ON THE VERGE 8 ARTISTS BUILDING BUZZ IN THE WEST
PRAIRIE PORTRAITS NICHOLAS DE GRANDMAISON
LETHBRIDGE THE WINDY CITY’S CREATIVE LURE
FEATURED ARTISTS ASHOONA, FAFARD, KIYOOKA, WHITE,YAHGULANAAS, JANVIER, GENN, KURELEK
Display until December 31, 2007
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Discover a painter before fame does.
The 15 semi-finalists in the 2007 RBC Canadian
RBC Canadian Painting Competition Exhibits
Painting Competition aren’t f amous – yet.
Oct. 31 – Nov. 11 Winnipeg Art Gallery
But winning this competition helps. The winner
Nov. 24 – Dec. 1
receives national recognition and
Emily Carr Institute
The two runners up are awarded $15,000 each.
Congratulations to these Western Semi-Finalists
RBC believes that the vitality of the arts in our
Eli Bornowsky — Vancouver, BC
communities enriches us all. Come and see how
Arabella Campbell — Vancouver, BC
RBC is supporting Canada’s next generation of
Angus Ferguson — Vancouver, BC
painting talents at one of these exhibits. For full
Chris Millar — Calgary, AB
Shaun Morin — Winnipeg, MB
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CHRISTOPHER PRATT b .19 3 5 , RC A
“A Room at St. Vincent’s”, painted 1992, Oil on canvas, size: 42” x 48”
RO BER T GENN b .19 3 6
A distinguished career spanning 45 years will be celebrated with a landmark book dedicated to the paintings of Robert Genn. To be published this coming fall, Mayberry Fine Art is proud to host a solo exhibition in December 2007, to coincide with the release of this new publication.
“An Optimistic Dawn”, painted 2007, Acrylic, size: 30” x 34”
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V I R G I N I A C H R I S TO P H E R F I N E A RT CELEBRATING 27 YEARS IN CALGARY
September 22 - October 13 Exhibition Reception with the artists:Thursday, October 4, 5 - 7:30 PM Eva Mendel Miller: A PASSION FOR COLOUR Peter Gough: COORDINATES
November 7 - 30 Marcel Barbeau (born 1925 Quebec) and William Walton Armstrong (1916-1998) SELECTED PAINTINGS December 6 - January 18, 2008 Exhibition Reception with the artist Thursday December 6, 5-7:30 PM Les Graff: NEW WORK
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Joe Coffey "Voyeur", oil/canvas, 72" x 42"
October 18 - November 3 Exhibition Reception with the artists:Thursday October 25, 5 - 7:30 PM Ken Christopher and Joe Coffey: HORSES AND WHERE THEY ROAM
Spirit of the Land September 20 - 29 Online Preview: September 18
CAMERON BIRD • RICHARD MRAVIK • ROLAND PALMAERTS • SUSAN WOOLGAR
Bird, Citadel Peaks Fall - Waterton Park, Oil, 24" x 60" Woolgar, Creek Walk, Oil, 30" x 40"
Mravik, Silent Pond, Oil, 30" x 40"
Palmaerts, Sans Titre 4, Mixed Media, 40" x 30"
Rocky Mountain Christmas November 17 – December 22 Online Preview: November 15
Gallery Artists featuring
DONNA JO MASSIE
Massie, Opabin Prospect, Watercolour, 23" x 34"
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NICHOLAS DE GRANDMAISON SOLO EXHIBITION AND SALE FALL 2007, IN CALGARY Tuesday to Saturday 10:00 P.M. to 6:00 P.M. 1516 - 4th Street S.W. Calgary, Alberta T2R 0Y4 Tel: 403 209 8542 Please email us for a copy of our catalogue: calgary @ lochgallery.com
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Celebrating 30 years November 10 - 24, 2007 - Edmonton
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COMING THIS FALL PATRICK DOUGLASS COX A Retrospective
“Patrick Douglass Cox takes chances. In a world of contemporary art which values metaphorical painting, he is a realist. In a region that is attracted to romantic images drawn from the late nineteenth and early twentieth century myths of the `Old West,` he paints the West of today.” —Christopher Jackson From "Looking West", Glenbow Museum, 1994
The Rancher, 2007 32" x 20", egg tempera Patrick Douglass Cox
The Art of Collecting Quality MASTERS GALLERY LTD. 107, 2115 Fourth Street SW, Calgary, AB T2S 1W8 (403) 245-2064 Hours: Tuesday – Saturday 10 AM –5:30 PM
C O N T E N T S 52
Fall/Winter 2007 Vol. 6 No. 3
On the Verge
News and events from across the region
With a population just over 80,000, the southern Alberta city of Lethbridge has a surprisingly strong creative lure
Shows scheduled for the fall season
8 artists building buzz in the west: Takashi Iwasaki, Charles Campbell, Nancy Lowry, Tim Rechner, Scott August, Shima Iuchi, Sarah Adams-Bacon, Jason Froese
Homage: Robert Genn
Exclusive reviews of recent shows throughout Western Canada
The University of Lethbridge reveals the life of Plains portraitist Nicholas de Grandmaison
31 Previews and Profiles
By Katherine Wasiak
70 Back from the Brink Art Gallery of Calgary CEO Valerie Cooper talks about reviving a near-dead institution
By Brian Brennan
Where to find fine art galleries across the west Alberta.......................84 British Columbia .........94 Manitoba .................104 Saskatchewan ..........107 Northern Territories ..109
William Kurelek, Sunday Dinner Call in the Bush (1961)
Services and resources for art buyers
Influenced by classic Canadian painters, this BC-based artist brings his own eye to a striking landscape
By Jill Sawyer
By Bruce Weir
By Gilbert A. Bouchard
Fall/Winter 2007 Galleries West 11
Shuvinai Ashoona Drawings 1993 - 2007
Reviews Editor Art Director Contributors
Publisher & Director of Advertising
September 15 - October 21, 2007 308 Water Street Vancouver, BC Tel: 604-685-1934 www.marionscottgallery.com
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Visit our website at: www.gallerieswest.ca Or send your questions and comments to firstname.lastname@example.org We acknowledge the support of the Alberta Foundation for the Arts for our publishing program.
Tony Anguhalluq December 1, 2007 - January 6, 2008
308 Water Street Vancouver, BC Tel: 604-685-1934 www.marionscottgallery.com 12 Galleries West Fall/Winter 2007
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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.
This month’s cover: Shima Iuchi, Illuminations of Kamloops, 2004 – 2005, copper tubing, handmade Japanese paper with Kamloops mountain soil, acrylic medium, digital sound, lights.
SIMON CAMPING September HARRISON
INGRID HARRISON October
NICHOLAS BOTT November
SELECT SHOWS • FALL 2007
DEALERS IN FINE ART FOR OVER 40 YEARS • RELOCATED & NEWLY RENOVATED • LANCASTER BUILDING
737 2ND ST SW • CALGARY, ALBERTA • 403.262.9947 • WWW.DIANAPAUL.COM
DAVID BLACKWOOD Recent Watercolours (Interiors and Landscapes) September 9 â€“ October 6, 2007
WINCHESTER GALLERIES 2260 Oak Bay Avenue, Victoria, B.C. V8R 1G7 Tel. (250) 595-2777 www.winchestergalleriesltd.com email: email@example.com
The visual arts season in Western Canada Daphne Odjig, Spiritual Renewal,1984. Laurentian University purchase: B.A. McDonald Memorial Fund and the Canada Council Art Bank 1984
gists and park stewards, and to help along the restoration of the park’s beloved natural areas.
PHOTO: KRISTA YOUNG
WESTERN ARTISTS CELEBRATE QUEBEC CULTURE
ODJIG CATALOGUE GETS OJIBWAY TRANSLATION Manitoulin, Ontario-born and Okanagan-based painter Daphne Odjig is the subject of a wide-ranging retrospective this fall at the Art Gallery of Sudbury in Ontario, and as part of the show, The National Gallery in Ottawa has partnered with AGS to produce a catalogue in English, French and Ojibway. Representative of the Woodland School of painting, which also includes acclaimed painter Norval Morrisseau, Odjig’s work is becoming increasingly recognized nationally and internationally. A recipient of the Order of Canada in 1986, earlier this year she was awarded the Governor General’s Award in Visual and Media Arts. The show, which will run from September 15 to November 11 before embarking on a North American tour, is called The Drawings 16 Galleries West Fall/Winter 2007
and Paintings of Daphne Odjig: A Retrospective Exhibition. Curated by Bonnie Devine, it features 54 Odjig works from private and public collections across Canada.
VANCOUVER TREES TO GET NEW LIFE IN ART There could be a creative, if not bright, side to the devastating storm that blew through Vancouver’s Stanley Park last September, knocking down trees over 41 hectares on the level of a hurricane. The storm, which attracted the attention of international media and closed the park for periods of clean-up, has sparked a call for artistic response. The Vancouver Parks Board and the Stanley Park Ecology Society have invited artists to conceive of public art projects that will not only
“memorialize” the downed trees, but will also use ecologically sound materials, or plants and materials that are native to the park. The call has gone out for projects, which will be built through the summer of 2008, that express the relationship between the community, the park and the world (in part, the world’s weather, which so significantly changed the face of Stanley Park). The goal is to create a collaboration between artists, ecolo-
When the annual week-long festival of art and culture unfolds in Baie St-Paul, Quebec September 21, the work of four western painters will be showcased in a cross-cultural celebration of the province’s Charlevoix region. Named a Cultural Capital of Canada in 2007, Baie St-Paul will welcome painters from across the country to work and show during the Rêves d’Automne festival. This year, invited artists from the west include BC-based landscape painter Robert Genn, Saskatoon’s Darrell Bell, Les Graff, from Edmonton, and Manitoba’s RFM McInnis. Dedicated to the art of the landscape, in one of Canada’s most beautiful regions, Rêves d’Automne is a street festival, a celebration of artists, an opportunity for amateur artists to experience painting workshops, and a painting competition. On Sunday, September 23, artists set up their easels on rue St-Joseph and paint en
The Rêves d'Automne Festival in Baie St-Paul, Quebec www.gallerieswest.ca
first impressions PROCESS DAVID HOFFOS Lethbridge artist David Hoffos has become known for his unique installations — elaborate models of eerily empty spaces punctuated by translucent video image projections. Hoffos achieves his aesthetic using television sets modified with electrical tape, carefully placed mirrors and miniature objects ranging from Fisher Price toys to custom-built models. His work can be seen as part of Informal Architectures at the Walter Phillips Gallery, Banff Centre until September 23. He is also represented by TrépanierBaer in Calgary. Galleries West: How did you begin developing your working process? David Hoffos: Soon after I got to art school, I started having ambitious ideas, so I thought about the resources I had at hand...things like pawnshop televisions, lenses scavenged from school AV equipment and amplifiers from old stereos. It was a tinkerer's way of working with equipment. I have no interest or skill really in working with electronics. Basically, things were taken out of the box and plugged in and I would figure out a way of using that to fulfil whatever effect or illusion I was working on. ABOVE: David Hoffos, (Scenes
nology that is being thrown away?
from the House Dream, Tree-
DH: I'm attempting to work in that
house), detail, mixed media
19th century spirit of discovery before
IMAGE COURTESY THE ARTIST AND TRÉPANIER BAER
GW: Is it a conscious choice to use tech-
installation with miniature
motion pictures. There were all kinds of
model, video, audio, 2007. Cour-
experiments to create illusions of move-
tesy the artist and TrépanierBaer
ment or light, which involved offshoots of novelty technology that got abandoned for the next best thing. I go back and attempt to discover some of
RIGHT: David Hoffos, Scenes from the House Dream, Phase 2, 2004, installation detail
the low technologies that might exist
GW: You only reveal parts of your illusions to the audience. Are you sensitive
within discarded modes.
about what you reveal and what you don't? How do you make those decisions?
GW: You often insert images of your viewers into your installations. How is that
DH: These phantom life-size figure effects, when I first started doing them peo-
done, and why has it become such a major part of your work?
ple would enter the gallery, interact with the miniatures and then leave the
DH: That happens in a few different ways. One is miniaturizing the viewer down
gallery always thinking that there were these people standing in front of them.
into (the model) so they become a channel of video like any other. I think that
To me that's a failure of the effect. The essence of my work is that moment of
speaks to the desire that we all have watching movies and playing with doll
discovering the trick. After realizing this I started to introduce little gaps and little
houses, to be a part of that miniature world for a moment. Seeing yourself life-
mistakes around the illusion that point to it and say: what you're looking at is not
size, projected, especially from behind, creates another sense of the uncanny —
real. The viewer is allowed to have both the enjoyment of the effect and the dis-
apprehending something that we haven't apprehended before.
cernment of its production.
➤➤➤ plein air, ending with an auction of work done that day.
GRANDE PRAIRIE GALLERY OPENS IN INTERIM SPACE The staff members of the Prairie Art Gallery in Grande Prairie, Alberta have 18 Galleries West Fall/Winter 2007
been getting creative since the collapse of a piece of the gallery’s roof in March. Beginning with an emergency removal of the collection, gallery directors including executive director / curator Robert Steven arranged to have Tara Fraser of Vancouver conservation firm Fraser Spaf-
ford-Ricci supervise the moving, drying and restoration of the work. As Steven says, “Although some items were damaged, nothing was destroyed.” In the spring they moved into a temporary space on 97 Avenue in Grande Prairie, installing the collection on all the available wall space.
Since the move, the gallery has carried on with almost all their public programs, including two fundraisers that raised about $100,000 (supplementing a $15,000 emergency donation from the Community Foundation of Greater Grande Prairie), and they’ve altered their in-house school program www.gallerieswest.ca
Michel LeRoux CELEBRATING 25 YEARS
Exhibition of new works coming Fall 2007 A catalogue for this 25th Anniversary exhibition is now available upon email request at: firstname.lastname@example.org
Passion of Life, oil on canvas, 72" x 48"
Calgary â€˘ Ottawa
Works for this exhibition are mounted on wide stretcher bars with artwork on the edges so that framing is optional.
1-877-ART-7744 Subscribe to email exhibition invitations at: email@example.com
first impressions COMMUNITY SKIDEGATE, HAIDA GWAII Construction began in 2003, but the dream to build the Haida Heritage Centre at Kaay Llnagaay (Sea Lion Town) in Skidegate on Haida Gwaii started more than 30 years ago. The community wanted a focal point for Haida culture says Haida Gwaii Museum curator Nika Collison. The vision, forged between partners like the Skidegate Band Council, the museum and Gwaii Haanas National Park Reserve and Haida Heritage Site, included a place to learn, teach and work according to the Haida way of life. The original museum building is still part of it all, but a $26 million expansion has transformed the beachfront site. New exhibits explore everything from food gathering and preparation to conflict and contact with Europeans to the Haida activism that helped turn the southern part of Haida Gwaii into a co-managed National Park Reserve and Haida Heritage Site. “Everything in the centre comes directly from the community, even the words,” says Collison who spent hours talking with community members about how they wanted to share their culture with the world. The centre itself is a fusion of traditional Haida design and modern architecture, featuring ancient techniques such as six-beam longhouse construction and new ideas, like green roofs and a glass walkway that connects the five longhouse-style buildings to a magnificent totem gallery. Outside, facing the beach, are six monumental poles representing the southern villages — Skidegate, Chaatl, Cumshewa, Skedans, SGang Gwaii and Tanu. They were carved by Norman Price, Garner Moody, Guujaaw, Jim Hart, Tim Boyko and Giitsxaa respectively. The centre is also a place to make art. In August 2007, three dug-out canoes were created in the open air-carving stu-
TOP: Members of the Skidegate
dio, next to the canoe shed where Bill Reid’s 15-metre cedar canoe, the Loo Taas is stored. Nearby is a teaching centre,
Dance Group at the opening of
named after Reid, where students will learn about Haida art and design. Though some interior exhibits are not complete,
the the Haida Heritage Centre
the centre had its soft opening this past summer. The gala event comes in 2008 with the opening of a much-anticipated Haida-curated Bill Reid show. Not everything on display at the centre is old, says Collison. A quarter of a million dollars
ABOVE: Outside the Haida
was spent on new works to represent local contemporary artists. But even ancient treasures can be connected to living
Heritage Centre in Skidegate,
people through Haida lineages that still exist today.
— Heather Ramsay
➤➤➤ — now they’re taking the art into the schools with a temporary initiative called Artist in the Classroom. In the time since the collapse, more than 800 of the region’s schoolchildren have taken part. The plan for the new, fully renovated gallery space is to open in 2009 with double the capacity of their older gallery. Temporary exhibitions have been postponed until then, but, as Steven adds, the gallery is consistently “searching for innovative programming that can be delivered without an exhibition space.” 20 Galleries West Fall/Winter 2007
RBC COMPETITION FINALISTS CHOSEN More than 650 artists from across the country were considered for the finalist list of the 2007 RBC Canadian Painting Competition. Awarded to one national winner, who will take home a prize of $25,000, and two honourable mentions, who will each receive $15,000, the Competition recognizes professional Canadian painters within the first five years of their art careers. Semi-finalists from western Cana-
da in 2007 include Eli Bornowsky, Arabella Campbell and Angus Ferguson of Vancouver, Chris Millar of Calgary and Shaun Morin of Winnipeg. The jury assessed more than 1,400 works in narrowing the field down to the 15 semi-finalists, which include five artists from central Canada and five from the eastern region. The winners, named this fall, will join all the semi-finalists in a touring exhibition Eli Bornowski, Untitled, 2007, acrylic on canvas www.gallerieswest.ca
first impressions FIRST LOOK CALEB SPELLER There are probably many artists in Victoria who would like to make Suzette Knudsen, Tea Set, ceramic
art as easily as Caleb Speller seems to. There are probably also a lot of artists, not to mention non-artists, who think that any six-year-old
Aug 18 – Sep 9 • Ceramics Show Gallery and Invited Artists
could do what he does. But the
Mary Swain, Mind Your Step My Son, Ceramic
strength of his drawing practice resides precisely in his ability to emulate the uncensored world of a child. I recently perused portfolios of his adolescent and teenage drawings, and despite high-school art classes and his more recent studies, his work appears to have no beginning, no radical changes due to outside influences,
Sep 15 – Oct 7 • Evoking Equine Mary Swain
and no breaks. It just becomes more and more sophisticated, from drawing to drawing.
