegallery.ca In the gallery: ongoing exhibitions of historical paintings and prints to contemporary, abstract works. In the frame shop: experienced staff with 25 years experience offers a wide selection of frames for mirrors, objects, needlework, paintings and prints, specializing in the handling and care of original artwork. Tues to Sat 10 am -5:30 pm or by appointment. COCHRANE Commercial Gallery JUST IMAJAN ART GALLERY/STUDIO 3-320 1 St West,, Cochrane, AB T4C 1X8 T. 403-932-7040 info@justimajan.com www.justimajan.com Artist-owned gallery representing 40 Canadian artists with paintings, sculpture, glass, wood-turning and metalsmith designs. Antiques add to the ambience. Thurs, Fri noon - 5 pm, Sat 10 am - 5 pm; usually Sun noon - 4 pm. Call ahead. COLD LAKE Commercial Gallery JANVIER GALLERY Cold Lake First Nations 149B (Box 8130), Cold Lake, AB T9M 1N1 T. 780-639-4545 jjanvier@alexjanvier.com www.alexjanvier.com Janvier Gallery, formerly located across from the Marina in the city of Cold Lake, has re-opened in a purpose-built, Douglas Cardinal designed building in Cold Lake First Nations 149B (also known as English Bay) about ten minutes north of Cold Lake on 25 Street/English Bay Road. The gallery holds many Alex Janvier originals, with exhibitions changing often. Currently open BY APPOINTMENT. DRUMHELLER Commercial Galleries 3RD AVENUE ARTS Box 338, 20 3 Ave West, Drumheller, AB T0J 0Y0 T. 403-823-3686 miketodor@gmail.com www.todorphoto.com Quality Western Canadian art. Featuring the works of over 30 artisans. Unique selection of photography, fine art originals, prints, pottery, glass objects and jewellery. Owned and operated by visual artist Michael Todor. Mon to Sat 10 am - 5:30 pm; Daily Jul, Aug. ATELIERO VERDA Box 1708, 40 3 Ave W, Drumheller, AB T0J 0Y0 T. 403-823-2455 jsveda@highout.com www.sveda-art.com The resident artist, Jacqueline Sveda is originally from Magog, Quebec, but has lived in Western Canada for the last 30 years. Her work is inspired by her surroundings, in which imagination plays a big role. She works in acrylic and mixed media flat art, as well as stone and wood carving. Guest artists participate in periodic exhibitions. Thurs to Sun 1:30 pm - 5 pm. GREATER EDMONTON Artist-run Galleries HARCOURT HOUSE GALLERY 10215 112 St - 3rd Flr, Edmonton, AB T5K 1M7 T. 780-426-4180 F. 780-425-5523 harcourthouse@shaw.ca www.harcourthouse.ab.ca The Arts Centre delivers a variety of services to both artists and the community, and acts as an essential alternative site for the presentation, distribution

www.gallerieswest.ca

Commercial Galleries BEARCLAW GALLERY 10403 124 St, Edmonton, AB T5N 3Z5 T. 780-482-1204 F. 780-488-0928 info@bearclawgallery.com www.bearclawgallery.com Specializing in Canadian First Nations and Inuit art since 1975 from artists including Daphne Odjig, Norval Morrisseau, Roy Thomas, Maxine Noel, Jim Logan, George Littlechild, Jane Ash Poitras, Alex Janvier and Aaron Paquette. A wide variety of paintings, jade and Inuit soapstone carvings, and Navajo and Northwest coast jewellery. Mon to Sat 10 am - 5:30 pm. BUGERA MATHESON GALLERY 10435 124 St, Edmonton, AB T5N 1R1 T. 780-482-2854 info@bugeramathesongallery.com www.bugeramathesongallery.com With a brand new location, designed from the ground up to suit the needs of clients and artists, the Bugera Matheson Gallery continues a 20-year tradition of serving Edmontons art-loving community. Experience a rich variety of unique fine art including abstract, landscape, still life and figurative painting, and sculpture. Mon to Sat 10 am - 5:30 pm, Thurs till 7 pm.

EXPERIENCE

CREATE

and promotion of contemporary art. The gallery presents 10 five-week exhibitions, from local, provincial and national artists, collectives and arts organizations as well as an annual members show. Mon to Fri 10 am - 5 pm, Sat noon - 4 pm.

DISCOVER

Trickster Rabbit”. And 21 of his 66 illustrations, on 30” x 40” canvases are now on display. Musical and theatrical acts change weekly in the back half of this 1700 sq ft gallery. Tues to Sat 10 am - 5:30 pm, Sun noon - 4 pm.