Joy Macleod, Muse on a Rhubarb Leaf, Fibre Art & Mixed Media
At age 25, Speller has just completed the Ceramics Program at Victoria’s
Oct 13 – Nov 4 • Fibre Arts Show Gallery and Invited Artists
Camosun College. During the time he worked with clay — and he still can't throw a proper cylinder — his ambition was not to manufacture functional art-craft objects but to create wonky pots as sculptural forms to support his scribbling in slips and glazes. He has the same goal whatever materials and genre he works with. He draws and writes on anything, "just to keep it going," as he says. The seamless slippage among various materials and genres — drawing as graphic image, as painting, as design, as collage, as figurines,
Cathryn Miller, Universe – Dark Star, Artist Book
bowls and assemblages or installations, as prose poetry — is a compulsive part
Collaboration between Barbara Hodgson and Claudia Cohen The Temperamental Rose Artist Book Printed Letterpress Published by Heavenly Monkey
Nov 10 – Dec 2 • Byopia Cathryn Miller
Dec 8 – Dec 31 • The Letterpress Show Invited Letterpress Printers
of his own existence.
that will travel to galleries across Canada, including the Winnipeg Art Gallery and the Emily Carr Institute of Art + Design in Vancouver. Established in 1999, the competition is a showcase for the work of young artists, and winners’ work becomes part of the extensive RBC corporate art collection.
91. Born Myfanwy Spencer in 1916, she was the granddaughter of Van-
MEMORIAM: MYFANWY PAVELIC
An Eclectic Mix of Fine Art & Craft 1331 - 9th Avenue SE - In Historic Inglewood - (403) 264-6627
www.artsonatlantic.com 22 Galleries West Fall/Winter 2007
Portraitist of luminaries including Pierre Trudeau, Katherine Hepburn and musician Yehudi Menuhin, Victoria-based artist Myfanwy Pavelic passed away on May 7 at the age of Artist Myfanwy Pavelic www.gallerieswest.ca
“I feel as if I'm recording the days of my life, making something with each day to help myself feel like I'm using up my time,” Speller says. “I see my work as some sort of partially written book made with missing pages from other books. When I have the opportunity to put a room together in a gallery, this is when the story becomes strangely written. It's an interesting way for me to Flower Girl, Photography & Mixed Media
hang my artwork.” Having had shows at small spaces including Victoria’s Gallery on Herald and Blim Gallery in Vancouver, realistic drawing bores him. It’s too slow, too focused on the thing rather than the mark, and he exploits every mark possible and colour is only background. He works fast, seemingly without thinking, but his art is about nothing but thinking. And, understandably, he is "uncomfortable when it stops."
— Brian Grison
Aug 18 – Sept 9 • Nan Thibert Vignettes
OPPOSITE: Caleb Speller, Viles, collage
Reader Rock Gardens, Oil on board & canvas
BELOW: Artist Caleb Speller in Victoria
couver Island retail magnate David Spencer, and in her early years she counted Emily Carr as a mentor. Travelling across Canada during the Second World War, Pavelic painted portraits to raise money for the Red Cross war efforts. She would then spend most of the next 30 years moving back and forth between Victoria and New York with her husband Nikola Pavelic, son of the former prime minister of Yugoslavia. Pavelic was awarded the Order of Canada in 1984, and her portrait of Pierre Trudeau was unveiled at the Parliament Buildings in Ottawa in 1985. One of the few Canadians to land an exhibition at the National Portrait Gallery in London, Pavelic www.gallerieswest.ca
became known for her detailed portraits of the famous and cultured people she met, while continuing to create commissioned portraits and her own still lifes. During her lifetime she donated extensive collections of her work to the Maltwood Gallery at the University of Victoria, the Art Gallery of Greater Victoria, and the Sooke Museum, north of the city. The Morris Gallery in Victoria will hold an exhibition and sale from her private collection in late November, called Myfanwy Pavelic – The Last Show.
CARR STUDENT WINS BMO PRIZE Blaine Campbell, a recent grad of Vancouver’s Emily Carr Institute of Art
Oct 13 – Nov 4 • Cate Cameron Vernakular
Cathryn in Fog, by David G. Miller
Cambria Trailer, Photography & Mixed Media
Sept 15 – Oct 7 • Sharon Williams Peripheral Vision
Nov 10 – Dec 2 • Byopia Panorama Photography by David G. Miller Dec 8 • Seasonal Salon Original art & craft for gifting, by gallery artists
An Eclectic Mix of Fine Art & Craft 1331 - 9th Avenue SE - In Historic Inglewood - (403) 264-6627
www.artsonatlantic.com Fall/Winter 2007 Galleries West 23
SHOWING THIS FALL
IN RETROSPECT VAUGHAN GRAYSON During a life that spanned 100 years, Vaughan Grayson became particularly
Blazing Bush, 30" x 40", oil on canvas
adept in recording the landscape of the west in paintings, silkscreens, sketches,
and words. Her particular subject was the Canadian Rockies, though later in life she recorded the views near her house in the Okanagan, and traveled extensively with her paintbox. In a finely curated show now on at Banff’s Whyte Museum of the Canadian Rockies, every aspect of Grayson’s life as an artist and traveler is represented. The work encompasses her early journeys into the Rockies, where she painted large canvases of known scenic spots that rival the work of Walter
SEPT 24 – OCT 13
J. Phillips in their cool, green beauty. Tagging along on occasional Alpine Club of Canada hikes and climbs, she went beyond the usual tourist spots. Originally from Moose Jaw, where her father’s prominent position afforded her the opportunity for an arts-heavy education in Boston and New York, Grayson would devote
her life to painting, and to teaching
OCT 16 – NOV 3
others about painting. She taught in Moose Jaw schools and wrote exten-
Les étudiantes, rue Saint-Louis, Québec 18" x 22", oil on panel
sively on the subject of art, directed
+ Design, took home the $5,000 first prize at the 2007 BMO 1st Art Invitational Student Art Competition. His photographic work, Transient Architectures for New Tomorrows, is a dip-
PHOTO: LEONARD CHATWIN
Living on the Hill, 36" x 62" acrylic on canvas
accessed views in the mountains that
tych that looks into the relationship between photography and nature, and the moment in reality that a photograph captures. Shot in a forested area north of Vancouver that has
LUC DESCHAMPS NOV 6 – 24
4290 dunbar street (at 27th) vancouver, bc mon - sat 10 - 6 pm 604 - 732 - 6778 www.omegagallery.ca
24 Galleries West Fall/Winter 2007
at children and teenagers. Though she successfully showed work at public galleries in the Okanagan and at the Vancouver Art Gallery before she died in 1995, Grayson never sold any of her work, Her family has donated a sizeable collection of canvases to the Moose Jaw Museum and Art Gallery, the provenance for this show, which was curated by MJM curator Heather Smith. It’s a glimpse into the life and work of an artist whose work is not often seen, but who spent her life recording the beauty of the western Canadian landscape. OPPOSITE: Vaughan Grayson sketching, July 24, 1937
reinhard skoracki “sit-uations”
BELOW: Vaughan Grayson, Mirror Lake, 1944, oil on canvas, c. 76.5 x 91.5cm. Collection of the Moose Jaw Museum & Art Gallery
PHOTO: DON HALL
ben van netten “the new dynamism”
➤➤➤ been cut through with highways, the work is presented on a handbuilt frame that curves toward the viewer. Created five years ago to recognize young artists studying at the post-secondary level, in 2007 the 1st Art Invitational got more than 175 entries. In addition to the national
grand prize, 13 regional winners were each awarded $2,500. Regional winners in 2007 included Kathleen Mangelana of Inuvik, Calgary’s Angela Lane, and Jessie MacDonald of Regina. The winners’ work will be installed in BMO branches across Canada and be incorporated into the BMO corporate collection.
harry kiyooka, rca “the victim series 1968 - 2007”
LEFT: Blaine Campbell, Transient Architectures for New Tomorrows n. 5: The Bluff (Pursuant to Supreme Court of British Columbia, Vancouver Registry # S062778), detail, 2007, two inkjet C-print photographs, mounted on Sintra panels, rotary oak, brass, steel screws, 68" x 70" x 20" each panel www.gallerieswest.ca
WESTERN ARTISTS SHORTLIST FOR SOBEY Two western Canadian artists have made the shortlist for the 2007 Sobey Award, which will award the $50,000 prize this fall. Chosen from a group of 25 artists, the finalists include Vancouver installation artist Ron Terada and Rachelle Viader Knowles, who is
1111 - 11 avenue s w c a l g a r y, a b t 2 r 0 g 5 p. 403.228.4889 w w w . h e r r i n g e r k i s s g a l l e r y. c o m
Fall/Winter 2007 Galleries West 25
DOODLE DOES IT
A JOURNEY FROM DOODLES TO BRONZE MARY-ANN LIU & CYRUS YAVNEH
“Tornado”, 13"H X 8"W X 8"D
“Arrow 1”, 11.5"H X 10"W X 5"D
“Red Shade”, 18"H X 14"W X 5.5"D
September 11 - 30
Opening Reception: September 14, 6:30 pm
1540 West 2nd Avenue, Vancouver BC, V6J 1H2 Tel: 604.736.3282 Exhibitions online at www.elliottlouis.com
26 Galleries West Fall/Winter 2007
ELLIOTT LOUIS GALLERY Canadian Fine Art
first impressions FOUND OBJECTS POSTCARDS FROM WINNIPEG Only shortly preceding the MySpace-fuelled craze for sharing our personal information with the world, in 2004 Washington, D.C.-based Frank Warren began a public art project with a unique twist. He handed out blank postcards, and left some lying around for pickup in public places. The cards invited strangers to anonymously write a secret about themselves and mail it in to Warren. Expecting a few dozen responses, three years later he still receives about 1,000 cards every week, many of them mini art projects, with detailed and considered presentation. Whether it’s a testament to the human desire for confessional, or the urge
From the Winnipeg Art Gallery
to share an easily accessible form of creativity with the world (a similar motiva-
Show Post Secret, November 24,
tion underscores the interest in Artist Trading Cards that has proliferated at gal-
2007 to February 3, 2008
leries around western Canada), the result is endlessly intriguing. In November, the Winnipeg Art Gallery will open the first show on the North American tour for Post Secret (November 24, 2007 to February 3, 2008). Warren’s project has already produced a series of popular books, and this show collects about 400 of the top secrets, both for gossip and artistic value.
PHOTO COURTESY CATRIONA JEFFRIES GALLERY, VANCOUVER
currently on staff at the University of Regina. Created in 2002 to recognize Canadian artists under 40, the Sobey
is one of the country’s richest art prizes. This year’s finalists were chosen by a panel that included curators
from across Canada, notably Dan Ring of the Mendel Gallery in Saskatoon, and Helga Pakasaar of Vancouver’s Presentation House. Ron Terada, who won the 2006 Victor Martyn Lynch-Staunton Award for mid-career artists from the Canada Council, has work in the public collections of the National Gallery of Canada, the Vancouver Art Gallery, the Art Gallery of Ontario and the Museum of Contemporary Art in Los Angeles. Originally from the UK, Regina-based video and installation artist Rachelle Viader Knowles has had solo shows at galleries including the Art Gallery of Calgary, the MacKenzie
Gallery in Regina and the Art Gallery of Windsor. Each of the Sobey finalists are included in a group show this fall at the Art Gallery of Nova Scotia.
KISS BECOMES OFFICIAL ENVIRO ARTIST Alberta-based landscape painter Andrew Kiss has joined the Pembina Institute as their new official artist, supporting the environmental organization through art sales and donations to a silent auction. The primary TOP LEFT: Ron Terada, You Have Left the American Sector, 2005, 3M Diamond Grade vinyl and exterior vinyl on extruded aluminium, galvanized steel, wood, 120" x 120" LEFT: Rachelle Viader Knowles, In My Mind I Live In New York, 2005, three channel synchronized video installation featuring Bernie Flaman
Fall/Winter 2007 Galleries West 27
JAMES BAY ART WALK The oldest community in Victoria, the scenic neighbourhood of James Bay extends from the city’s inner harbour around Beacon Hill Park, and is home to Emily Carr’s birthplace, now known as Carr
PHOTO: JOHN HARRIS
SAVE THE DATE
House. It’s a place that has attracted artists for more than 100 years, and today is home to dozens of artists and artisans. The annual James Bay Art Walk runs September 15 to 16 this year, bringing together many of the community’s artists’ studios and small gallery spaces. Visitors are invited to walk the self-guided tour among spaces for working artists including ceramists, painters, photographers and artisans, picking up the tour map from local businesses or The Prairie Art Gallery is open to the public at #103, 9856 - 97 Ave Grande Prairie, Alberta, thanks to the support of hundreds of individuals and groups both near and far.
from the James Bay Market at Superior and Menzies on Saturdays. Sculptor Dale Roberts at the James Bay Art Walk, in Victoria
The recovered Prairie Art Gallery permanent collection now on view.
Coming in January
ARTery Prairie Art Gallery interim location at #103, 9856 – 97 Ave Grande Prairie, AB firstname.lastname@example.org www.prairiegallery.com
venue in the fall for exhibition and bidding on Kiss’s work will be at a series of Green Planet Concerts for Pembina (with headliner Art Garfunkel) at the Jubilee Auditorium in Calgary and Edmonton, and the Orpheum Theatre in Vancouver. Originally based in Drayton Valley, Alberta, the Pembina Institute is a nonprofit organization dedicated to informing the public about environmental issues including climate change and alternative energy sources. They now maintain offices
across the country, and have been particularly instrumental in the growth of wind power, particularly in western Canada. Throughout the 40 years of his painting career, Kiss has been involved with environmental, conservation and wildlife organizations in Canada, donating work and creating limited editions for groups including the BC Wildlife Federation and Ducks Unlimited. A painter as well as an illustrator of children’s books, Kiss has said that the landscape of the west and the settings for his paintings have made it increasingly important to be directly involved in the preservation of the land.
PORTRAITISTS SHORTLISTED Thirty portrait artists from across the country have been shortlisted for the 2007 Kingston Prize, which will be awarded in October as part of a gala exhibition in Gananoque, Ontario. With an award of $3,000 for first place and two honourable mentions of $500 each, the prize is specifically for paintings and drawings in portraiture. This is the second time the prize Painting by Andrew Kiss
28 Galleries West Fall/Winter 2007
Sentinels of Strength
West From Bearspaw
has been awarded (the first was in 2005) and the call to artists drew more than 200 entries. A project initiated by the Kingston Arts Council in Kingston, Ontario, the Prize jury chose five western artists among the 30 on the shortlist. They include Jesse Garbe of Maple Ridge, BC, Janine Hall of Calgary, and Justin Ogilvie, Jay Senetchko and Dylan Wolney of Vancouver.
William J. Parker
Kelowna Art Gallery
The Kelowna Art Gallery has just hired Liz Wylie, who has moved out to the Okanagan from Toronto to take on the position of curator. With ten years’ experience at the University of Toronto Art Centre, she is a graduate of Concordia, and York University. For more than 20 years she has project managed exhibitions across the country and has taught at the University of Toronto, the University of Alberta, Brock University and the University of Saskatchewan. She has also contributed to the understanding and awareness of Canadian contemporary art as an exhibition reviewer. One of the largest public art galleries in the interior of B.C., the Kelowna Art Gallery hosts local, national and international exhibitions and anchors the
cultural district of the Okanagan city. As Liz Wylie arrives at KAG, Joan Stebbins is departing her position as curator of the Southern Alberta Art Gallery in Lethbridge after almost 30 years with the gallery. Beginning as a gallery attendant in 1979, she was named director and curator in 1985, a post she held until 1999 when the two jobs split and she chose the role of curator. A keystone in the Lethbridge and Alberta contemporary art scenes, Stebbins has curated more than 200 exhibitions, including many that went on to tour the country. The leading-edge tone that she has brought to the gallery and the city through residencies and exhibitions helped put Lethbridge on the map of contemporary Canadian art.
By the Lake
Liz Wylie, new curator at The
HIRINGS AND RETIRINGS
THE COLLECTORS’ GALLERY OF ART 1332 - 9 AVENUE SE, CALGARY, AB T2G 0T3 TEL (403) 245 8300 • FAX (403) 245 8315 WWW.COLLECTORSGALLERYOFART.COM MAIL@COLLECTORSGALLERYOFART.COM
Fall/Winter 2007 Galleries West 29
30 Galleries West Fall/Winter 2007
previews and profiles
A sampling of art and artists exhibiting in the West this season
CARL WHITE ALBERTA: Ganymede, September 13 to October 13, ArtFirm Gallery, Calgary
By Dina O’Meara As a child, Carl White learned about colour and composition from the masters, seeing original pieces in museums with his photographer father. White was particularly struck by Rembrandt’s “Rape of Ganymede”, not one of the RenaisIn “At Five O’Clock in the Afternoon” (a nod sance master’s better-known works but one to the poem by Federico Garcia Lorca about a which resonated with the young White for years. bull fighter), White paints the body of Europa, White revisits the classic painting with a who was ravished by Zeus in the form of a white striking new approach in his upcoming exhibibull, floating against a topographical map of the tion Ganymede, opening this fall at Calgary’s moon Europa. An explosion of red flares out at ArtFirm Gallery. White retains a love of form in the opposite side of the painting, the swirl of an his oil-based explorations of mythical rapture, abstract matador’s cape. but departs visually from previous figurative The work began with Europa’s figure. “The works by layering the romantic classical paint just started to happen on top of that, figures with semi-abstract explosions of colour obscuring the history,” White says. “Which is and script. what is occurring with me on an intellectual The 38-year-old Calgary artist says his new basis with this subject matter.” direction is due in part to working on an Late in 2006, the wiry native of Liverpool, instinctual level rather than pre-determining England, started examining the Rembrandt how a painting will look. It’s a reversal from painting and the connection he felt with it over previous works, which involved a traditional the years. White found that Galileo named one series of preliminary sketches. of Jupiter’s moons artist index “It’s the exact opposite to how I’ve worked Ganymede after disCarl White . . . . . . . . . 31 or created anything up to this point,” White covering it in 1610, Shuvinai Ashoona . . . 33 says from his home studio in southwest Calgary. and started looking Michael Yahgulanaas . 34 “I feel so out of control with this show, but it’s at the links between Harry Kiyooka . . . . . . 37 the most exciting work I’ve ever made. The lack TOP: Carl White, At Five O'clock in the Afternoon - For the myths and the Joe Fafard . . . . . . . . . 38 Leszek Wyczolkowski. 40 Europa, 2007, oil on canvas, 48" x 96" of control is exactly what I’ve wanted in the cosmos, and John Y.K. Wong . . . . . 40 ABOVE: Painter Carl White creative process.” humans’ place Linus Woods . . . . . . . 41 Trained in graphic art at the Alberta College in all of it. Cory Fuhr. . . . . . . . . . 41 of Art and Design, White is a firm believer in having a solid background in anatoThe major shifts happening to White’s artistic Manish Om Prakash . 42 my, colour theory and composition before departing from classic technique. It process reflect a maturity and knowledge which Marlo V.. . . . . . . . . . . 42 took him years to truly understand Michelangelo’s thought that “the greatest enable him to let go of the “crutch” of faithful repre- Will Gorlitz . . . . . . . . 43 Steve Speer . . . . . . . . 43 artist understands the concept is in the marble, and the hand that obeys the sentation, he says. “It’s a powerful vulnerability. It’s Ronald Crawford . . . . 44 intellect will set it free,” White says. He likens the experience to becoming fluent like exposing yourself completely, and within that, Kim Dorland . . . . . . . 44 in a language before playing with vocabulary, and in an artistic sense, White is finding the power in it, not the vulnerability of it. Ernestine Tahedl . . . . 45 fluent in several. You’re open to everything in it. It’s a scary place to Graeme Shaw . . . . . . 45 Thep Thavonsouk . . . 46 In this new exhibition, White explores the stories of Zeus’s four lovers, Calisto, be, especially when you have a show opening,” he Darlene Hay. . . . . . . . 46 Europa, Io and Ganymede, which he sees representing different aspects of the adds, laughing. Normand Boisvert . . . 47 mythical god’s desires. The idea of rapture has interested White for years, the Michel Leroux . . . . . . 47 Represented by: ArtFirm, Calgary; forceful taking and surrender to the sublime, and he focuses on the moment of Tim Fraser . . . . . . . . . 48 Gallerie D’Avignon, Montreal rapture for each of the lovers in every piece. Jacob Semko . . . . . . . 48 www.gallerieswest.ca
Fall/Winter 2007 Galleries West 31
T H E A L I C AT G A L L E R Y "Celebrating 20 years” Fall Group Exhibition: Oct 12 - Oct 21 FEATURING Rod Charlesworth together with Merv Brandel Lorna Dockstader David Langevin Michael O'Toole
403-949-3777 Toll-free 1-888-949-3777 www.alicatgallery.com The Alicat Gallery has been in operation since 1987, and specializes in Western Canadian art. Located about 30 minutes west of Calgary in Bragg Creek, Alberta. Rod Charlesworth. Newfoundland Memoirs. O/C, 40” x 40”
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1.866.693.7600 www.yvettemoore.com 32 Galleries West Fall/Winter 2007
previews and profiles
SHUVINAI ASHOONA BRITISH COLUMBIA: Drawings 1993 - 2007, September 29 to November 4, Marion Scott Gallery, Vancouver
By Ann Rosenberg I first saw Cape Dorset graphics in a 1963 show and promptly bought Kabawa’s Two Birds, One Duck in which a black duck marched off in a huff, while ptarmigan mates craned their necks in a courtship gesture. The white paper was allusive of an infinite snowy landscape. Creatures of the Arctic Circle were the most frequent subject. Many prints captured aspects of the traditional way of hunting, fishing, preparing food and of being at home in tents or igloos. Mystical visions of sea spirits and strange animals were also often represented, and bare paper was the only ‘setting’. ‘Naïve’ (typically bird’s-eye-view) perspective was at work in the renderings, but it was not used to suggest the third dimension as it’s perceived, where objects seem to ‘diminish’ in the distance. From the outset in 1958, the mainstay techniques, styles and content of Inuit prints (and drawings) were established and controlled in the Cape Dorset printmakers’ coop, which was managed by James Houston and other non-natives. Forty years ago, potential collectors were encouraged to believe that the “Canadian Eskimo” still lived the lifestyle depicted in Robert J. Flaherty’s 1922 film Nanook of the North, and that the people who resided in Cape Dorset had few if any modern conveniences. Though 1960s Cape Dorset was actually a community of prefabs that were wired for electricity, none of the graphics indicated the presence of contemporary dwellings, firearms or consumer goods. Even Pudlo Pudlak, who would be known later for images of telephone lines and airplanes, was not making reference to modernity in 1963. Pitseolak Ashoona (1907-1983), who began her short career as a printmaker that year, remained a traditionalist who “recorded the things we did long ago before there were many White Men” while at the same time creating imaginary creatures and supernatural beings that represented a powerful inner life. The art shows and catalogues circulated by the West Baffin Island Co-op over the last 50 years have been crucial to the development of southerners’ general comprehension of www.gallerieswest.ca
TOP: Artist Shuvinai Ashoona CENTRE: Shuvinai Ashoona, untitled (Anglican Church),
Inuit Art, even now when they include less traditional, more innovative works. But it is the museums and commercial galleries like Marion Scott Gallery in Vancouver and Feheley Fine Arts in Toronto that play the most important roles in educating viewers about art-making in the Far North. They’re exhibiting works by the younger generation of artists who go infinitely beyond Pitseolak and far beyond Pudlo in their revelation of community life, the environment and self. This ten-year retrospective of Shuvinai Ashoona drawings (co-curated by Judy and Robert Kardosh who direct the Marion Scott Gallery) is a case in point. Shuvinai is one of three gifted grand-daughters of Pitseolak, and in a working life that began in the mid ‘90s she has produced many drawings in different media and quickly moved through a variety of styles and themes. Her work ranges from early ink landscapes of the rocky shores of Cape Dorset, eerie and vaporous, to ominous late’90s pieces packed with imaginary serpentine tunnels, giant ledges, steps and fantastic, towering ‘sculptures’ rendered in dense black hatching that are as claustrophobic as the earlier drawings were open. Her recent coloured pencil drawings are still strange, but are lighter in mood and address a variety of everyday themes. Robert Kardosh finds almost every piece disturbing. “They are psychologically charged and obsessively drawn,” he says. He directed my attention to the thousands of hatching lines in the stone structures, the hundreds of pebbles on the ground and the countless blades of grass that swirl in her ‘egg’ pieces. Judy Kardosh showed me a 2004 work she feels sums up the artist’s inner life and compulsions. Within a drawing of a sharpened eraser-topped pencil, Shuvinai portrays herself as being grabbed from behind by a demonlike dog with bared fangs. “There is a touch of madness in what she sees and how she represents things. It endows the art with its unusual point of view and edge.” For a special vision into Cape Dorset’s contemporary world of modern prefabs, and igloo-like tents, its rocky tundra and landscape, this retrospective exhibition is highly recommended, more so because of the artist’s obsessive technique and odd 3D illusion.
1995, pen and pencil crayon on paper, 26" X 19.75" ABOVE: Shuvinai Ashoona, untitled (landscape), 2003/2004,
Represented by: Marion Scott Gallery,
pen on paper, 20" X 26"
Vancouver; Feheley Fine Arts, Toronto. Fall/Winter 2007 Galleries West 33
previews and profiles
MICHAEL NICOLL YAHGULANAAS
By Heather Ramsay It was a typical day at Vancouver’s Museum of Anthropology. Patrons gazed at the west coast totem poles, the painted masks and carved feast bowls. Bill Reid’s depiction of the Haida creation story, with Raven perched atop a clam shell, the first people crawling out below was in the background, and artist Michael Nicoll Yahgulanaas explained how he was about to turn things upside down. “See this 27-foot canoe,” he pointed at a boat carved in 1985 by Reid and others. “We’re flipping it over and tying it to the top of an 11-foot Pontiac Firefly.” A white-haired passerby took a step back, “Oh, no!” she said. “You can’t be.” But he could and he did and this patron’s exclamation was exactly the reaction Yahgulanaas wanted. Meddling in the Museum, the collective name for three site-specific installations, is Yahgulanaas’s invited but cheeky response to the act of collecting and keeping cultural treasures. The University of British Columbia-based museum is undergoing a $56-million renewal and contemporary visual arts curator Karen Duffek says “it seemed like the perfect time to invite this artist/trickster in to mix things up, to twist and challenge, to raise questions and start new conversations.” Known for his Haida manga, a unique art form that mixes Haida narratives and graphic forms with Japanese comic-book style, Yahgulanaas has made a career out of messing with stereotypes — idealized or disparaging — about indigenous people. Raised with both Scottish and Haida heritage on Haida Gwaii, Yahgulanaas spent a brief period at the Vancouver School of Art (now Emily Carr Institute of Art and Design) in the 1970s. After an instructor told him “traditional” Haida artists do not use chainsaws and household paint, the young artist decided he would be better served learning from his own people. He returned to the islands to create art with Robert Davidson and was then swept into an intense period of Haida political activism. In 2000, he returned full-time to the city and a career in
art. Now his Tales of the Raven manga series has exploded in popularity in Japan and is gaining recognition in Canada as well. Not restricted to the printed page, Yahgulanaas’s art has also appeared in prestigious shows such as Raven Travelling: Two Centuries of Haida Art at the Vancouver Art Gallery in 2006 and at Expo in Japan in 2005. At MOA patrons will encounter an installation called, “Coppers from the Hood”. Four car hoods, welded to look like traditional copper shields, are mounted on pillars in the entranceway. Decorated with real copper flake and Yahgulanaas’s distinctive graphic style, the pieces feature Haida manga characters whose antics flow throughout the show. Cliff personifies the seaside peninsula the museum sits on and represents the ever-shifting interplay between the institution and the Musqueam people who lay claim to the territory. In one scene, he sits in and at the same time carries a canoe laden with archetypes like the suited, urban stereotype Richard Cranium (a play on the nickname for Richard and the thing on top of your neck). Inside the museum, “Bone Box” is made from old collection boxes. Yahgulanaas turned them over and painted the other side, and the 12 panels are mounted in rows and held together with discarded museum shelving. The location of this graphic, narrative collage is critical says Yahgulanaas, because patrons can see a hint of something beyond. By turning copper cranks on the side, viewers can see past the piece to the ancient cedar poles taken from indigenous lands. In one of the panels, a warrior-like figure reaches through the traditional Haida form-line and pulls Cranium back into this world. In this and other ways, Yahgulanaas challenges the idea of traditional, a notion to which many art patrons still cling. For “Pedal to the Meddle”, he had the Pontiac Firefly (named after the indigenous leader and an insect) professionally painted with a concoction made from argillite dust. Yahgulanaas’s friend, Old Masset-based carver Ronnie Russ, collected the dust over 30 years of working with the soft black slate, yielding three cans of paint. The car, positioned on the ramp of the Bill Reid Rotunda, is perched in a getaway pose, complete with skid marks on the floor. “It looks like we’re trying to steal the canoe back,” says Yahgulanaas. For all his commentary, Yahgulanaas is not against museums. He sees the culture of the institution, like all cultures, changing. Human remains and some cultural treasures are being returned to indigenous communities around the world, he notes, due in part to the work of some of his compatriots at home on Haida Gwaii. “Before, it was just them taking and us complaining,” he says. “But now there is more of an active conversation.” And if there’s a central theme to the body of Yahgulanaas’s work, it would be finding a way to keep people talking. PHOTO: MARK MUSHET
BRITISH COLUMBIA: Meddling in the Museum, July 10 to December 31, Museum of Anthropology at the University of British Columbia, Vancouver
TOP: Michael Nicoll Yahgulanaas, Coppers from the Hood — Two Sisters, 2007, Dodge Dynasty and Chevrolet Geo Metro car hoods, copper leaf, 204 cm X 130 cm ABOVE: Michael Nicoll Yahgulanaas LEFT: Michael Nicoll Yahgulanaas, Pedal to the Meddle, 2007, Pontiac Firefly, autobody paint, argillite dust, copper leaf. Red-Cedar Canoe, 1985, by Bill Reid, assisted by Guujaaw, Simon Dick, and others, MOA Nb1.737. Approx: .95 m high, 1 m wide, 7.3 m long 34 Galleries West Fall/Winter 2007
previews and profiles
ALBERTA: Victims Series, November 17 to December 15, Herringer Kiss Gallery, Calgary
ABOVE: Harry Kiyooka, 3, 2007, drawing on paper
By Amber Bowerman In June 2005, the skies opened up over southern Alberta unleashing devastating rains. On a quiet patch of land in Springbank, just west of Calgary, celebrated Alberta painter Harry Kiyooka and his wife, sculptor Katie Ohe, scrambled to save items from their waterlogged basement. These were no ordinary keepsakes tucked away in dusty cellar corners — decades of drawings and sketchbooks were in danger of ruin. Among the rescued relics was a haunting series of drawings Kiyooka began “in the rather dim and distant past.” “Katie and I were in London in 1968,” Kiyooka, now in his 80s, recalls. “Internationally there were all kinds of riots and war and violence. In our studio we had a black-and-white TV and you’d see it on the news every night. I started cutting out clippings, to research drawings based on violence, and to depict the people being victimized.” The “victim drawings” salvaged from Kiyooka’s flooded basement depicted casualties of global political unrest, like the Algerian War of Independence. They spanned from the late ‘60s to the early ‘80s. “I realized that maybe I could do something with them,” he says. Not long after that, Kiyooka was invited by Calgary gallerist Deborah Herringer Kiss to exhibit new work. It was no small request. After a string of bad experiences (one in which a Vancouver gallery locked their doors and made off with his inventory) Kiyooka “opted out of the commercial arts scene” in the ‘70s. He hasn’t shown new work in 30 years. But if anyone could convince him to show again, it was Herringer Kiss, who served with Kiyooka on the curatorial committee at Calgary’s Triangle Gallery and assisted on fundraisers. Kiyooka developed a deep respect for the gallerist. “She has a vast capacity to support and relate to artists,” he says. Given carte blanche, Kiyooka opted to show the salvaged series — washed drawings put through a screening process to achieve a detachment from the subject. “When you’re looking at an image on TV, there’s a camera man with a camera, so you’re already one step removed. Then it goes to the editing room where it’s sliced up, so that’s another step removed. By the time it appears on the television it’s many steps removed from the actual event. Every step of the way there’s a kind of a further disengagement or detachment or editing of what the actual event was,” Kiyooka says. “There are so many components in terms of censoring and self interest, and it www.gallerieswest.ca
LEFT: Artist Harry Kiyooka
colours everything you see in the contemporary media. This (series) is, in an odd way, exploring those elements and using them in such a way that I can create my own images. I have control over the drawings I’ve done, but I’m using different kinds of protocol to make an image that infers all of that detachment, but is still uniquely drawn.” Kiyooka’s mixed-media drawings are halftone images, like photographs in newspapers and magazines. Some are stark — a few simple lines represent a fallen soul, others toy cleverly with perceptions. One, at first, appears to be a landscape, but is actually the crumpled form of a lifeless body. A melancholic compassion in the images reflects empathy for the victims. His family lived through Japanese internment during World War II. “Artists have always tried to deal with the consequences of war,” he says. “The more interesting thing to me is that it’s an unusual show for a commercial gallery.” On that point, Herringer Kiss thinks Kiyooka is too modest. “He downplays his importance,” she says. “He’s got a long history, he’s got a lot to say if people take the time to listen.” Kiyooka studied art from 1953 to 1961, including a three-year stint in Italy on Canada Council scholarships. Over 27 years teaching at the University of Calgary he inspired innumerable young artists. He was one of the first in Canada to use silkscreen in an abstract way, and in 1982 he was a founding member of the Calgary Contemporary Arts Society and was instrumental in establishing the Triangle Gallery six years later. “He’s been a quiet force,” says Herringer Kiss. Represented by: Herringer Kiss Gallery, Calgary. Fall/Winter 2007 Galleries West 37
previews and profiles
JOE FAFARD SASKATCHEWAN: September 29, 2007 to January 6, 2008, MacKenzie Gallery, Regina
By Patricia Robertson When a working artist has a national retrospective during his lifetime, it’s a rare privilege. Such is the good fortune, some say well-deserved, that Saskatchewan sculptor Joe Fafard enjoys. While a few naysayers may mistakenly dismiss Fafard’s homegrown sculptures as “folk art,” the Canadian art establishment has deemed his life’s work significant enough to merit a closer look. The MacKenzie Art Gallery in Regina, in collaboration with the National Art Gallery, presents Joe Fafard this fall, curated by Toronto-based curator and writer Terrence Heath. The exhibition travels next to the National Gallery of Canada, then continues on to The McMichael Canadian Art Collection in Kleinburg, Ontario, The Art Gallery of Nova Scotia, Calgary’s Glenbow Museum, and concludes at The Winnipeg Art Gallery. Heath selected 70 pieces by the Saskatchewan sculptor that range from small-scale clay figures to large bronze and steel works. The exhibition will be an exploration of the possibilities found in the materials used by the inventive Fafard throughout his career. “I felt that Joe was being dismissed as a little French Canadian folk artist from days. Using clay as a medium was a radical act. It took us all forward. I suppose in some ware, glaze and acrylic paint, ways we were reacting to the Regina Five.” 34.1 x 35.4 x 35.4 cm Born in the rural community of Ste. Marthe, LEFT: Artist Joe Fafard Saskatchewan in 1942 and trained at the Uniat work in his studio versity of Manitoba and Penn State, Fafard’s aesthetic departure from modernism is born out of an appreciation for nature and his rural roots. When Fafard elected to work from his own experience and create figurative work based on regional subjects, he was effectively thumbing his nose at the modernist pretensions of the Regina Five and their large-scale abstract works. “Joe’s work has depth and compassionate humour. His cows are anthropomorphic rather than being depicted as generic subjects,” Heath explains. “Joe’s work is grounded. He’s done that deliberately. He made the decision to work from what he knew and that has distinguished him as an artist. Joe is a major sculptor and he does work that stands up in the international art world.” Also included in the show is Fafard’s experimental and innovative work in bronze and steel. When he switched from ceramic to bronze in the 1980s, his work took on new dimension and depth. His bronze “drawings in space” are deemed major contributions to the history of open sculpture. The MacKenzie’s extensive programming includes a local bus tour of Fafard’s public sculptures, a film series, an artist studio program, a roundtable discussion with the local French community, a conversation between the artist and curator, plus a Saskatchewan writers’ response to Fafard’s work. When I spoke to the artist at his acreage in Lumsden, outside Regina, he expressed delight at the forthcoming show and gratitude that Terrence Heath was taking such care with the selections and assessments of his work. “A retrospective? It’s something you hope will happen eventually. What a gift to see your life’s work gathered all in one spot.” ABOVE: Joe Fafard,
Mon Père,1972, earthen-
Saskatchewan,” Heath says when asked why he thinks Fafard’s work merits his curatorial attention. “In Canada, we tend to shelve our artists or wait until they’re dead to celebrate them.” Heath has known Fafard since the late ‘60s and has written about him often. Twelve years ago, he began writing a biography of Fafard which is now greatly condensed and included in the catalogue of the exhibition. Featured in the show will be Fafard’s famous clay portrait sculptures from the 1970s and early 1980s. Fafard’s work from this period is distinguished by his innovative use of the surface and radical experimentation with the medium. Fellow sculptor and former University of Regina professor Victor Cicansky has known Fafard since they taught together in the 1970s in the University’s Fine Arts department. “We were both a couple of longhairs with beards. People used to confuse us all of the time,” laughs Cicansky. “Only I’m the vegetable guy and he’s the barnyard guy. “When California artist and U of R teacher David Gilhooly got all of us working in clay, it was a departure. It was not considered a fine art medium in those 38 Galleries West Fall/Winter 2007
Represented by: Douglas Udell Gallery, Edmonton, Calgary, Vancouver; Nouveau Gallery, Regina; Mayberry Fine Arts, Winnipeg; Mira Godard Gallery, Toronto; Galerie de Bellefeuille, Montreal; Lillian Heidenberg Fine Art, New York. www.gallerieswest.ca
The gallery in Art Central where there is always more than meets the eye.