INSPIRE

EXPLORE

Red Deer College | Alberta July 6 – 31, 2015

2015

SUMMER ARTS SCHOOL

Peter and Camille are celebrating 10 years of their Peter Robertson Gallery in Edmonton. DAFFODIL GALLERY 10412 124 St, Edmonton, AB T5N 1R5 T. 780-760-1278 info@daffodilgallery.ca www.daffodilgallery.ca “From England, with love” is the theme of Daffodil Gallery, fulfilling a dream of Karen Bishop and partner Rick Rogers to create an unpretentious gallery, welcoming to both experienced and new art collectors. It features established and emerging Canadian artists, representing a wide range of artistic styles — from traditional to contemporary. Tues to Sat 10:30 am - 5 pm.

Barbra Edwards

DC3 ART PROJECTS 10567 111 St, Edmonton, AB T5H 3E8 T. 780-686-4211 david@dc3artprojects.com www.dc3artprojects.com/ David Candler is a supporter, advocate, producer and promoter of the best of contemporary art. His DC3 Art Projects is committed to helping emerging and mid-career artists to bring challenging and engaging work to a greater public through exhibitions, critical writing, travelling shows and international art fairs. Offering advice, assistance and inspiration to new and established collectors alike. Wed to Fri noon - 5 pm, Thurs till 8 pm; Sat 11 am - 5:30 pm. DOUGLAS UDELL GALLERY 10332 124 St, Edmonton, AB T5N 1R2 T. 780-488-4445 F. 780-488-8335 dug@douglasudellgallery.com www.douglasudellgallery.com In the art business in Edmonton since 1967 and Vancouver since 1986, Douglas Udell Gallery represents many of Canadas leading contemporary artists as well as some of the leading young artists gaining momentum in the international playing field. The gallery also buys and sells in the secondary market in Canadian historical as well as international. Tues to Sat 9:30 am - 5:30 pm, Mon by appt.

Michael Thiessen

Jan 1 Every Room with a View (Group Show) Feb 14 Red Hot Reds (Group Show) Feb 28 Barbra Edwards & Michael Thiessen DĂƌ μκ :ĂŵŝĞ ǀƌĂƌĚ Θ :ĂŶĞ ǀĞƌĞƩ (9(5< 5220 :,7+ $ 9,(:

10345 - 124 Street | Edmonton, Alberta | 780 - 482 - 2854 info@bugeramathesongallery.com | www.bugeramathesongallery.com

Galleries West Spring 2015 63

Featuring Parkland Prairie Artists 5002 - 50 Street Camrose, AB T4V 1R2 1-888-672-8401

Karin Richter, Forest Splendour, Pastel on suede board

www.candlerartgallery.com candler@syban.net

Art Supplies, Picture Framing, Prints, Posters, Rocks & Crystals

The Works Art & Design Festival

Celebrates 30 Years IN 2015

june 19 - july 1 downtown edmonton theworks.ab.ca

2014 performance on Churchill Square the traveler © Tony Olivaries Detail: It Was Good While it Lasted 2014 Gateway by Nickelas Johnson and Aaron Paquette 64 Galleries West Spring 2015

Bridging the gap between fiction and reality, Kristopher Karklin investigates the relationship between people and their habitats. His latest work is based on his experiences in Fort McMurray, and his interactions with the Alberta landscape. March 20 to May 2 at the Barbara Edwards Gallery in Calgary Kristopher Karklin, Reclaimed Tub, 2014, inkjet print, edition of seven, 36” x 54” GALERIE PAVA 9524 87 ST, Edmonton, AB T6C 3J1 T. 780-461-3234 F. 780-461-4053 gisele@savacava.com www.savacava.com Created in 2011 by the Société francophone des arts visuels de lAlberta, PAVA is committed to the promotion of contemporary art by emerging and established artists from the local, provincial and national art scenes. Artists are encouraged to research projects reflecting cultural and social diversity. Juried themed exhibitions change monthly. Tues to Sat 10 am - 4 pm or by appointment at 780-461-3427. LANDO GALLERY 103-10310 124 St NW, Edmonton, AB T5N 1R2 T. 780-990-1161 mail@landogallery.com www.landogallery.com Edmontons largest commercial art gallery is now located on the corner of 103 Avenue and 124 Street. Lando Gallery continues to offer superior quality Canadian and international fine art and fine objects, expert custom picture framing, fine art appraisals and many other art related services. Open Mon to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm, or by appointment. PETER ROBERTSON GALLERY 12304 Jasper Ave, Edmonton, AB T5N 3K5 T. 780-455-7479 info@probertsongallery.com www.probertsongallery.com Representing a roster of over 40 emerging, mid-career, and senior Canadian artists, this contemporary gallery space features a wide range of media and subject matter. Whether working with established collectors, or with those looking to purchase their first piece, Peter Robertson Gallery strives to inform, challenge, and retain relevance within the broader art community. Tues to Sat 11 am - 5 pm. PICTURE THIS! 959 Ordze Road, Sherwood Park, AB T8A 4L7 T. 780-467-3038 F. 780-464-1493 Toll Free: 1-800-528-4278 info@picturethisgallery.com www.picturethisgallery.com Picture This! framing & gallery have been helping clients proudly display their life treasures and assisting them to discover the beauty of the world through fine art since 1981. Now representing the Western Lights Artists Group and offering a diverse selection of originals by national and international artists. Mon to Fri 10 am - 6 pm, Thurs till 9 pm, Sat till 5 pm. ROWLES & COMPANY LTD 108 LeMarchand Mansion, 11523 100 Ave, Edmonton, AB T5K 0J8 T. 780-426-4035 F. 780-429-2787 rowles@rowles.ca

www.rowles.ca Relocated to LeMarchand Mansion. Features over 100 western Canadian artists in original paintings, bronze, blown glass, metal, moose antler, marble and soapstone. Specializing in supplying the corporate marketplace, the gallery offers consultation for Service Award Programs, and complete fulfillment for a wide variety of corporate projects. Open to the public. Mon to Fri 9 am - 5 pm, Sat - by appt. RR GALLERY 10219 106 St, Edmonton, AB T5J 1H5 T. 780-757-3463 F. 780-757-3463 robert@rrgallery.ca www.rrgallery.ca RR Gallery offers original paintings, pastels and photography by such artists as Anna BerezaPiorkowska, Jonathan Havelock and, from Brazil, Litza Cohen. Partners Richard Lajczak and Robert Thomas also have more than twenty years experience in museum-grade printing, limited edition prints, drymounting and laminating, canvas stretching and custom picture framing. Mon to Fri 9 am - 5:30 pm, Thurs till 7 pm and Sat 10 am - 5 pm.

Rachel Bouchard is planning a spring move of The Front Gallery from Jasper Ave to nearby 12323 104 Ave in Edmonton. SCOTT GALLERY 10411 124 St, Edmonton, AB T5N 3Z5 T. 780-488-3619 F. 780-488-4826 info@scottgallery.com www.scottgallery.com Established in 1986, the Scott Gallery features Canadian contemporary art representing over thirty established and emerging Canadian artists. Exhibits include paintings, works on paper including handpulled prints and photography, ceramics and sculpture. Tues to Sat 10 am - 5 pm. THE FRONT GALLERY 12312 Jasper Ave, Edmonton, AB T5N 3K5 T. 780-488-2952 F. 780-452-6240 thefrontgallery@shaw.ca www.thefrontgallery.com Located in Edmontons gallery walk district. Since opening in 1979 the gallery has specialized in exhibiting fine art and craft by Alberta artists, with exhibitions changing every three weeks. Tues to Fri 11 am - 5 pm, Sat 10 am - 5 pm. WEST END GALLERY 12308 Jasper Ave, Edmonton, AB T5N 3K5

www.gallerieswest.ca

T. 780-488-4892 F. 780-488-4893 info@westendgalleryltd.com www.westendgalleryltd.com Established in 1975, this fine art gallery is known for representing leading artists from across Canada — paintings, sculpture and glass art in traditional and contemporary styles. Exhibitions via e-mail available by request. Second location in Victoria since 1994. Tues to Sat 10 am - 5 pm. Cooperative Gallery LOFT GALLERY AT A. J. OTTEWELL COMMUNITY CENTRE 590 Broadmoor Blvd, Sherwood Park, AB T8A 4V8 T. 780-449-4443 artsoc@telus.net http://assc.memberlodge.org/loftgallery With artwork changing approximately every eight weeks, the Loft Gallery features the work of Art Society of Strathcona County members. Local artists and group shows are presented throughout the year in a variety of media, sizes and prices. Located in the A. J. Ottewell Art Centre. Sat, Sun noon - 4pm.