Tanya Kirouac - November 2007
Westward Breeze, encaustic on panel, 24” x 24”
Suite 207,100 - 7 Ave SW, Calgary, AB T2P 0W4
www.keystoneartgallery.com • email@example.com
TERRA COTTA GALLERY & FRAMING
ELEANOR LOWDEN PIDGEON
MADE IN ALBERTA 110 Centre Avenue W., Black Diamond, Alberta, Phone: (403) 933-5047, Fax: (403) 933-5050 firstname.lastname@example.org â€˘ www.terracottagallery.ca
fine art gallery
The Gates, 30" X 40", oil on canvas by Calgary artist Sarah Bing
Crowned, 36" X 36" by artist Angela Morgan
Mt. Assiniboine, Glorious Dawn, 24" X 36", oil on canvas by Canmore Alberta artist Alice Saltiel S.F.C.A., A.S.A.
Exhibition opening Friday, October 5, 2007, 4 pm to 8 pm. Sarah will be in attendance.
The eagerly awaited Alberta exhibition for Angela Morgan will open Friday, November 2, 2007, 4 pm to 8 pm. Angela will be in attendance.
Exhibition opening Friday, November 16, 2007, 4 pm to 8 pm. Alice will be in attendance.
2nd floor of the Crossroads Market, 1235 26th Avenue SE, Calgary, AB T2G 1R7 For exhibition information call the gallery (403) 269-4278 or www.artspacegallery.ca To host an event, contact Colin (403) 863-9771 or email@example.com
40 Galleries West Fall/Winter 2007
previews and profiles LESZEK WYCZOLKOWSKI
ALBERTA: Searching for Balance, Sept 6 to Oct 13, SNAP Gallery, Edmonton
BRITISH COLUMBIA: Mechanical Odyssey, Nov 1 to Dec 4, Sopa Fine Arts, Kelowna
As the first living graphic artist to hold a solo exhibition at the National Museum in Cracow, Poland, Leszek Wyczolkowski continues to be one of Canada’s most esteemed printmakers. Born in Poland and now based in Mississauga, Wyczolkowski’s minimalist works strike a delicate balance filled with harmony between two seemingly opposite folds. Linear planes and lines are imbued with tension and rhythm, and balance remains a key presence. Leszek Wyczolkowski, Purpose, Grounded by solid colour blocks and 2006, aquatint and embossing vital void space, the worlds of intellect and precision versus one of instinct and sensitivity emerge as the works’ entry point. “The etchings are, in essence, about harmonizing opposites” Wyczolkowski says. “The work reflects my interest in searching for geometry in nature and sets these seemingly incompatible opposites in dialogue.” Completing most of the works during a self-directed residency at The Banff Centre, Wyczolkowski combines his inspiration in nature with his recent interest in Taoism into what Jacek Malec, curator of the SNAP show, describes as “an orchestration of vital forces expressed in specific symbols and announcing a new path in his art.” — Amy Fung Represented by: Bellevue Gallery, Vancouver; Open Studio, Toronto; 1112 Society for Arts, Chicago; Piotr Nowicki Gallery, Warsaw.
John Y.K. Wong, Beyond the Sky 2, oil on canvas, 30" X 40"
JOHN Y.K. WONG BRITISH COLUMBIA: Sept 24 to Oct 15, Omega Gallery, Vancouver
John Wong has lived in Vancouver for 30 years, yet he feels it is only now, through his painting, that he is becoming familiar with the landscape. He is an accomplished painter of portraits, but has found landscape to be an adventure of technical, personal and metaphoric discovery. Wong’s oil canvases dwell on the cultured vistas of parks and gardens rather than the grand backdrop of ocean and mountains. His green urban spaces nestle under dramatic, cloud-patterned skies suggesting that the possibility for rest and reflection is both beneath and above us. Wong feels “art is about encountering obstacles” — either external or deeply personal. His use of colour evokes this. He depicts a pond at Van Dusen gardens immersed in shadow, the reflections black, umber and navy while a tree flames alarmingly red on the shore. In another work, the expanse of a tree-bordered field is made up of many subtle greens interrupted by the stark white of two goal posts. Wong captures a sense of interiority in what are very public places. — Bettina Matzkuhn Represented by: Omega Gallery, Vancouver www.gallerieswest.ca
Linus Woods, Ho tu ka you that knows everything we need some medicine, 2007,mixed media on paper
LINUS WOODS MANITOBA: New Contemporary Aboriginal Art, Sept 8 to 22, Ken Segal Gallery, Winnipeg
Spirituality, home and heritage have always been central to the work of Dakota/Ojibway artist Linus Woods. His ability to convey the emotion and spirit of his own life have come from a lifetime of art-making — he has been creating works since he was a teenager on the Long Plain reserve in Manitoba. His works have appeared everywhere from Urban Shaman Gallery in Winnipeg to the collection of the Canada Art Bank. In his latest exhibition at Winnipeg’s Ken Segal Gallery, Woods’s work still holds the deep hues and super-saturated settings found in his earlier pieces. These paintings delve deeper into manifestations and characters created by Woods, with figures that combine traditional Aboriginal storytelling elements that pulse with the freshness and contemporary take that the artist has on each work. Simple shapes, figures and planes transform each canvas into a glimpse of a life that cannot always be seen. The works are heavy, unadorned and poetically approached through both the message and palette. Woods’s metaphysical world and past are transformed through his choice of technique and colour, making for a compelling exhibition. —Stacey Abramson
There’s a touch of Metropolis, Frankenstein, and the imagination of sci fi writer Phillip K. Dick running through the life-size humanoid steel sculptures of Vernon-based artist Cory Fuhr. At first glance, his meticulously crafted metallic men and women have the hollow-eyed look of robots, with the chromed sheen of the future. A closer look, and a conversation with the artist, reveals a more human, emotional framework to the steel. “It’s a subtle thing,” he says about shaping the medium into recognizable human gestures and expressions. “The form of the piece could express a quietness or a sadness. It juxtaposes with the industrial elements I’m using, but it also has grace and beauty.” Working out of a converted barn originally built by his grandfather, Fuhr’s work has been recognized internationally — most recently he had a sculpture that figured prominently in the Disney movie The Last Mimzy. But the work is not only labour-intensive — there are an average of 160 pieces welded into just the face — it can be challenging to communicate true human gestures and internal anatomy to viewers. The human form is one of the most recognizable forms in nature, he says, so everyone knows if he’s got it right. — Jill Sawyer Represented by: Sopa Fine Arts, Kelowna; Engine Gallery, Toronto Cory Fuhr with steel sculpture from Mechanical Odyssey
Represented by: Ken Segal Gallery, Winnipeg; Wah-Sa Gallery, Winnipeg; Bearclaw Gallery, Edmonton. Fall/Winter 2007 Galleries West 41
previews and profiles MANISH OM PRAKASH BRITISH COLUMBIA: The Playful Muse, Oct 14 to 31, Winchester Galleries, Victoria.
Art Central is a visual arts complex bringing together over 50 artist studios, galleries, shops, the Siding Café, and the Palette Coffeehouse — all under one roof!
Self-trained by history books and endless figurative doodling, Manish Om Prakash, moved to Victoria from India in 1988 when he was 25. He paints in the manner of 19th-century French academic art, while exploring imaginary points of contact between Greek mythology and Hindu cosmology. As well, educated in grade school and high school by Franciscans, there is a hint of Catholic symbolism in his work. “The Weary Cupid” is typical — it shows a young woman holding a child on her shoulder. Though the mother, with her blue gown and white veil, could be the Virgin Mary, the child’s wings and golden bow suggest a pagan myth. There is a delightful metaphysical game here in a manner typical of the Catholic, Hindu and Grecian ability to conflate the supernatural and mundane. The angelic youngster, too young to fly but too tired to walk, strains his mother’s arms. The recent painting, “Bree”, slips into modernism, evoking a provocative model painted by Edouard Manet in 1863 that scandalized France. Here, Om Prakash creates a more contemporary play with art history and narrative, painting a subject that would appeal to the sense of irony in feminist confrontations with the male viewer. — Brian Grison Represented by: Winchester Galleries, Victoria. Manish Om Prakash, My Sister Pratibha with her Pet Hen, oil on canvas, 30" x 20"
studios galleries cafés shops CO R N E R O F 7 T H AV E S W & C E N T R E S T, C A LG A R Y
Marlo V., Delicate Series H, 2007, hand felted raw wool and paper fibre, aluminum, maple
MARLO V. SASKATCHEWAN: Embodiments, Sept 5 to Oct 31, Mysteria Gallery, Regina
It should not be surprising that, coming to art after receiving a degree in biology, Regina artist Marlo V. centres her new work around the body. Neither descriptive nor analytical, her small, sensual, amorphous sculptures — made from natural materials such as wool felt, and resembling delicate cocoon-like pods or cavities — abstractly suggest rather than forensically point to the organs and vesicles within our bodies. Connected in many ways to her last body of work, in which she employed handmade paper, small portal-like openings and watch hands, Marlo V. refers here away from the physical world and past the linear time defining our bodies and physical existence. As part of a group show this fall, with Lynn Anne Cecil, Chad Jacklin, Brad Kreutzer and Theresa Kutarna, these almost-surreal works transcend the body they imply, whispering instead beyond its finite mechanics and materiality. Fusing and confusing the dualities of inside and outside, microcosmic and macrocosmic (as cloudlike clusters they also resemble deepspace nebula), these brief utterances seek possibilities within the unknown. Quietly prompting our sense of intuition and the instinct for beauty, hope is buried in them. — Jack Anderson Represented by: Mysteria Gallery, Regina
42 Galleries West Fall/Winter 2007
previews and profiles WILL GORLITZ
COLLECTION OF THE WINNIPEG ART GALLERY, ACQUIRED WITH FUNDS FROM MARGARET MARSHALL
MANITOBA: Into the Collection, Aug 8 to Nov 25, Winnipeg Art Gallery
The largest public gallery in Will Gorlitz’s hometown of Winnipeg now boasts an additional work by this renowned Canadian artist. Buenos Aires-born Gorlitz studied at the University of Manitoba’s School of Art in the 1970s before heading east to the Nova Scotia School of Art and Design. From there, his career would take him all over the world before landing him in the position of associate professor of Visual Art at the University of Guelph. Currently on display, the latest work to enter the collection is the third of Gorlitz’s acquired by the Winnipeg Art Gallery. “Three Essays on the Theory of Sexuality” (1989) features 21 trilingual panels outlining, interpreting and exploring Sigmund Freud’s texts on the title. These significant historical texts, which are laden with hidden meaning, are overlapped with a juxtaposition of relatively banal and ripened tactile images. Decaying imagery of fruit is scattered among the panels, alluding to the theories discussed in the text beneath. Gorlitz interprets several layers of suggestive and psychoanalytical ideas, while his aesthetic approach denotes a history of classical and still life painting. The inspiration of the sensuality of life is prominent through his treatment and his conceptual approach. — Stacey Abramson Represented by: Michael Gibson Gallery, London, ON Will Gorlitz, Three Essays on the Theory of Sexuality, 1989, oil pastel, text on book paper
STEVE SPEER ALBERTA: Dec 6 to Dec 29, Four By Five Gallery, Calgary
The owner of Calgary’s Four by Five Gallery of Photography will be exhibiting his own work at the space in Art Central this December. “I’ve been photographing since I was 18 years old,” says Steve Speer. “I’ve been focusing on the landscape forever.” Starting out using the 35mm format, Speer now captures landscapes using 4 x 5 and 8 x 10 large-format cameras. This fall’s group show will include 16” x 20” black and white prints made from negatives that Speer exposed while exploring Kananaskis country south of Steve Speer, Approaching Banff this past summer. “I was recently Storm, Highwood Pass, 1996, doing some work for Parks Canada in archival ink print on HahnemühJasper and I have to say that I think le 100% rag paper, 16" X 20" Kananaskis is just as stunning,” he says. Speer has recently decided to convert the gallery into to a photo co-operative. To kick off the change from gallery to co-operative, Four By Five will host the exhibition, Perspectives — large format landscape photographs that will include Speer’s work in addition to images by Tom Hamp, Allan King and Jim Kitchen. — Wes Lafortune Represented by: Four By Five Gallery, Calgary; The Mountain Gallery, Kananaskis, AB. www.gallerieswest.ca
Fall/Winter 2007 Galleries West 43
previews and profiles RONALD CRAWFORD
DON PENTZ “New Works”
BRITISH COLUMBIA: Lineage, Sept 28 to Oct 24, J. Mitchell Gallery, Salt Spring Island
September 22 – October 6, 2007
JON JOHNSON & IVAN MURPHY “New Works”
October 20 – November 1, 2007
WILLIAM DUMA “Rivers & Streams”
November 3 – November 15, 2007
It’s fitting that Ronald Crawford has chosen to participate in this fall show at J. Mitchell Gallery, which is devoted to the work of Ronald Crawford, Unravelled, 2007, Salt Spring Island artists, who are acrylic and plaster on board, 32" X 36" all fathers, and the work of their daughters. The theme of family runs strongly through the work he’s been doing this year. Following the death of his mother in early 2007, Crawford traveled with his own father across Canada to spread her ashes. The period of contemplation and remembrance he spent after her death led to the work he’s recently completed, and he’ll show it in Lineage alongside the work of his daughters Klee Larsen-Crawford and Janaki Larsen. Crawford is equally pleased to share the exhibition space with good friends and fellow artists met during almost 20 years on the island, including Michael Robb and his daughter Aja Robb, the late LeRoy Jensen and Gabrielle Jensen, and guest artist Nicola Wheston and her daughter Asha Robertson. A graduate of the University of Calgary and the University of Oklahoma, Crawford’s technique has been described as modern fresco, a carved plaster surface that’s painted over and given a soft, eroded patina. He has also been inspired by the repeating patterns of traditional art forms, including Amish quilts and Islamic decoration. — Jill Sawyer Represented by: J. Mitchell Gallery, Salt Spring Island.