Just completed 20 years in Victoria, the Hudon family will celebrate 40 years of West End Gallery in Edm with April move to 10339 - 124 St. Public Galleries ALBERTA CRAFT COUNCIL GALLERY 10186-106 St, Edmonton, AB T5J 1H4 T. 780-488-5900 F. 780-488-8855 acc@albertacraft.ab.ca www.albertacraft.ab.ca Albertas only public gallery dedicated to fine craft presents four exhibitions in the main gallery each year. The Discovery Gallery features new works by ACC members. The gallery shop offers contemporary and traditional fine crafts including pottery, blown glass, jewelry, woven and quilted fabrics, home accessories, furniture and much more. All are hand-made by Alberta and Canadian craft artists. Mon to Sat 10 am - 5 pm, Thurs till 6 pm; closed Sun. ART GALLERY OF ALBERTA 2 Winston Churchill Square, Edmonton, AB T5J 2C1 T. 780-422-6223 F. 780-426-3105 info@youraga.ca www.youraga.ca Founded in 1924, the Art Gallery of Alberta is an 85,000 square foot premier presentation venue for international and Canadian art, education and scholarship. The AGA is a centre of excellence for the visual arts in Western Canada, expressing the creative spirit of Alberta and connecting people, art and ideas. Tues to Sun 11 am - 5 pm, Wed till 9 pm.

ART GALLERY OF ST ALBERT 19 Perron St, St Albert, AB T8N 1E5 T. 780-460-4310 F. 780-460-9537 ahfgallery@artsandheritage.ca artgalleryofstalbert.com Located in the historic Banque dHochelaga in St. Albert, the gallery features contemporary art, usually by Alberta artists, who show their painting, sculpture, video, quilts, glass and ceramics at both the provincial and national level. Monthly exhibitions, adult lectures and workshops, “Looking at Art” school tours, art rental and sales plus a gallery gift shop. Tues to Sat 10 am - 5 pm, Thurs till 8 pm. CENTRE DARTS VISUELS DE LALBERTA (CAVA) 9103 95 Ave, Edmonton, AB T6C 1Z4 T. 780-461-3427 F. 780-461-4053 cava@shaw.ca www.savacava.com The Centre is an eclectic mix of fine art and craft from the Sociétés 165 members. These Albertabased artists work in a variety of media including painting, sculpture, woodworking and other fine crafts including pottery, jewellery, woven and quilted fabric and much more. The galerie exhibitions change twice monthly. Mon to Fri 10 am - 6 pm, Sat 10 am - 5 pm. STRATHCONA COUNTY ART GALLERY @ 501 120-501 Festival Ave, Sherwood Park, AB T8A 4X3 T. 780-410-8585 F. 780-410-8580 artgallery@strathcona.ab.ca www.strathcona.ca/artgallery Strathcona County opened the doors on March 10, 2011 to Gallery @ 501 located in the Community Centre in Sherwood Park, AB. The gallery will be exhibiting contemporary artwork from regional, provincial, national and international artists and is currently accepting exhibition proposals from artists and curators. Mon to Fri 10 am - 6 pm, Tues and Thurs 10 am - 8 pm, Sat 10 am - 4 pm, Sun noon - 4 pm. VAAA GALLERY 10215 112 St, 3rd Flr, Edmonton, AB T5K 1M7 T. 780-421-1731 F. 780-421-1857 Toll Free: 1-866-421-1731 info@visualartsalberta.com www.visualartsalberta.com Visual Arts Alberta Association is a non-profit Provincial Arts Service Organization (PASO) for the visual arts which celebrates, supports and develops Albertas visual culture. The gallery hosts an ongoing exhibition schedule. Wed to Fri 10 am - 4 pm, Sat noon - 4 pm. GRANDE PRAIRIE Public Gallery ART GALLERY OF GRANDE PRAIRIE 103-9839 103 Ave, Grande Prairie, AB T8V 6M7 T. 780-532-8111 F. 780-539-9522 info@aggp.ca

UPCOMING SHOWS Spring 2015

S. Lancaster, Calculated Risk; Occupied Nest, 2012 Gel Photo transfer on birch panel, 48” x 48”

Robin Smith Peck, Traveling Wave 1, 2013 Digital & Mixed Media, 22” x 22”