KIM DORLAND ALBERTA: Over the Fence, Sept 6 to Oct 6, Skew Gallery, Calgary
JOICE M. HALL
“Variations of Light” November 24 – December 7, 2007
GROUP CHRISTMAS EXHIBITION “New Works”
Alain Attar, Luc Bernard, Camrose Ducote, Brian Atyeo, Greg Edmonson, Jennifer Hornyak and more… December 8 – December 22, 2007
500 - 5th Avenue SW, Calgary, Alberta, Canada T2P 3L5 Tel: 403-262-8050 Fax: 403-264-7112 firstname.lastname@example.org • www.wallacegalleries.com Member of the Art Dealers Association of Canada
44 Galleries West Fall/Winter 2007
Toronto-based painter Kim Dorland recently visited Medicine Hat, and his experience is now the subject matter for an exhibition of new paintings at Calgary’s Skew Gallery titled Over the Fence. One of the paintings, “Trampoline”, shows a girl bouncing away in an otherwise unremarkable backyard scene. Kim Dorland, Trampoline, 2007, Captured from “over the fence,” the oil, acrylic and spray-paint on point of view is that of a nearby, yet canvas, 48" x 60" detached, observer. The careful distance of this and Dorland’s other paintings provide viewers the opportunity to take a look at Alberta’s suburbia as it’s never been seen before, much of it overlaid with a thick neon toxicity. The artist’s previous collections of paintings have explored a less-than-perfect world, yet overall this series is more optimistic in expression. Moving from abstract to representation, Dorland’s works show slices of everyday life in a fresh manner. A semi-finalist in the 2007 RBC Painting Competition, Dorland works on a large scale. He has created captivating canvases by using a technique where thick layers of paint are applied to Day-Glo under-painting. The result is an energy that seems to emanate from within. A graduate of the Emily Carr Institute of Art + Design in Vancouver and York University in Toronto, Dorland has exhibited extensively throughout Canada, the U.S. and Italy. — Wes Lafortune Represented by: Skew Gallery, Calgary; Angell Gallery, Toronto; Kasia Kay Art Projects, Chicago. www.gallerieswest.ca
ERNESTINE TAHEDL ALBERTA: Solitude, Sept 29 to Oct 11, Agnes Bugera Gallery, Edmonton
Somewhere between landscape and abstraction, Ernestine Tahedl’s works persist. Trained at the Vienna Academy of Applied Arts, the Austria-born Tahedl has now made King City, Ontario her studio home after 60 years as an artist. Her upcoming traveling retrospective, presented by the Varley Art gallery in Markham, Ontario is only one indication of her ongoing appeal, but Tahedl’s latest works reflect her recent desire to return to a more “pure” form of painting. “Over the years I have searched for this freedom in my work” she says. “I am trying to find my way back to my childhood painting experience, to a fresh way of working.” Immigrating to Edmonton in 1963, the award-winning artist continues to exhibit in the city where her professional career began. Her latest series, Solitude, at Agnes Bugera Gallery, conveys Tahedl’s ongoing exploration of colour as light. Representing essence over matter and preferring to relay emotion over fact, the experience of places — perhaps from a state of solitude — captures her interest after a long and heralded career. — Amy Fung
Laura Harris ELEGANT CHAOS September 16 – 29 Artist’s Presentation & Reception September 16, 12 – 4 pm
Ron Parker SEASONS October 14 – 27 Artist’s Presentation & Reception October 14, 12 – 4 pm
Represented by: Birchwood Gallery, Yellowknife; Pacific Gallery, Saskatoon; Webster
Eggs on a Checkered Plate
Ernestine Tahedl, Modette, 2007, acrylic on canvas, 65" X 46"
With a career spanning more than three decades, Nanaimo-based painter Graeme Shaw has honed in on the purest angles of natural beauty in his work. Over the years, Shaw has lived the life of a teacher, illustrator and most prominently, a painter. “Painting images on huge, uplifting and inspiring themes that speak to anyone, no matter who they are or where we come from, is my passion,” Shaw explains. His upcoming exhibition at Yellowknife’s Birchwood Gallery features large flowing canvases inspired by two trips to the southwestern United States, and the vast landscapes of the Canadian Arctic — the same region that A.Y. Jackson explored decades earlier. Shaw’s paintings depict rolling scenery in the same vein as some of Canada’s most famous historical painters, including Jackson and others in the Group of Seven. The works in Explorations move through the subtleties that balance the relationship between land and light. Shaw says that he is “not overly interested in esoteric, idiosyncratic or selfabsorbed topics that most people will not understand or ever relate to except tangentially or paradoxically.” With each thoughtful brush stroke, Shaw brings viewers into a world where beauty, vibrancy and simplicity reign supreme. — Stacey Abramson
NORTHWEST TERRITORIES: Explorations, Dec 7 to 9, Birchwood Gallery, Yellowknife
Near Topaz Park
previews and profiles
Galleries, Calgary; Gallery 223, Nanaimo. Graeme Shaw, In The Glow, 2007, oil on panel, 38" X 44"
Represented by: Agnes Bugera
CHIAROSCURO November 4 – 17
Gallery, Edmonton; Elliott Louis
Artist’s Presentation & Reception November 4, 12 – 4 pm
Gallery, Vancouver; Gallery 133, North York, ON; The Shayne Gallery, Montreal; Trias Gallery, Toronto; Hubert Gallery, New York. www.gallerieswest.ca
2184 OAK BAY AVENUE, VICTORIA www.theavenuegallery.com 250-598-2184 Fall/Winter 2007 Galleries West 45
previews and profiles THEP THAVONSOUK
Fosbrooke Fine Arts artists showing @ Gibson Fine Art Zelda Nelson October 18 – 31, 2007 Opening Reception: October 18, 2007 5 – 8 pm
ALBERTA: Sept 29 to Oct 8, Avens Gallery, Canmore
Thep Thavonsouk says he was born to paint. Born in Vientiane, Laos, almost 60 years ago and currently based in Calgary, Thavonsouk was taught the basics of painting and art at school in the French-occupied country. After winning a Fulbright Scholarship in 1967 to study at St. Lawrence University in Canton, New York, the artist earned a degree in Thep Thavonsouk, Saffron Diplomacy with a minor in Art. After Robes in Purple Sky, 2006, returning to Laos for a brief time, he oil on canvas, 35" X 45" emigrated to Lethbridge, Alberta where he took a job teaching university-level French and art. Throughout his teaching career, he would paint “on the side”. In 1979, he left teaching behind to become a pupil himself. For eight summers he traveled to Taiwan, where he studied under Chinese masters, later studying in Japan, learning the art of kiri-e (paper cutting) and wood block painting. The work he will show at the Avens Gallery is a product of his entire life experience, though the subject matter may be south Asian, Thavonsouk says. “My work has always been a search for something silent, something spiritual,” he adds. “Amid the waves of technology, of violence and what is happening in the world, I just want people to look at my art and be able to take a deep breath.” — Daniel McRoberts Represented by: Avens Gallery, Canmore; Axis Contemporary Art, Calgary; Elliott Louis Gallery, Vancouver.
DARLENE HAY SASKATCHEWAN: On the Wild Side, Nov 2 to 24, Assiniboia Gallery, Regina
While Darlene Hay’s new body of acrylic paintings celebrates Saskatchewan’s wild grasslands and wetlands, they also bring forward some questions about our attachment to these spaces. Following on a widely-exhibited previous body of work entitled Endangered Spaces, the current paintings speak obliquely of the destruction of landscapes — something that often goes hand-in-hand with economic development and diversification. These works are more personal. As aesthetic responses to places she simply likes to visit, they embody a return to her artistic roots — they are informed not only by gestural color-based abstraction, but by the Saskatoon and Emma Lake-centered prairie landscape tradition as well. Impressionistic in execution, Hay’s work here exhibits a more individualistic use of color than in the past — rather than pale waning colors, we find her palette more strongly and freely employed. Yet despite the evocative beauty and intimate feeling of these works, we still worry about what is beyond the horizon. In the end, Hay’s undisturbed landscapes are clearly only idyllic on the surface. — Jack Anderson Represented by: Assiniboia Gallery, Regina; Newzones, Calgary; Shayne Gallery, Montreal.
2nd Floor, 850 16th Ave SW Calgary, AB T2R 0S9 T. 403.244.2000
Darlene Hay, Lush Wild Flowers By Lake, 2007, acrylic on canvas, 36" X 66"
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previews and profiles NORMAND BOISVERT ALBERTA: Nov 17 to Dec 22, Stephen Lowe Gallery, Calgary
Born in Trois-Rivières in 1950, landscape painter Normand Boisvert is a self-taught artist who has staked a name for himself as a keeper of quintessential Quebec. He started with his first small studio at the age of 17, painting diligently and selling his work for $5 to $15 apiece, soon expanding into another Trois-Rivières studio and building his repertoire. “He works in a naïve style,” says Alice Law, director of the gallery. “All of the works are oils on canvas.” The practice of naïve art has a strong Normand Boisvert, Lueur Automnale, 2007, oil tradition in Quebec on canvas, 40" x 60" because of its storytelling qualities. In Boisvert’s case, the story is about a man in love with the land and colour. According to writer Claude Marcouiller, “many have tracked the artist’s progress, from his beginnings with the figurative through his black period to his colourful nudes, leading to the landscape…” Boisvert’s landscapes have attracted the most attention in recent years. Most often depicting scenes of villages, the colourful works are detailed with homes and out-buildings that appear as if they have always been part of the sites Boisvert interprets. Well-known in central Canada, the artist is building a growing reputation in the west. — Wes Lafortune Represented by: Stephen Lowe Gallery, Calgary; Rendezvous Art Gallery, Vancouver.
MICHEL LEROUX ALBERTA: October, Art Mode Gallery, Calgary
The distinct style of Quebec-based landscape painter Michel LeRoux will be showcased this fall at Calgary’s Art Mode Gallery. Leroux began as a letterer, following his family’s vocation of sign-making before pursuing a career as a fulltime artist. A teacher at the Montreal Institute of Graphic Arts in the 1970s, LeRoux also worked in advertising design. Known for his colourful landscapes, the CanadiMichel LeRoux, Mystère en Fleurs, an wilderness dominates his can48" X 36" vases. “I have chosen to paint the plant world which, like any other subject matter, may fit into a contemporary trend,” says LeRoux. “In my opinion, its most powerful pictorial quality has been underestimated — its relation to human beings.” Using a post-Impressionist style, Leroux has brought a unique vision to landscape painting. Observing a Leroux painting, says Art Mode director Yvan Filion, the word that most often comes up is serenity. “Even if the painting is of a cascading waterfall, it’s peaceful.” — Wes Lafortune Represented by: Art Mode Gallery, Calgary and Ottawa; Adele Campbell Fine Art Gallery, Whistler; Galerie Michel Bigue, St-Sauveur, QC. www.gallerieswest.ca
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previews and profiles TIM FRASER BRITISH COLUMBIA: Seawall Composed, Sept 22 to Oct 11, Ian Tan Gallery, Vancouver
The seawall in Vancouver’s Stanley Park has been Tim Fraser’s muse for more than 15 years. The setting is imbued with the strangeness of dreams, like strolling through an uninhabited setting made from a box of plastic toys. His flat painting style emphasizes the strong, elementary forms he uses to conjure the path, trees, and water. The shapes are enlivened by his nuanced use of colour — gentle purple in the crook of a tree, the blue cast of shadow on clipped grass or the mottled red of a maple about to drop its leaves. The sheen of fantasy is in the quality of light, that intense early morning or late evening slant uncannily like the backlit radiance of an electronic screen. Fraser grew up in Surrey, B.C. and has always viewed the park as his preferred destination for strolls and picnics. He perceives it as a place of constant change, now underscored by the storms of 2006. Many artists have focused on a particular landscape with significant reward, and Fraser is no exception. — Bettina Matzkuhn Represented by: Ian Tan Gallery, Vancouver
Tim Fraser, Seawall Facing Ocean, 2007, oil on canvas, 36" x 60"
JACOB SEMKO SASKATCHEWAN: Sept 10 to Sept 22, Rouge Gallery, Saskatoon
Emphatically committed to the craft of printmaking, young Saskatoon artist Jacob Semko pushes the technological limits of lithography in a two-person exhibition this fall with one of his mentors, Saskatoon printmaking legend Nik Semenoff. Incorporating newer photolithographic techniques as well as traditional chine collé (rice paper first printed upon, then glued to a thicker paper and finally over-printed again), the illusion of his trompe l‘oeil images are complex technical tours-de-force. Often working on the scale of large paintings rather than drawings, Semko has gone so far as to build his own lithographic press, though he’s more than a craftsman. A recent graduate of the University of Cincinnati, he is committed to the art and aesthetics of printmaking — his subtle, evocative works are more than the extravagantly beautiful abstractions they initially appear to be, limning instead a personal territory of tensions and anxieties. Employing photographic representations of tissues and shiny silk fabrics stretched and Jacob Semko, Tension through pulled by tension points, his images external- the landscape of nothingness, waterless lithograph on ize a personal and social disquiet familiar in Oakwaraw, chine collé onto these times. — Jack Anderson Represented by: Rouge Gallery, Saskatoon
48 Galleries West Fall/Winter 2007
Sommerset tin 43.5" x 94"
FourbyFive Gallery of Photography is a photo cooperative dedicated to the establishment of photography as a collectible art form. The gallery displays a collection of contemporary photography from many established local photographers. The gallery’s mission is to participate in the education and understanding of the collection of photography as an artform through exhibitions, events, portfolio reviews and work shops. Remember, there is no substitute for seeing original photography ﬁrst hand so be sure to stop by the gallery to see our inventory of ﬁne prints.
Suite #L14, Art Central, 100 - 7th Ave SW, Calgary, AB T2P 0W4 [t] 403.263.1515 Natural Bridge, Abstract #3, Field, British Columbia
Fall/Winter 2007 Galleries West 49
LESZEK WYCZOLKOWSKI GRAPHICS
sept 6 to oct 11, 2007
society of northern alberta print-artists 10309 - 97 Street, Edmonton, AB T5J 0M1 ph: 780.423.1492 www.snapartists.com
50 Galleries West Fall/Winter 2007
Michael Gibson Gallery 157 Carling St London ON 1.866.644.2766
Established 1984 â€˘ Member of A.D.A.C.
Golden Aspens (Detail), 26 x 114'', oil on canvas
TOM GALE Aspen Series
12312 Jasper Avenue Edmonton AB T5N 3K5 tel: (780) 488 2952 email@example.com www.thefrontgallery.com
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VERGE 8 ARTISTS BUILDING BUZZ IN THE WEST
ABOVE: Artist Takashi Iwasaki
Takashi Iwasaki was born on the island of Hokkaido, Japan. His English teacher was from Winnipeg, and the place name stuck when it was time for Takashi to choose an art school after completing his Arts diploma in Osaka. It was a pragmatic choice, balancing the desire to study Art in English, and since graduating from the University of Manitoba in 2006, this creatively nimble artist has grabbed the attention of North American galleries and his work has surfaced in web and print publications from The New York Times Magazine, to celebrity-like citations on a list of URLs. Artist and gallery director, web designer, translator, fashionista and self-proclaimed “art enjoyer,” Takashi integrates artistic practice. He works in paint, drawing, collage, embroidery, web design and fashion, and is the originator and curator of
ABOVE RIGHT: Takashi Iwasaki, Tanuhanabi, acrylic on canvas, 16" x 16"
WRITTEN BY: BEVERLY CRAMP KIMBERLY CROSWELL AMY FUNG AMY KARLINSKY WES LAFORTUNE DANIEL MCROBERTS PORTIA PRIEGERT STEVEN ROSS SMITH 52 Galleries West Fall/Winter 2007
the Semai Gallery, a narrow basement corridor in Winnipeg’s Exchange that links to the Keepsakes Gallery. “I am interested in unusual spaces,” he says, and indeed, the corridor is unlike any other space. If he sells work, he can offset expenses, but he knows how important getting that first solo show can be, and he only shows the work that he likes. No surprise, then, that his collaborations with a local writer are called Warm Feelings of Intimacy. Takashi is a positive force. “I want to delight in what I can, when I can,” he says. In Takashi’s second-floor sublet on Kennedy Street, stacks of paintings lean on the wall, abstract embroideries hang over the futon. The artists’s computer is open on the kitchen table. He’s just come in from Portage Place, Winnipeg’s downtown mall, where he went to “look at clothes and shoes.” All of Takashi’s practice is characterized by a mobile imagination. Like a 19th-century French flâneur, he surveys the urban spectacle, borrowing and transforming his grab bag of impressions with a lithe touch. He is at home with the playful canvases of Paul Klee (one of his favourite artists) and the dollar-store extravaganza of consumer gizmos, long past any notion of convenience or function. High and low meld deftly together. His creativity is organic, optimistic and entrepreneurial. As he puts it, “ I like being in a fluid state.” Takashi has switched from oil to acrylic to construct his multi-layered and abstract works. While he has worked mural-sized and much smaller, the current canvases settle somewhere between two and three feet square. They are light and airy, beautifully coloured constructions that relate to the dream world of automatic drawing. They recall Vasili Kandinsky’s Hinterglasmalereis, Klee’s whimsical allusions and colour palette, and the decorative patterning of a Hundertwasser. www.gallerieswest.ca
CHARLES CAMPBELL BELOW: Artist Charles Campbell at the Brooklyn Museum RIGHT: Charles Campbell, Meditation Rack, 2005, oil/paper/canvas, 36" X 36" FAR RIGHT: Charles Campbell, Jamaican
PHOTO: (LEFT) TUMELO MOSAKA
Icarus, 2005, oil/paper/canvas, 36" X 36"
Takashi is inspired by architecture, nature and biology. There is little that is dark and brooding. Months ago, he sent out jpegs of his new paintings and I stole one for my desktop. Small wonder that most of the works have vanished from the studio, and are at Gallery Lacosse in Winnipeg, or on their way to Le Gallery in Toronto. “I want my paintings to be compositionally sound, so that from far away, they are balanced and formally taught. When you come closer, you see something else.” Takashi is fascinated by viewer interpretation, and his abandonment of figuration, though he is technically adept at realist drawing, engages multiple responses. Takashi presents a chocolate-box-sized collection of tiny collages. Most are half the size of www.gallerieswest.ca
recipe cards. They are carefully built with stickers and coloured papers, torn and cut — the best are figurative arrangements of environmental disasters and urban follies, with miniscule architectural details and beasts. Takashi’s precious scenarios, made solo, allow for the challenges of constructing space and cultural commentaries. We stop to admire the embroideries that Takashi sews in the company of friends. The work is endlessly portable. Takashi credits Professor Suzanne Grierson with inspiring him to work in a decorative medium, and for him, the embroideries serve as a happy transition between drawing and painting. Takashi’s global interface has helped him gain gallery representation and inclusion into curated shows. His architect/handyman father has mounted an exhibition of his drawings in a library in Hokkaido, and the artist, in turn, has shown the work of Japanese art students studying in Canada. He has been included in an upcoming show in New York and has a relationship with the Hotel Gallery in Portland, Oregon. At 25, pink crystal earrings a-dangling, Takashi’s self-reliance and upstart smarts make him one of Winnipeg’s new golden boys. — Amy Karlinsky
CHARLES CAMPBELL Over the course of his life, artist Charles Campbell has traversed oceans and continents to pursue his art. Through it all, he has never strayed from his Jamaican roots. His newest work is included in the exhibition Infinite Island: Contemporary Caribbean Art, an exhibition that just opened at the Brooklyn Museum in New York. Born in Jamaica in 1970, Campbell moved to Prince Edward Island with his family when he was five years old. He attended Concordia University in Montreal, where he obtained a BFA.
In 1993, after completing his studies, Campbell returned to Jamaica. Living and working in Kingston for the next five years, he established his reputation as an artist and art critic. In 1998, after completing an artist’s residency in South London, he enrolled at Goldsmith’s College at the University of London, where he received his MA in Fine Arts. After graduating, he remained in London, working as an artist, assistant curator and editor. In 2002, he returned to Canada and settled in Victoria, where he currently maintains a studio and coordinates the gallery at the Xchanges Artist Run Centre. Campbell’s art has changed significantly since he first gained attention in Jamaica. His early work displays an intensity drawn from personal response to issues of identity and race, as well as immediate social concerns. Many of his early works were figural and incorporated text to reinforce social commentary. In 2004, Campbell turned from overt social commentary toward an abstract, coolly objective approach to art-making. His personal iconography bridges the personal and the historical and includes ocean waves, slave ships, migratory birds, crows, manacles and black figures in varying poses. Many of the images appeared singularly in his early paintings, but now Campbell has begun reproducing them in sequential patterns, overlaying and multiplying their forms in geometrical precision. The result is a highly individualized mandala motif. Form is the final determining variable in the mandala, and it influences everything else. Campbell’s process allows him to view each motif segment afresh as he meditatively builds upon the imagery. Each step offers a new perspective and requires a new set of aesthetic decisions. He paints his canvases primarily freehand, with some Fall/Winter 2007 Galleries West 53
ABOVE: Nancy Lowry, Brisk Blue, 2006, oil on Masonite, 12” X 16” RIGHT: Nancy Lowry in her painting studio
projections to help him prepare the initial images. His use of colour is sparse, and is originally drawn from the source imagery. As he develops the mandalas, he determines colour in relation to the forms as they emerge through the layers. In the Brooklyn Museum, Campbell has paint-
lying sequences, Campbell transforms his emotional response to the subjects into a social metaphor. His motif transcends both personal and historical meaning and recasts it into patterns that draw from the past to reconfigure the present. In life, historical circumstance continues to drive contemporary society in an ever-widening pattern. Campbell’s slave-ship motifs expand beyond the immediate, localized perspective. His installation for Infinite Island envelopes the viewer within the mandala memorializing the tragedy of slav-
LOWRY SAYS SHE IS “FASCINATED WITH ODDITIES AND BEAUTY FOUND IN THE MUNDANE OR THE OBSCURE” ed one of his signature mandala patterns, the slave-ship motif, from floor to ceiling. The image is a significant icon in Campbell’s repertoire. It is taken from a diagram representing how English slavers stacked captured Africans in their cargo holds. Rather than confront the viewer with this grim reality, Campbell offers a meditation on historical fact through geometric patterning. His technique provides a new perspective on his subject to the viewer: the mandala transforms already iconic imagery into a new iconography that is at once repeating and variable. By repeating singular images in multiple over54 Galleries West Fall/Winter 2007
ery, while reminding the viewer of subjugation’s continued presence. — Kimberly Croswell
NANCY LOWRY At 12 years old, Nancy Lowry walked into her first drawing class. The unexpected sight of the nude model was startling, but when the model shouted, “Nancy! What the [bleep] are you doing here?” Nancy was, “freaked out for the first hour or so.” The model was a family acquaintance. But soon she was readily spending Tuesday nights drawing at the University of Saskatchewan Extension classes led by Saskatoon artist Degen Lindner.
Creativity was nurtured in Lowry’s family. Her Irish parents allowed her and her four siblings to watch a half hour of television a day, and only if they could all agree on the same program — which rarely happened. “So instead, we were always making things. There were paints around, and our parents encouraged us.” Now 29, Lowry is a committed and wellregarded Saskatoon painter who starts from landscape and explores the territory between abstraction and representation. Her bright, eccentric oil paintings range from 6 x 8 inches on small masonite panels, to 5 x 5 feet on canvas. Lowry says she is “fascinated with oddities and beauty found in the mundane or the obscure. Quirky things I see in daily life slip into my work reinvented.” Her painted scenes may be rural, urban, or techno. They are rhythmic, emotional, textured and radically interpretive. “I feel the split between the natural world and the concocted, man-made world,” she says. “Even a new style of shirt or unusual fabric catches my eye.” www.gallerieswest.ca
PHOTO: (RIGHT) TAMMI CAMPBELL
TIM RECHNER LFEFT: Painter Tim Rechner in his studio space BELOW: Tim Rechner, Emily's Dream, 2006,
PHOTO: (LEFT) TED KERR
oil and graphite on canvas
In Lowry’s work, paint may be layered or scraped back. Images are suggestive but sometimes hard to identify, colours are vibrant and the palette is wide. The paintings feel primitive, energetic, intense. She also says that “memory plays a role, which I interpret through the process and layering of paint. I like working directly in the landscape, too, and playing with ideas of translation and metaphor.” Lowry counts surprise and travel among the perks of being an artist. “I’ve gone to places I wouldn’t have expected,” she says. A three-month residency in Brooklyn at the Triangle Artist’s Residency Program stretched into seven months and enabled her to tour New York’s galleries. BFA degree studies at the Nova Scotia College of Art and Design, completed in 2003, and meeting new artists at Pouch Cove Artist’s Residency in Cornerbrook, Newfoundland, and at the Wells Artists Project in BC, have also inspired her. One of Lowry’s favourite places to paint is Emma Lake, in the boreal forest 200 kilometres north of Saskatoon. For several years she’s participated in the reknowned Emma Lake Artist’s Workshop, where she feels “the connection to the tradition, to the landscape, to the history of Canadian painting. I think of the visiting artists, writers and critics who’ve come there, like Clement Greenberg, Roy Kiyooka and McGregor Hone. There is a mix of culture and wilderness that feels parallel to the way I work.” Lowry is in her Saskatoon studio consistently, most mornings and evenings. “I just want to paint. www.gallerieswest.ca
I hope to continue to play with paint, to be captivated by it,” she says. Perhaps her curiosity and daily routine accounts for what painter Jonathan Forrest — who is manager of Saskatoon’s Art Placement, which represents Lowry — sees in her work. “It’s almost a diary-like process,” he says. “She has a very direct way of putting down the paint. It’s intuitive, unpretentious.” Degen Lindner, who led Nancy’s early figure drawing classes, and her first Emma Lake studio experiences, has been a constant guide. Degen is the daughter of Ernest Lindner, an Emma Lake creative pioneer. “From Degen I learned commitment and focus, and I learned about process,” Lowry says. “Degen introduced me to new ideas, to new kinds of drawing and colour mixing, and to an oral history of the Emma Lake Kenderdine Campus. She was up-front with critique, but she was always very supportive. I’ll be forever grateful for having her as my first teacher.” Lindner, who encouraged Lowry to go to art school, recalls that Nancy was “amazing right from the start. She’s fearless, not afraid of taking chances. She’s singular, eccentric, uniquely gifted. Her work isn’t easy, but she’s never tried to make it easy. It may never be easy. I have great respect for that.” — Steven Ross Smith
TIM RECHNER Inside his singular dwelling space and studio, the workings of Tim Rechner’s mind are splayed out for all to view. Mad scribbles line the studio walls from floor to ceiling — budding ideas spilling
over immediate thoughts and untethered ramblings both energized and voracious, scraps of paper ranging from post-it notes to oversized hand-stretched canvases topple over one another. Layer after layer, level after level, condensed expressions and illuminated sketches piece together every inch of available wall space. On the surface, Rechner’s studio apartment in Edmonton’s ArtsHab epitomizes a romantic notion of an “artist” space. Most people may have first seen his apartment in Trevor Anderson’s short film, Rugburn (2005), where Rechner’s actual dayto-day living space served as a set for Anderson’s tempestuous artist. Large in presence with a full head of massive dark curls and an even fuller dark beard, Rechner speaks in a very hushed and subdued tone accompanied with periodic small hand gestures. “I think the role of an artist here is to make Edmonton more culturally interesting,” he begins once we settle inside the studio with his cats, Jimmy and Harold, nearby. “I don’t want to sound spoiled or righteous, but I personally feel a drive to really create things as much as I can.” As the longest tenant in ArtsHab, the only city-sanctioned artist’s co-op in Edmonton, Rechner has rooted himself into a steady arts community. With regular exhibition openings coupled with open studio visits every six weeks, he has a continuous feed of stimuli that conveniently lingers outside his front door. A graduate of the Nova Scotia College of Art + Design and Red Deer College, Rechner has Fall/Winter 2007 Galleries West 55
SCOTT AUGUST RIGHT: Scott August, Pinecone Junction, 2007, 120V AC installation, photographic prints, 96" X 192" CENTRE: Scott August, Bull on Pink, 2005, archival print on canvas, 12" X 18" FAR RIGHT: Scott August, Hunter Series, 2002, silver gelatin print, 127 cm X 102 cm
built up his exhibitions from small cafe shows to public murals, culminating in his year-long residency at Edmonton’s Harcourt House Gallery in 2006. Expressionistic and intuitive, Rechner’s work often draws parallels to abstract expressionism, but Rechner himself doesn’t feel aligned to any formal school of aesthetics. Working from his subconscious, there is a pure approach in his already-trademark expressions between line and colour. “I’m moving in a more honest and free way than I have before,” Rechner says as he sits up and moves one arm across in a single sweeping motion. “I’m now moving my arms, and not just my wrists, and my strokes are reaching my full length span.”
that is structurally sound. “I feel like I’m on the verge of something groundbreaking,” he says of the drawings made during his residency in Spain, as well as the works completed upon return. Cash-strapped from his trip, Rechner has begun painting over older work in lieu of fresh canvas. Pausing to reflect this watershed moment, Rechner has no regrets. “I’m going over a lot of my older pieces and wondering if I really want to keep these, because I know I can do something better.” One of the results from painting over an existing work is “Morning Light,” a piece he believes to be the best work he has yet to do. Picked up by Front Gallery this past year and completing his first commercial solo exhibition in the spring, the
AUGUST SPENDS COUNTLESS HOURS COMBING SECOND-HAND STORES FOR STUFFED ANIMALS, VINTAGE TOYS AND OTHER ARTIFACTS At 6’1, the energy and physicality involved in each of his pieces have taken Rechner to a new level. After returning from a self-directed residency in Catalonia, Spain, this past summer, Rechner’s daily ritual of art-making has spawned a tighter structure to his subconscious spurts. Taking note of contemporary Spanish artist Anthony Tapies, Rechner’s signature style of abstraction is starting to crystallize into work 56 Galleries West Fall/Winter 2007
commercial world remains foreign to Rechner, who is more accustomed to a DIY effort. Front Gallery Director Gregoire Barber describes Rechner as somebody she has “known of” for several years. She has come to know him personally in the last year and a half and believes he just needs time. “Tim’s paintings and drawings are now starting to come together. The visual amount he was taking in overseas,
it’s just going to happen.” As the proprietor and director of a gallery representing only local artists, Barber notes that it has been an uphill battle since taking over Front Gallery three years ago. “I believe in the work, but it takes time for people to know that this work is here; that there this is a new body of work with a different style.” In the meantime, Rechner shares that he has begun applying for shows across the board from Victoria to Halifax. “I’m trying to connect as far as I can,” he says. “I’ve shown a lot here and it’s time to get to that next stage.” — Amy Fung
SCOTT AUGUST Kelowna artist Scott August is a shy guy, but he readily dons outlandish outfits and poses for his own camera, using an acute but subtle eye for social satire to create quirky personas that challenge stereotypical notions about rural identity. He donned a bright red lobster outfit — a children’s costume he found in a thrift store — to photograph himself cavorting in Lake Okanagan and posing on the rocks beside a scenic waterfall. He has also publicly erected a 25-foot digital cutout of himself garbed in a cowboy hat, plaid shirt and green oven mitts, parodying the smalltown convention of creating something — anything — to claim as ‘the world’s largest.’ “If you’re in a costume, you’re somebody else,” August says of his decision to create alter egos as fodder for techno-savvy art. He resurrects waning icons of popular culture in oblique commentaries. “If I present myself with a different www.gallerieswest.ca
identity, then it’s a lot easier to come across in a way that makes sense for my work.” August spends countless hours combing second-hand stores for stuffed animals, vintage toys and other artifacts that trigger childhood memories of theme parks and roadside attractions. His installation at Kelowna’s Alternator Gallery paid tribute to what he claimed was a threatened national treasure — the forests that grow plaque art. In August’s eccentric imagination, the resincoated plaques grow ready-made and merely need to be sawn off logs and sold to tourists. A highlight of that exhibition was the artist talk. August, who finds it tough to speak before an audience, lip-synched his way through a prerecorded talk in the guise of an industry spokesman, giving a new twist to longstanding debates over clear-cut logging. The Q-and-A session was memorable. No matter what the question, August pressed the play button for a recorded answer. Whether rambling, non-committal or www.gallerieswest.ca
filled with spluttering indignation, the responses seemed oddly appropriate. It’s that kind of creative problem-solving that helped August’s professors at Okanagan University College identify him as a particularly gifted student. “I always saw his potential,” says Fern Helfand, a photography instructor. “He has a very original mind.” For all his creativity, August resists critical analysis of his work. “I don’t like to have a lot of deep meaning,” he says. “Art is a visual process. I like to create situations that can be funny, or that create a dialogue so you’re not really sure what the story is. But everyone can bring their own ideas to it.” August’s exhibition last spring at the Kelowna Art Gallery, Pine-Cone Junction, was an ambitious wall installation that stitched together hundreds of digital photos of trees and cottages to create a cozy hamlet of tiny woodland abodes embedded in tree trunks and pine cones. Puffs of smoke
rose enticingly from miniature chimneys and small satellite dishes were perched perilously in nearby branches. When visitors triggered motion sensors, tiny windows lit up, revealing clues about the community’s reclusive denizens. August spent countless hours creating the work on equipment he uses for his home-based business, a digital art reproduction service. Yet despite his technical skills, he wants to avoid being labeled as a digital artist, explaining that the retro look of his work is a calculated strategy to avoid having it quickly relegated to a specific era by evolving technology. “I’m trying to make it so it doesn’t necessarily have a place and time attached to it,” he says. August has a sideline in electro-acoustic music that parallels his visual production with its pastiche of nostalgic dissonances. He gained a quick following in experimental circles as a teenager, touring in Europe and cutting two LPs on the Vancouver indie label, Scratch Records, as half of Vote Robot with Kevin Rivard. August has also produced solo work as French Paddleboat. Yet as much as the bucolic Okanagan has informed August’s cultural production, he is planning to join the region’s ongoing youth exodus by moving part-time to Vancouver to reconnect with old friends. He wants to share their creative energy and spend more time making art, particularly installations that immerse viewers in an array of technologies. No doubt Vancouver’s many secondhand stores will provide rich fodder for his offbeat vision. — Portia Priegert Fall/Winter 2007 Galleries West 57
SHIMA IUCHI Shima Iuchi is a traveler. From her native Japan to the interior of British Columbia, through the Gulf Islands and further east to Banff, Alberta, Iuchi’s peripatetic life has brought her into contact with new sources of inspiration for her art, while also reinforcing the themes and creative currents that have been constant in her past. It’s little wonder that movement and memory are two important themes in her work. Iuchi moved to Canada to study English and be immersed in North American culture. She had earned a Diploma in Art Management from Seian University in Kyoto, and had spent weeks evaluating the various locations for her ESL training. “I was so tired of making lists and trying to choose,” she recalls. “I had this big book of English training centres and I just closed my eyes and opened it to a page, and it was Kamloops.” After being accepted into the tourism management program at Thompson Rivers University, another lucky coincidence put Iuchi on the path towards pursuing visual arts at the school. She found the artwork intriguing in the office of Donald Lawrence, chair of the university’s visual and performing arts program. “I asked him if we could chat about the program and I don’t know how long I was in there talking, but when I left, he handed me the form to change programs,” she says. Working closely with Lawrence, Iuchi earned a diploma and eventually her Bachelor of Fine Arts degree from TRU, graduating in 2003. She 58 Galleries West Fall/Winter 2007
SHIMA IUCHI TOP LEFT: Shima Iuchi, Memoir of Telegraph Cove, 2003, wood, photo-etched zinc plate, quotation from a travel journal TOP RIGHT: Shima Iuchi, Home 2007, resin, embroidery fabric, LED lights, steel, wood ABOVE: Shima Iuchi, Hanson Island: A Memoir of Telegraph Cove, 2003, 2005, silver gelatin print LEFT: Artist Shima Iuchi