ELSEWHERE

IMAGE AND THE CURIOUS MIND

Recent works by

Sydney Lancaster and Brenda Danbrook

Digital Prints by

Robin Smith Peck

Jan 9 – Feb 22, 2015

Mar 20 – Apr 26, 2015

Opening Reception: January 9th @ 7:00 pm Artists in attendance

Opening Reception: March 20th @ 7:00 pm Artist in Attendance

Further information contact: Brenda Barry Byrne, Curator #120 – 501 Festival Avenue Sherwood Park, AB T8A 4X3 780-410-8585 brenda.barry-byrne@strathcona.ca www.strathcona.ca/artgallery

gallery 501

To celebrate 30 years of promoting visual art in Strathcona County

Art Society of Strathcona County presents

A Special Open Art Show Open Art Competition for all Alberta residents

April 15 - 19, 2015 • Cash Prizes, Gala Reception • Categories for Visual Art in Various Levels of Skill, including 3D, Photography and Digital • Entries will Close March 29, 2015 - register online

Dennis Budgen’s experiences as an artist in residence on Ellesmere Island, where he accompanied scientists from the Geological Survey of Canada, inspired his large charcoal drawings. The Calgary-based artist says he tried to capture a sense of the incessant wind and bleak winter amid the vast Arctic landscape. March 6 to April 25 at the Okotoks Art Gallery Dennis Budgen, Muskox, no date, charcoal on paper, 50” x 96” www.gallerieswest.ca

A. J. Ottewell Community Centre (Red Barn) 590 Broadmoor Boulevard, Sherwood Park, AB 780-449-4443 • www.artstrathcona.com

Galleries West Spring 2015 65

www.aggp.ca The Prairie Art Gallery has been renamed the Art Gallery of Grande Prairie in celebration of its major expansion into the restored 1929 Grande Prairie High School building. It is a public, non-commercial environment dedicated to assisting in the enjoyment of visual arts. It maintains the largest public art collection in the Peace Region. Mon to Thurs 10 am - 9 pm, Fri 10 am - 6 pm, Sat 10 am - 5 pm, Sun 1 pm - 5 pm. JASPER Commercial Gallery MOUNTAIN GALLERIES AT THE FAIRMONT Fairmont Jasper Park Lodge, #1 Old Lodge Rd, Jasper, AB T0E 1E0 T. 780-852-5378 F. 780-852-7292 Toll Free: 1-888-310-9726 jasper@mountaingalleries.com www.mountaingalleries.com Located in The Fairmont Jasper Park Lodge, Mountain Galleries is a favourite stop for collectors of Canadian art, featuring museum-quality paintings, sculpture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/ studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 8 am - 10 pm. LETHBRIDGE Commercial Gallery TRIANON GALLERY 104 5 St S - Upstairs, Lethbridge, AB T1J 2B2 T. 403-380-2787 F. 403-329-1654 Toll Free: 1-866-380-2787 trianon@savillarchitecture.com www.savillarchitecture.com Formerly the Trianon Ballroom (1930s-1960s), the gallery is an informal mix between a gallery and an architectural office. Its open space and philosophy allows for creative community responses. Exhibitions range from nationally-renowned artists to aspiring students. A second exhibition space, Le Petit Trianon is now open downstairs. Public Galleries CASA GALLERY 230 8 St S, Lethbridge, AB T1J 5H2 T. 403-327-2272 info@casalethbridge.ca

www.casalethbridge.ca/gallery The Casa Gallery exhibits the works of local, regional and provincial artists, with its primary focus on community art i.e. without restriction of style, medium or approach, but representing work being produced by artists in Lethbridge. One can expect to see drawing, painting, fine craft, installation, sculpture, photography, new media and video art. Mon to Sat 9 am - 10 pm, Sun 10 am - 6 pm. GALT MUSEUM & ARCHIVES 502 1 St S ( 5 Ave S & Scenic Dr), Lethbridge, AB T1J 0P6 T. 403-320-3898 F. 403-329-4958 Toll Free: 1-866-320-3898 info@galtmuseum.com www.galtmuseum.com A vibrant gathering place meeting historical, cultural and educational needs, the Galt engages and educates its communities in the human history of southwestern Alberta by preserving and sharing collections, stories and memories that define collective identity and guide the future. Award-winning exhibits, events, programs. (May 15 - Aug 31) Mon to Sat 10 am - 6 pm; (Sep 1 - May 14) Mon to Sat 10 am - 4:30 pm; (year-round) Thurs till 9 pm, Sun 1 - 4:30 pm. Admission charge. SOUTHERN ALBERTA ART GALLERY 601 3 Ave S, Lethbridge, AB T1J 0H4 T. 403-327-8770 F. 403-328-3913 info@saag.ca www.saag.ca One of Canadas foremost public galleries, SAAG fosters the work of contemporary visual artists who push the boundaries of their medium. Regularly changing exhibitions are featured in three distinct gallery spaces. Learning programs, film screenings and special events further contribute to local culture. Gift Shop and a Resource Library. Tues to Sat 10 am - 5 pm, Sun 1 pm - 5 pm. UNIVERSITY OF LETHBRIDGE ART GALLERY W600, Centre for the Arts, 4401 University Drive, Lethbridge, AB T1K 3M4 T. 403-329-2666 F. 403-382-7115 galleryinfo@uleth.ca www.uleth.ca/artgallery The gallery serves the campus community and general public with a permanent collection of more than 13,000 works; by presenting local and touring exhibitions; and by supporting research at all lev-