cites Lawrence as a major influence in her work. He convinced her to keep a journal while traveling, a practice that has served as the basis for many of the works included in Iuchi’s exhibitions. Her solo shows, exhibited at galleries across North America, including Richmond, BC, Bellingham, Washington and the TRU gallery in Kamloops, have featured Iuchi’s work with memory maps. Rising from her fascination with the connection between physical geography and human memories, these pieces start with the basic map of an area, and include the stories and recollections of people who have spent time in that place. Her early forays into memory mapping were based on her own personal experiences, but with her most notable installation to date, Illuminations of Kamloops, Iuchi incorporated the memories of nearly 100 other people into her art. Filling an entire room at the Richmond Art
Gallery, Illuminations was a scale model of the topography of the Kamloops area, with recorded conversations placed in particular locations in the display. The result was an interactive piece that allowed gallery visitors a sensory experience beyond the visual. Memory has also played a significant role in a series of work that centres on whales. Kayaking in the Gulf Islands, she encountered a pod of orcas, something that triggered childhood memories of family trips to Taiji, a historic whaling village in Japan. Not only concerned with creating, but also learning about her subjects, Iuchi spent more than a year trying to contact Dr. Paul Spong, a noted whale researcher who runs a remote lab on Hanson Island, near Port Hardy, BC. After finally gaining access to Spong and his work, Iuchi was trained to recognize whale calls and now names the doctor and his wife among her biggest influences. “He and his wife are unbelievable people. Their dedication to the research is just remarkable,” she says. www.gallerieswest.ca
PHOTO: (TOP LEFT) COURTESY ART GALLERY OF ALBERTA
Artwork emerging from that experience has yet to be displayed, but Iuchi says she is hoping to have new gallery shows in the near future. In the meantime, she has just wrapped up a year-long work study position at The Banff Centre, and she’s also recently started teaching art classes for adults. The teaching work has exposed her to new media and new means of sharing her knowledge, but it has made it harder to focus on her own work. “That experience has been good for me,” she says. “It will help me to manage my daily life and survive as an artist.” And after a year of work and re-focus, Iuchi is on the move again. She’s recently accepted a position in the Fine Art department at the University of Lethbridge, where the southern Alberta city will likely soon emerge in her artwork. — Daniel McRoberts www.gallerieswest.ca
Childhood lost and then regained in art is the through-line to the story of 28-year-old Sarah Adams-Bacon of Calgary. Recently selected to take part in the 2007 Alberta Biennial of Contemporary Art in Edmonton and Banff, Adams-Bacon’s series of drawings, “Everything Was Beautiful, And Nothing Hurt” was created when the artist was still attending the Alberta College of Art & Design. She graduated in 2006 with a major in drawing. Adams-Bacon is open and forthright. With no hint of embarrassment or drama she details her childhood growing up poor in a family with six children. They moved from province to province she says because of her father’s “bad business deals.” A man she describes as, “a very imposing person that you didn’t want to get mad. We were always bouncing around,” she adds. Adams-Bacon’s peripatetic existence may not have been an ideal situation in which to grow up, but it has left her with an indelible sensitivity toward childhood that she now articulates through her artwork. Her first major group exhibition was Popular at the Art Gallery of Calgary in 2005 where she presented “Reconstructions Circa Then”, a soft sculptural installation based on popular cartoon figures from the 1980s. “Grabbing onto things I had,” she says of her ongoing fascination with playthings. “We were really poor so my toys were really important to me. Every time we moved I had to leave them behind. I’ve gone through projects
ABOVE LEFT: Sarah Adams-Bacon, Everything Was Beautiful and Nothing Hurt, 2004, drawing series, ink on paper, 12" X 10" ABOVE RIGHT: Sarah Adams-Bacon, Transitional Phenomena: The Potential Space, 2003, Stride Gallery +15 LEFT: Artist Sarah Adams-Bacon
when I’ve grieved all these toys.” Reaching back to her past, Adams-Bacon takes memories and uses them as raw material for drawings, sculptures, animations and video-based works. “I dwell a lot on my own childhood,” she says. Adams-Bacon’s artwork often points out the dichotomies of childhood, but within her own environment she seems content. Divorced and now happily remarried she lives with her husband and infant daughter in a three-bedroom apartment near the core of the city. The birth of her first child at about the same time the Alberta Biennial was launched has provided Adams-Bacon the type of emotional satisfaction she has perhaps never before encountered. The twin joys and responsibilities of motherhood and a burgeoning art practice offer new challenges to Adams-Bacon. Often deprived of time she steals away moments to create art driven by the past while remaining vitally aware of her happy present circumstances. “I want her to be proud of me,” she says referring to her newborn. “I want her to be proud of my career. But I don’t Fall/Winter 2007 Galleries West 59
JASON FROESE BELOW: Jason Froese, Man With Gun 2, oil on canvas, 24" X 36" RIGHT: Painter Jason Froese FAR RIGHT: Jason Froese, Epilogues, oil on canvas, 48" X 84"
want to completely surrender myself to servitude for the rest of my life.” Although combining artwork and raising a baby is a new and often-demanding experience for Adams-Bacon, she is already planning her next project using videotape shot by her estranged father. “I have footage of my family in British Columbia months before my parents divorced,” she says. “I was 11 and my younger brothers and sisters were little kids running around. It’s an interesting time to look at. It’s kind of manipulating my own past, digging into it. And in some way attacking him a little bit.” Projects that are guided by the artist’s early life experiences have found a receptive public. “I’ve had people look at those drawings (“Everything Was Beautiful, And Nothing Hurt”) and say, ‘I think I knew that person,’” she says. “I really enjoy that interaction.” At the end of our visit, Adams-Bacon hands me a slip of paper. She explains it’s a makeshift biography completed in longhand because the printer attached to her computer is broken. Near the end of the sheet of paper she’s printed, “Plans for the future include raising a perfect family, maintaining a wildly successful career, acquiring lush property and a loyal dog and vigilantly warding off irrelevance.” — Wes Lafortune 60 Galleries West Fall/Winter 2007
As far back as he can remember, painter Jason Froese says he continually drew and painted. “I always had a sketchbook as a child,” he says. “Initially, I sketched from my imagination. Then I started using photographs, which I tried to replicate in drawings and later in paintings too.” When he left Calgary and moved to Vancouver at the age of 22, Froese says that he continued to draw and paint in the evenings when he returned home from his day job. “I was putting a lot of effort into my art, becoming really serious. It wasn’t just a hobby. I was doing a lot of research and something was happening.” Froese’s growing obsession with art led him to apply at Emily Carr Institute of Art + Design. “I got rejected the first time. It fuelled me and I got even more serious. I waited a year, reapplied and got in.” Froese’s work as an emerging artist continues to build on his early predilections for processing photographic images through his imagination onto the canvas. His recent studio work has been influenced by early archival photographs of western Canadian colonial history — pictures of settlers, prospectors and claimstakers. In Froese’s third solo show, called Imperfect Pictures, which he held at Vancouver’s Elliott Louis Gallery, there’s no mistaking that his large portraits represent ghostly figures from the past. The impact of portraits is made all the more evocative by Froese’s close attention to detailing the imperfections and damage often evident in old photos. Froese does much of his research on the Internet, comparing archival pictures and information from museums. “A lot of museums have the same image but some have touched up the cracks
and defects. Others leave the imperfections visible. This polishing of historical artifacts became interesting to me. Froese met influential instructors at Emily Carr who helped shape his art practice. “It switched everything around and focused me on critical thinking,” he says. “A few of the teachers, like Joy James who taught cultural theory, showed me the importance of being subversive and really doing something with my work.” He says that he isn’t using old photos for sentimental reasons, rather he is “trying to subvert, not celebrate the colonial past. My work is a critique of history.” After graduation from Emily Carr in 2006, the painter’s work caught the attention of Elliott Louis gallery manager Joan Miller. “Every year we do a show of emerging artists and we pick six or seven people who impress us. We liked Jason’s work and the unusual use of old photographs in his work,” Miller says. Miller decided to continue representing Froese after that first encounter. Froese also won a scholarship to do a sixweek residency at The Banff Centre after Emily Carr. He says the residency influenced him to move in new directions. “I’m in a transition, becoming more elaborate. I used to focus my paintings on a single person.” Froese is now working on a series he calls Epilogues that uses multiple images. One of them incorporates more than 40 different views. “I’m also using material from films as well as photographs. I’ve been taking the final frames from various movies and TV shows and painting them. Directors tend to linger on the final shot and it’s what the viewer is left with. I like working with that particular emotional response.” — Beverly Cramp www.gallerieswest.ca
BY GILBERT A. BOUCHARD
ABOVE: A.Y. Jackson (at left) and Nicholas de Grandmaison (no date)
RIGHT: Nicholas de Grandmaison, Jim Knife, n.d., pastel on paper, 76.2 X 55.9 cm. Collection of Mark Ferrari
“You have here a series of formal ceremonial portraits of people that capture the essence of the sitters,” says curator Gordon Snyder. “It’s like he could see right through them. One of his subjects said that de Grandmaison had taken all the conceit out of him in the process of painting his portrait, and then in two strokes put it all back in.” Snyder didn’t spend a lot of time ruminating before deciding to assemble a major exhibition and catalogue on Nicholas de Grandmaison, known for his formal portraits of Plains people. His goal has been to deconstruct the ability the artist had in documenting his subjects in a way that went deep below the surface. While he may be an underappreciated and relatively obscure artistic figure in the early days of the 21st century — known primarily by Western Canadian art historians and a tight, dedicated circle of collectors — de Grandmaison cut a much wider swath in the mid-20th century. Best-known for his portraits of First Nations people, de Grandmaison’s oeuvre covered the whole of western Canada, capturing many of the west’s key figures, including politicians, business giants and religious leaders. Along the
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way, he was named an associate member of the Royal Canadian Academy, and he received the Order of Canada and an honourary degree from the University of Calgary. “He was a fine artist and an articulate portrait painter,” says Snyder, asked to access this enigmatic figure in a phrase. But even with the artist’s significant five decades of work, his raw biography drew Snyder in on its own. It’s not much of an exaggeration to say that de Grandmaison’s biography seems plucked wholesale from the pages of a romantic Edwardian adventure novel — a fact that didn’t escape the notice of the perceptive Edmonton-based curator. How else do you describe the life of a Russian aristocrat and military officer who fled to Canada after the Russian revolution, eventually ending up in Western Canada in 1923, an eccentric artist who was drawn into the Aboriginal communities of the Canadian prairies and devoted the bulk of his career to capturing their portraits? “De Grandmaison was painting at a pivotal time in western Canadian history,” Snyder says. “ He made friends with all these historically important people and painted thousands of works documenting the period.” www.gallerieswest.ca
PHOTO: COURTESY OF THE UNIVERSITY OF LETHBRIDGE ARCHIVES
IN A METICULOUSLY ASSEMBLED EXHIBITION, THE UNIVERSITY OF LETHBRIDGE REVEALS THE LIFE OF PLAINS PORTRAITIST NICHOLAS DE GRANDMAISON
GIVEN HIS SENSE OF HISTORICAL DESTINY, IT’S NO SURPRISE THAT DE GRANDMAISON DEVELOPED STRONG FRIENDSHIPS WITH HIS SUBJECTS
ABOVE: Nicholas de Grandmaison, Young Indian Male, oil on canvas, n.d., 35.6 X 30.5 cm. Collection of Nicolas N. de Grandmaison
With a special interest in exhibitions around historic western Canadian artists, Snyder has curated Drawn from the Past: The Portraits and Practice of Nicholas de Grandmaison. It’s an extensive traveling exhibition and catalogue centred on 21 important First Nations and Métis portraits (including notable images of Good Eagle, Sun Chief, Grasshopper and Senator James Gladstone). The Fall 2007 show at the University of Lethbridge Art Gallery — which will be followed by an exhibition at the Art Gallery of Alberta in Edmonton in the summer of 2008 — was culled from the university’s huge collection of de Grandmaison artworks. The archive includes more than 100 finished pastel portraits and drawings, and crates of material including taped recordings of his First Nations subjects, published reviews and articles, manuscripts and studio equipment. The Edmonton show will be supplemented by de Grandmaison works from that gallery’s own collection. (The artist’s work is also held in a variety of other large collections, including some key private holdings like the one owned by Calgary-based Shaw Communications). The original idea behind Drawn from the Past was to explore de Grandmaison’s life through the filter of the less-well-documented Lethbridge holdings. Given the wealth of artifacts available to him, Snyder decided to include some related artifacts, including the buckskin costume and eagle headdress he wore when he was made an honourary member of the Peigan Nation in 1959, sound clips based on interviews with his subjects, and recordings of traditional songs.
64 Galleries West Fall/Winter 2007
The exhibition catalogue includes some 70 colour works, plus photographs and — key to Snyder’s intellectual interest in de Grandmaison and a larger history of visual art — a selection of drawings. “I personally love drawings and see them as artistically important,” Snyder says. “The drawings can give you a sense of how the finished polished work was completed. This is why I’ve also included unfinished work.” Ultimately, Snyder adds, de Grandmaison’s raw artistic talent and his dogged work documenting the lives of Canada’s Aboriginal and Métis people puts him in a small and rarefied group, including Paul Kane, Cornelius Krieghoff, and the early 20th-century painter Edmund Morris. Born in 1892 into an aristocratic Russian family, de Grandmaison was raised in a culture-friendly atmosphere, studying art, music, history, languages, cartography and topography. Serving as an officer in the First World War, de Grandmaison was captured, and spent most of that conflict in a German POW camp. With the help of connections he made during a post-war sojourn in England, he immigrated to Canada. Initially settling in Winnipeg, de Grandmaison first came into contact with Plains Indian culture, and got the idea to paint their portraits. Like most intellectuals of European extraction in that era, de Grandmaison feared that the Aboriginal way of life — if not they themselves as a people — was on the verge of vanishing. While this idea seems odd and politically incorrect in our contemporary era, where populations are booming, the reality was markedly different in the ‘20s and early ‘30s. Not only were First Nations popuwww.gallerieswest.ca
lations plummeting at the time, but leading scholars in the field — including Diamond Jenness, author of the key 1932 study The Indians of Canada — firmly believed that Aboriginal cultures were doomed. Convinced that the people and their cultures were disappearing, de Grandmaison began painting the Plains Indians in Manitoba, Saskatchewan, Alberta, and eventually the Queen Charlotte Islands and south into the deserts of the Southwestern United States. “He felt he had a mission to capture what he saw, including people who had attended historic treaty signings, and had participated in the last buffalo hunts, or in the case of High Eagle, the last living warrior from the Battle of Little Big Horn,” Snyder says. “My goal is to tell his story and not to say if it was right or wrong.” Given the sense of mission and historical destiny he possessed, it’s no surprise that de Grandmaison developed strong friendships with his subjects, which led to the largerscale documentation he collected, including tapes captured on a now-defunct Gray Audograph recorder. Snyder was startled to discover the recordings among the University of Lethbridge’s largely uncatalogued de Grandmaison holdings. “Even Hugh Dempsey (de Grandmaison’s biographer) didn’t know about these recordings,” says Snyder. “I spent two weeks going through all these boxes in the archives. He kept everything. This includes photo albums of him in the POW camps as well as portraits of other Russian and German officers.” He spent a year on the meticulous research that went into both the show and the catalogue. www.gallerieswest.ca
While de Grandmaison was an eccentric and occasionally prickly person, Snyder notes he was deeply charismatic and made friends easily. This gregarious personality goes far to explain the thousands of letters Snyder found in the archives, including correspondence from the widest possible swath of humanity — British lords, bishops, premiers, presidents, Indian agents, First Nations friends, priests and patrons are all represented through their letters to the sociable artist. Snyder says that he was particularly lucky that all of the artist’s remaining children got involved in the project, including his daughter Sonia de Grandmaison. These intimate connections helped him greatly in identifying the range of goods in the archives. Snyder began his research with the initial idea of putting together a book on the artist, but soon realized the material was there for an important retrospective exhibition. He approached the University of Lethbridge with the idea. “I was told they weren’t interested in having a guest curator do a show on him,” Snyder recalls. “I decided to go ahead and do my research, and after a week of my showing up every day, they approached me to do the show.” A year in, the exhibition opens to the public, a gratifying milestone for the curator. “I really didn’t want to see this fascinating man and his work get buried.”