Edmonton artist Verne Busby paints landscapes that he starts on location just off the road while traveling in B.C. and Alberta. He’s doesn’t so much represent directly what is in front of him as allow scenes to evolve through his use of texture, brushwork and mark making. Feb. 7 to Feb. 21 at Gibson Fine Art in Calgary Verne Busby, The Quarry Road, 2014, acrylic on birch panel, 40” x 40”

els through publications and an on-line database. Main Gallery Mon to Fri 10 am - 4:30 pm, Thur till 8:30 pm. Helen Christou Gallery - Level 9 LINC, Daily 8 am - 9 pm. Special activities on website. MEDICINE HAT Public Galleries ESPLANADE ART GALLERY 401 First St SE, Medicine Hat, AB T1A 8W2 T. 403-502-8580 F. 403-502-8589 mhmag@city.medicine-hat.ab.ca www.esplanade.ca This is home to the Medicine Hat Museum, Art Gallery and Archives, as well as a 700-seat theatre. The gallery accommodates a wide range of art exhibitions, including contemporary and historical, regional, national and international art. Exhibitions are often accompanied by receptions, talks and tours. Adults - $4.30, Youth and Student - $3.20, 6 & Under - Free, Family - $12.90, Thur Free for all ages. Mon to Fri 9 am - 5 pm, Sat noon - 5 pm. MEDALTA IN THE HISTORIC CLAY DISTRICT 713 Medalta Ave SE, Medicine Hat, AB T1A 3K9 T. 403-529-1070 info@medalta.org www.medalta.org Medalta is a century-old factory which has been converted into an industrial museum, working pottery and contemporary ceramic arts centre. The Yuill Family Gallery features contemporary artwork from the Medalta International Artists in Residence program and travelling art exhibitions. (Summer) Victoria Day to Labour Day - Daily 9:30 am - 5 pm; (Winter) Tues to Sat 10 am - 4 pm. OKOTOKS Commercial Galleries DALÎ GALLERY 45 McRae St, Okotoks, AB T. 403-601-0348 dgallery@telus.net www.dalegallery.ca The gallery is a working studio featuring the work of Alberta artist Therese DalÎ-Kunicky. One can view her artwork in progress and see the unique pigments used to create the images. Many of the paintings are meditation pieces. Visitors are welcome to sit, relax and have a gazing meditation with a favourite piece. Located in the heart of Olde Towne Okotoks across from the town plaza. Tues to Sat 11 am - 5 pm. RABBIT HOLE GALLERY 109-21 North Railway St (lower level), Okotoks, AB T1S 1B6 T. 587-364-1001 cltaylor@telusplanet.net www.emporiumofimpossiblethings.ca The Rabbit Hole is, as the name suggests, “underground” below the Emporium of Impossible Things Shoppe in downtown Okotoks. Artist and teacher Cheryl Taylor and shop owner Melody Enman run a welcoming, inclusive and affordable art gallery and workshop space supporting emerging and mid-career artists. Local, original art in a variety of styles and media are hung salon style in themed group shows which change regularly. Tues to Sat 11 am - 5 pm. Public Gallery OKOTOKS ART GALLERY | AT THE STATION PO Box 20, 53 North Railway St, Okotoks, AB T1S 1K1 T. 403-938-3204 F. 403-938-8963 culture@okotoks.ca www.okotoksculture.ca The OAG reflects the creativity and dynamic energy of both the Town of Okotoks and the Foothills region. It presents an ongoing series of contemporary and historical art exhibitions. Recent exhibits include “Alberta and the Group of Seven”, Lou Lynns “Retro-active”, and “Celebrity Icons” which featured six works by Andy Warhol. (Summer) Mon to Sat 10 am - 5 pm; Sun and hols noon - 5 pm; (Fall & Winter) Tues to Sat 10 am - 5 pm. (closed statutory holidays) PIGEON LAKE Commercial Gallery BAY 12 GALLERY 12 Village Drive (Village at Pigeon Lake), Pigeon Lake, AB T. 780-586-2999 info@bay12gallery.com www.bay12gallery.com Owned by fine art photographer, Leon Strembitsky,

66 Galleries West

Spring 2015

In Talking Creatures, Patrick Bulas, Megan Gnanasihamany, Gerri Harden and Trish Shwart use storytelling to communicate intricacies of human behaviour and highlight connections between people and animals. March 5 to May 2 at the Art Gallery of St. Albert Gerri Harden, Bait, 2013, mixed media, 4” x 6” x 12” and painter/musician, Colleen McGinnis, Bay 12 Gallery brings original fine art by more than 40 Alberta-based artists to The Village at Pigeon Lake. Painting, photography, pottery, glass, wood, jewellery, art cards and more. Twenty min west on Highway 13 from QE 2, Exit 482B. Mon - Sat 10 am - 5:30 pm, Sun & hols 11 am - 5 pm; (Extended Summer hours) Fri, Sat open till 8 pm. PONOKA Commercial Gallery SIDING 14 GALLERY 5214 50 St, PO Box 4403, Ponoka, AB T4J 1S1 T. 403-790-5387 siding14@shaw.ca Siding 14 Gallery takes its name from early CPR days when Ponoka was a waterstop on the Edmonton-Calgary mainline. Today it features artwork from Western Canada, across the country and beyond. At its core is the studio of Mary MacArthur and Danny Lineham (“Those Great Little Books”) who are proud to showcase not only their own work in the ancient book arts, but that of other fine artists and artisans. Mon to Sat 10 am - 5:30 pm, and by appointment. RED DEER Public Gallery RED DEER MUSEUM + ART GALLERY 4525 47A Ave, Red Deer, AB T4N 6Z6 T. 403-309-8405 F. 403-342-6644 museum@reddeer.ca www.reddeermuseum.com The MAG combines elements of a museum and art gallery to inspire a passion for history and art while creating memorable experiences for visitors of all ages. The rotating exhibit schedule presents a glimpse of Red Deers historical and contemporary life, and brings world-class exhibitions to the city. In March 2013 the MAG opened a permanent history exhibition “Remarkable Red Deer: Stories from the Heart of the Parkland”. Mon to Fri 10 am - 4:30 pm, wknd noon - 4:30 pm.

www.gallerieswest.ca

SASKATCHEWAN GALLERIES ASSINIBOIA Public Gallery SHURNIAK ART GALLERY 122 3 Ave W, PO Box 1178, Assiniboia, SK S0H 0B0 T. 306-642-5292 F. 306-642-4541 info@shurniakartgallery.com www.shurniakartgallery.com The gallery features its founders private collection of paintings, sculptures, and artifacts from around the world. Rotating exhibitions by invited artists. New Beginnings TeaRoom on premises. Admission free. Tues to Sat 10 am - 4:30 pm, Sun (Apr - Dec) 1 pm - 5 pm, closed public holidays and holiday weekends unless otherwise posted. ESTEVAN Public Gallery ESTEVAN ART GALLERY & MUSEUM 118 4 St, Estevan, SK S4A 0T4 T. 306-634-7644 F. 306-634-2940 eagm@sasktel.net www.eagm.ca This public gallery offers a free exchange of ideas and perspectives to reflect the rapidly expanding social and cultural diversity. With the collaboration of provincial and national institutions, the gallery seeks to make contemporary art accessible, meaningful, and vital to diverse audiences of all ages. Tues to Fri 8:30 am - 6 pm, Sat 1 pm - 4 pm. MELFORT Public Gallery SHERVEN-SMITH ART GALLERY 206 Bemister Ave East, Box 310, Melfort, SK S0E 1A0 T. 306-752-4177 F. 306-752-5556 l.terry@cityofmelfort.ca www.kerryvickarcentre.ca Located 2 hours north of Saskatoon, the gallery is dedicated to the presentation and promotion of emerging local and provincial artists. Since opening in 2010, the gallery has held an eclectic mix of exhibits With new exhibits each month, the gallery is always looking for artists interested in showcasing their work.Admission free. Mon to Fri 9 am - 5:30 pm. MOOSE JAW Commercial Gallery YVETTE MOORE FINE ART GALLERY 76 Fairford St W, Moose Jaw, SK S6H 1V1 T. 306-693-7600 F. 306-693-7602 info@yvettemoore.com www.yvettemoore.com Showcasing the award-winning works of Yvette Moore, her gallery features her original artwork, limited edition prints, framed artcards and art plaques along with the works of other artisans, shown amid the copper grandeur of the former 1910 Land Titles Office. Food service. Corner Fairford and 1 Ave. Mon to Sat 10 am - 5 pm.

NORTH BATTLEFORD ALLEN SAPP GALLERY 1-Railway Ave, PO Box 460, North Battleford, SK S9A 2Y6 T. 306-445-1760 F. 306-445-1694 sapp@accesscomm.ca www.allensapp.com Allen Sapp is the recipient of the Order of Canada among many honours for his paintings depicting the everyday lives of Northern Plains Cree at mid 20th century. Housed in the historic Carnegie Library building, the gallery attracts people from around the world who are passionate about art and First Nations culture. Spring and Summer Daily 11 am - 5 pm; Fall and Winter Wed to Sun noon - 4 pm.

Mary and Jeremy celebrate 15 years ownership of Assiniboia Gallery in Regina. CHAPEL GALLERY 1-891 99 St, North Battleford, SK S9A 2Y6 T. 306-445-1757 F. 306-445-1009 chapelgallery@sasktel.net www.chapelgallery.ca The Chapel Gallery is a public gallery with special emphases on contemporary, regional and Aboriginal art in all media. It facilitates workshops, mentorship programs and supports the thoughtful reception of art. Proposals from artists, curators and collectives are accepted on an ongoing basis. Jun to Sept: daily noon - 4 pm; Sept to May: Wed to Sun noon - 4 pm. PRINCE ALBERT Public Gallery THE MANN ART GALLERY 142 12 St W, Prince Albert, SK S6V 3B8 T. 306-763-7080 F. 306-763-7838 curator@mannartgallery.ca www.mannartgallery.ca The Mann Art Gallery features a varied exhibition schedule promoting local, provincial and national artists, as well as curated exhibitions, lectures and workshops. It also houses a permanent collection of over 600 individual works from well-known provincial artists. Their education and professional development initiatives encourage public awareness and appreciation of the visual arts. Mon to Sat noon - 5 pm. REGINA Commercial Galleries ASSINIBOIA GALLERY 2266 Smith St, Regina, SK S4P 2P4 T. 306-522-0997 mail@assiniboia.com www.assiniboia.com Established in 1977, the Assiniboia Gallery showcases contemporary and traditional works of art by established and emerging visual artists. The main focus is professional Canadian artists including

DECEMBER 6, 2014 TO FEBRUARY 1, 2015

AMALIE ATKINS

we live on the edge of disaster and imagine we are in a musical Co-organized by the Southern Alberta Art Gallery and the MacKenzie Art Gallery

ELAINE STOCKI 711

FEBRUARY 14 TO APRIL 12, 2015

GRAEME PATTERSON Secret Citadel

Co-curated by Melissa Bennett and Sarah Fillmore

GIFT OF MAX ALLEN, TEXTILE MUSEUM OF CANADA

Woven carpets documenting social and cultural upheaval in Afghanistan are the focus of Battleground: War Rugs from Afghanistan. With work from the end of the 20th century, the exhibition considers the role of creative practice in global affairs. The show, organized by the Textile Museum of Canada in Toronto, is curated by Max Allen. Jan. 17 to March 22 at the Mendel Art Gallery in Saskatoon Rug from Afghanistan, early 21st century, wool, knotted pile, 78â&#x20AC;?x 43â&#x20AC;?

www.gallerieswest.ca

ANTONIA HIRSCH Negative Space

Organized by the Southern Alberta Art Gallery in collaboration with SFU Gallery

S O U T H E R N A L B E R TA A R T G A L L E RY 601 3 AVE S. LETHBRIDGE, AB | 403.327.8770 | www.saag.ca

Galleries West Spring 2015 67

Sheila Kernan, Robert Genn, Kimberly Kiel, Rick Bond, Angela Morgan and many more. Tues to Fri 10 am - 5:30 pm, Sat 10 an -5 pm. MATA GALLERY 106-2300 Broad St (at 15 Ave), Regina, SK S4P 1Y8 T. 306-522-0080 mata@matagallery.ca www.matagallery.ca Mata Gallery is a curated venue promoting professional Saskatchewan artists including Heather M. Cline, David Garneau, Martha Cole, Anita Rocamora, Martin Tagseth, Rob Froese, Zane Wilcox and Melody Armstrong — along with fine studio jewellery. The gallery is dedicated to relevant, passionate, thoughtful visual art as well as innovative use of materials and techniques.

VANCOUVER APRIL 2015 capturephotofest.com

PRESENTED BY