ABOVE LEFT: Nicholas de Grandmaison, Mary Dodging a Horse, n.d., oil on canvas, 61 X 50.8 cm. Collection of Nicolas N. de Grandmaison
ABOVE RIGHT: Nicholas de Grandmaison, Native Portrait (Good Eagle, Siksika), n.d., Pastel on paper, 63 x 50 cm. From the University of Lethbridge Art Collection: bequest of Lubov Alexandra de Grandmaison, 1994
Drawn from the Past: the Portraits & Practice of Nicholas de Grandmaison is on September 14 to November 2 at the University of Lethbridge Art Gallery. Fall/Winter 2007 Galleries West 65
BY KATHERINE WASIAK
PHOTO: MARY-ANNE MCTROWE
WITH A POPULATION JUST OVER 80,000, THE SOUTHERN ALBERTA CITY OF LETHBRIDGE HAS A SURPRISINGLY STRONG CREATIVE LURE
“Visual art here is no passing fancy,” says Marilyn Smith about the city of Lethbridge, Alberta. Director of the Southern Alberta Art Gallery, one of a few institutions in the city devoted to contemporary art, Smith lived in Lethbridge in the early 1970s, and returned in 1995. She noticed a difference right away. “The community is more vital now, and has grown in the number of people involved (in art) and the depth of their commitment,” she says. Located along the Oldman River about two hours south of Calgary, Lethbridge’s art community has deep roots and multiple branches. An intricate network of supports sustains and promotes the community, including a university with a strong art department, a nationally respected contemporary art gallery, a vigorous visiting artist program, and dynamic grass-roots groups, businesses and individuals. There are many signs of this renewed community commitment. The Allied Arts Council has a new higher profile, the City of Lethbridge is purchasing public art, local architect John Savill supports two exhibition spaces in his office building, the Trianon and Petit-Trianon, and more artists are calling Lethbridge home. “Young artists see Lethbridge as a viable place to live and base an art practice,” says artist Mary-Anne McTrowe. 66 Galleries West Fall/Winter 2007
Installation artist David Hoffos, whose own practice is gaining an increasingly international reputation, agrees. “Resources are readily available and Lethbridge is an affordable place to live and rent a studio,” he says. With affordable rents, more artists can graduate from ‘kitchen table’ studios to larger spaces. “Space has an impact on the scale of your vision and production,” Hoffos adds. He turned the main floor of a building that formerly housed a Chinese grocery into a studio and exhibition space. Supportive mentors also make a difference. “As a student I was a technician for Janet Cardiff as she moved from photography to installation,” says Hoffos. “That cross-pollination provides fertile ground when people are working in similar ways at the same time. We had a spirit of sharing and collaboration that was valuable as I developed as an artist.” Hoffos now makes a point of mentoring others. “I like to put energy into younger artists so they can benefit from my experience,” he says. The interactions also encourage him to continue evolving his art practice. “After graduating from the University of Lethbridge, I moved closer to Toronto thinking I’d have more exposure to a professional art community,” says Daniel Wong, who recently returned to Lethbridge after getting a Master’s of www.gallerieswest.ca
PHOTO: BERNIE WIRZBA, UNIVERSITY OF LETHBRIDGE
Fine Arts from the University of Western Ontario. “I came to realize just how good I had it in Lethbridge.” Wong considers the small city a great place for artists. “The arts community is close-knit and supportive,” he says. “The University and the Southern Alberta Art Gallery provide a constant influx of artists and new ideas.” Shanell Papp was born in Lethbridge and continues to call it home. “I feel no urge leave, right now” says Papp, who earned a BFA from the University of Lethbridge in 2006. “I’ve had great support from my art professors as a student and even after I graduated.” She’s been involved with the Trap\door artist run centre, working with artists including Jill Flaman, Mary-Anne McTrowe, Leila Armstrong, Chai Duncan and David Hoffos. Trap/door is one of several grass-roots organizations that have sprung up in the city, each filling a particular niche and adding to the richness of the art scene. Groups including Trap/door, Burning Ground, Gallery Potemkin, P2, and ( )ette Collective organize exhibitions, provide support, feedback, studio space and, in some cases, grants. Papp was recently selected for the Gushul Studio Residency and Collaboration Project, a Trap/door initiative that brings together two artists in different media. The comwww.gallerieswest.ca
petition, funded by an Alberta Foundation for the Arts grant, is open to all Alberta artists and the award includes a onemonth stay at the historic Gushul Studio in the Crowsnest Pass, art supplies, and an honourarium. “It’s an exciting prospect to step away from work and family obligations, and have time to work on my art,” Papp says. “Since my practice is extremely labour intensive, this is invaluable.” Calgary artist Hye-Seung Jung was selected to share the studio with her. Papp is also in the OPPOSITE PAGE: Artist Shanell Papp group exhibition Moody Idols at with her 2005 installation Homebody the Helen Christou Gallery at the TOP: The University of Lethbridge, University of Lethbridge later this designed by acclaimed Canadian archiyear. tect Arthur Erickson Although geographically ABOVE: A still from Mary-Anne somewhat isolated, artists in McTrowe's work I Was a Lady Lethbridge have always forged Sasquatch: Domesticity for the links to the wider arts world. For many years the Lethbridge Sketch Endangered Species Club invited artists including A.Y. Jackson, Walter J. Phillips and H.G. Glyde to teach workshops. “Sketch Club members were serious about their art and the work they created was very good because they had good instruction,” says curator Joan Stebbins, who curated Fall/Winter 2007 Galleries West 67
IMAGE COURTESY THE ARTISTAND TRÉPANIER BAER
an exhibition of work from the group’s early years (1936 to 1950) at the Southern Alberta Art Gallery. A.Y. Jackson often visited his brother who lived in the area, and made friends with local ranchers as he painted the southern Alberta prairie landscape. “Our landscape always elicits comment from visiting artists,” says Stebbins. “It has long attracted artists from across Canada.” For 40 years, the University of Lethbridge has provided a solid pillar of support for the arts. Arthur Erickson designed the first building on campus, a TOP: David Hoffos, Scenes from the spectacular landmark in the city House Dream, Kitchen, 2007, detail, that nestles into the river valley mixed media installation with landscape around it. The miniature model, video, audio University’s Art Department has ABOVE: Dan Wong, Footnotes always attracted faculty who were from the Underground, 2006, video also strong artists willing to share projection installation their expertise with the community. Janet Cardiff, who represented Canada at the Venice Biennale in 2001, taught at the University from 1989 to 2000 and continues as an adjunct professor. The University houses another unexpected treasure in its art collection, with more than 13,000 objects ranging from the 19th through the 21st century. It’s one of the most signif68 Galleries West Fall/Winter 2007
icant holdings in any Canadian post-secondary institution, with work by artists including Henry Moore, Robert Rauschenberg, David Salle, Emily Carr and Arthur Lismer. Since the mid 1970s, the University has also operated its Visiting Artist Program, exposing students and the community to a range of artists, curators, designers, and architects. The program has in turn made artists from across Canada aware of the Lethbridge’s art scene. The list of visiting artists, which now numbers more than 55 a year, has included Christopher Pratt, Tony Scherman, Takao Tanabe, Althea Thauberger, Rebecca Belmore and Robert Davidson. “This program is wonderful and constantly exposes us to new ideas and a broad scope of artistic practices,” says Shanell Papp. For more than 30 years, right in the centre of the city the Southern Alberta Art Gallery has exhibited what the gallery describes as the ‘art of the day.’ Founding director Allan MacKay had a history of involvement with contemporary art and set the tone for the Gallery. It’s a myth that you must live in a large centre to have a successful art practice. “In reality if an artist’s practice is successful, they’ll get shown,” says McTrowe. According to Daniel Wong, since the art world works by mail submissions, “I can live anywhere I want.” www.gallerieswest.ca
Lisa Klapstock, Picture 1, Toronto, 2006, digital c-print.
Shannon Belkin: Second Nature
Sept 27: A Fine Line: Celebrating Drawing Oct 18:
Lisa Klapstock: Depiction
Angela Grossmann: Swagger
Xue Mo: Mongolian Renaissance
D.E.S., 24” x 36”, Oil on canvas
Bruce Woycik November 13 – December 2 Opening Reception: November 15, 6:30 pm
ELLIOTT LOUIS GALLERY 1540 West 2nd Avenue, Vancouver BC (604) 736-3282 • www.elliottlouis.com www.gallerieswest.ca
Fall/Winter 2007 Galleries West 69
BY BRUCE WEIR
AT THE ART GALLERY OF CALGARY, CEO VALERIE COOPER TALKS ABOUT REVIVING AND STABILIZING A NEAR-DEAD INSTITUTION
BACK FROM THE
ABOVE: Inside the Art Gallery of Calgary
OPPOSITE: Art Gallery of Calgary CEO Valerie Cooper (at left) and curator Donna Wawzonek
More than any do-it-yourself suburbanite, Valerie Cooper knows how a renovation can grow out of control. After all, since taking on her duties as president and chief executive officer of the Art Gallery of Calgary in 2004, the two heritage buildings that house the operation have been in a near constant state of repair. The buildings were extensively remodelled in 2000 when the AGC (then known as the Muttart Gallery) moved from its location in the Memorial Park Library. Two years later the space was redesigned, and in September 2005 a campaign optimistically called Finishing Touches put $265,000 into paint, new furniture, signage, lighting and sound systems. Then in March 2006, the gallery closed for almost a month while the entranceway was remodelled and the hardwood floors refinished. Given all the headaches associated with the work, it is probably a good thing that this last round of renos included new office windows that will open onto the street. Cooper could probably use a breath of fresh air. On the day we met in her sunny office — furnishings donated by Ikea, a couple of paintings by William Perehudoff on the walls — the floors of the upper gallery were being sanded. The work could clearly be heard through the wall, but Cooper was unfazed. As has been evident since her arrival on the job, she knows how to screen out distractions. This ability served her well when the AGC’s financial straits became apparent a short time into her tenure. “The gallery was in a bankruptcy position,” she recalls. “There
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were various liens on the building — people who had been looking for their money for upwards of three years.” Cooper began by calling creditors and offering them a paydown on the debt (in some cases 20 or 30 cents on the dollar) and meeting with the four banks that held the Gallery’s accounts to see if any of them would extend the $1 million or so the gallery needed to deal with its debt, as well as its mortgage payments. The fact that First Calgary Savings agreed is proof of its commitment but also to Cooper’s financial acumen — she has a master’s degree in management and worked at the Glenbow Museum for seven years — and persuasive powers. Those powers were tested further when, about three weeks into her job, city inspectors paid a visit, declared the building unsafe and announced that it should be closed. Cooper convinced these officials to give her three weeks to correct the deficiencies, and the gallery remained open. Barely. When she found the time to look up, Cooper saw more problems. “You can imagine where I was sitting,” she says. “We don’t have the money to meet payroll, we have a building that is not up to code, and management before me had made a commitment to bring in a blockbuster exhibition.” That show had a price tag of $80,000 and its title — The Basement Show — was appropriate because the AGC had hit rock bottom. The tumble had been a long one, but it spoke to the unique circumstances of the AGC. In 1977 when it was founded as the Muttart Gallery, the organization was the www.gallerieswest.ca
PHOTO: GEORGE WEBBER
ABOVE: Inside the Art Gallery of Calgary
OPPOSITE LEFT: Alex Janvier, Untitled, acrylic on paper, 13" in diameter
OPPOSITE RIGHT: Painter Alex Janvier
brainchild of the Calgary Public Library, which was seeking to raise money to restore its Memorial Park branch. According to Richard White, director of the Muttart from 1985 to 1995, the library created the gallery and then sold the naming rights to the Muttart Foundation. This curious relationship meant the gallery paid no rent from its inception until 1990 — it also meant that it was never a collecting gallery. In those 13 years, the Muttart grew from a grassroots organization to a professionally run operation, one that enjoyed good community support by virtue of hosting student groups and a slate of art classes. In fact, it had outgrown its space, so when the library began charging rent a few things became clear. “We thought, If we were going to pay for our space we might as well start looking for a facility that would accommodate our programs,” White says. By the end of White’s tenure, an anonymous donor had offered to fund the purchase of a new space and the search was on. It wasn’t until 1997 that the two buildings — one completed in 1902, the other in 1903 — on Calgary’s historic Stephen Avenue were secured. White served as chairman of the smART Move campaign, which raised more than $2.3 million to finance the move and renovations. Looking back he says, “We knew it was a big job, but you never quite appreciate how big a job it is to renovate an old building.” The size of it is evidenced by the fact that the work is just wrapping up (10 years on) and by the financial strain it engendered. But the move had other, perhaps larger, organizational implications. “If you go back on the history of the
72 Galleries West Fall/Winter 2007
gallery there are probably two or three times in the 30 years that we really jumped into bigger boots,” says Cooper. “That move was a milestone.” With the installation of environmental controls in the upper gallery, the work will (finally) be finished. More importantly, this final touch will allow the gallery to book museum-quality shows that have previously bypassed the AGC, and to some extent, the city. “The argument in this city keeps swirling around and around: ‘Oh, we need a public, contemporary art gallery,’” Cooper says. “We are the public contemporary art gallery.” Her job now is to convince others of that fact. While Cooper says support has been strong in the community — plumbers and the floor refinishers have worked for reduced rates, appliances, moving services and furniture have been donated — government funders cut support when the gallery was in trouble. “We are still fighting for funding to come back to 2002-2003 levels,” Cooper says. “Currently about 24 per cent of our budget — $1 million — comes from government, that’s federal, municipal and provincial, and the other 76 per cent we fundraise every year.” She is confident government funders will step up, in no small part because the gallery reported a surplus of $72,711 at the end of fiscal 2006, its first surplus since 1999. Even as the gallery’s financial health has improved, there have been some issues around curatorial staffing. In February chief curator Alexandra Keim left her post after six months on the job. Her successor, Donna Wawzonek, arrived in March from Regina’s Dunlop Gallery and has been settling in. Cooper is now looking forward to shifting her focus from the AGC’s balance sheet. She is in the final stages of establishing a foundation that will administer an endowment — she is shooting for $10 million — that will be raised by a new organization, the Friends of the AGC. That money will ensure financial stability for the gallery, and allow it to turn its attention to other concerns. “The last three years have been very focused on creating financial stability and getting the building to a point where it does justice to the exhibitions and public programming that happen under its roof,” Cooper says. The new environmental controls mark the end of that process. “Then everything — the effort, the time, the donations we’re going after — will shift from completing the building and move more toward programming,” she adds. This fall, Cooper plans to be sipping champagne with staff, board members and invited guests. It should suffice to celebrate the 30th anniversary of an organization that was on life support only a few years ago. www.gallerieswest.ca
THE KING OF COLD LAKE Acclaimed painter Alex Janvier headlines the Art Gallery of Calgary’s fall season As part of the 2007 Alberta Biennial of Contemporary Art (co-presented by the Art Gallery of Alberta in Edmonton and Banff’s Walter Phillips Gallery), the Art Gallery of Calgary hosts an exhibition of the work of Cold Lake, Alberta-based painter Alex Janvier through January 5. Under the theme Living Utopia and Disaster, the works featured in the Biennial are billed as “discrete reminders that hopes are often matched with impending catastrophe, actions with adversity, and that Utopia is mostly built on disasters.” Janvier is living proof of that premise. Of Dene Suline and Saulteaux descent, Janvier’s 72 years have been marked by tragedy and triumph, struggle and success. Like many of Canada’s Aboriginal people, as a child he was sent by the government to a residential school. But it was at the Blue Quills School that Janvier first began painting, and today he’s an internationally recognized painter who this year was named to the Order of Canada. The 2007 Biennial will include a special exhibition celebrating Janvier’s esteemed career. The pieces in the AGC show will include a survey of past works, as well as new paintings, which address the decimation of traditional hunting and fishing grounds. www.gallerieswest.ca
Galleries West: At age eight you were uprooted from your family and sent to the Blue Quills Residential School. What was that experience like?
Alex Janvier: It’s not a favourite subject of mine. We were just uprooted from our parents. The RCMP were on hand and told them if they didn’t let us go that there would be trouble. We lost out and so did our parents. It wasn’t an ideal situation there at all. GW: Do emotions from that period of your life emerge in your work?
Europeans normally know close at hand — to go to art school was just a formality. I was already painting. GW: Who or what influenced you in those early days?
AJ: Well, Carl Oldenburg. The other person would be the head priest at the residential school, Father Roland. He was a Parisian educated man, a French priest who came to Canada, and he was the principal at the school. He knew a lot about art. He understood what I was doing.
AJ: I wouldn’t want to blame bad paintings on that [laughing]. But it affects me even to this day, although I’ve gone back to the place of hurt. I went back to that school. It’s something I don’t want to live inside of me anymore, but it will never be forgotten.
GW: Is your art rooted in particular cultural traditions?
GW: When you studied at the Alberta College of Art and Design there were no other Native students in your classes. What was that like?
GW: After studying in Calgary and teaching in Edmonton you returned to Cold Lake. Is that region of Alberta an inspiration to you?
AJ: It was lonely. But I was very good at what I was doing and so I became quite preoccupied with my studies. In fact, I had taken serious tutoring by Carl Oldenburg from the art department at the University of Alberta. He tutored me from the time I was about 14 up to around 18. So I knew more about art and design, the things that
AJ: Oh yeah. There’s a beautiful lake here. It’s at the beginning of the Boreal Forest, what used to be the beginning of the Great Plains. Today it’s not quite the same, but the thing that’s really special here is the large lake. It’s really a wonderful thing to have.” — Amber Bowerman
AJ: It’s an absolute Janvier cultural intrusion into the art world [laughing]. I made my own trail. That’s how I got here. I created something different.
Fall/Winter 2007 Galleries West 73
PHOTO: STAN MUNN
HOMAGE INFLUENCED BY CLASSIC CANADIAN PAINTERS, THIS BC-BASED ARTIST BRINGS HIS OWN EYE TO A STRIKING LANDSCAPE
ROBERT GENN A chance sighting of a famous Canadian painter left an indelible impression on Robert Genn as a child, and seems to have foreshadowed his long career as a landscape artist. In 1940, at age four, he was riding through Victoria’s Beacon Hill Park in the back of his grandfather’s Hupmobile coupe when he spied a woman in her late 60s sitting outdoors on a folding chair, painting a bridge. “Look, Papa, an artist,” exclaimed the boy. “Her name is Emily Carr,” confided his grandfather in hushed tones. “Some people think she’s crazy.” Though he never again saw the artist he still affectionately calls “that crazy woman,” Genn subsequently came to know and admire Carr through her paintings. “I’m glad I caught sight of her once,” he says today in a telephone interview from his home in Surrey, BC. “She’s had a major influence on my work.” Lawren Harris was another famous Canadian painter who influenced Genn’s work. They met casually as neighbours in Vancouver’s Point Grey district in 1961, when the 25-year-old Genn was trying to establish himself as an artist after studying industrial design at the Art Center School in Los Angeles. He ran into Harris while out walking near his home, and told the artist he was having difficulty painting skies. “Turn your picture upside down,” advised the Group of Seven leader. “Paint down from the trees to the clouds at the bottom of the picture to get the perspective right.” “It was very valuable advice,” Genn acknowledged afterwards. “Painting upside-down helps you to control the gradation, and work up into the trees in a more abstract manner.” Genn has long known he was destined to become a professional artist. He received early encouragement from his parents, and rendered his first drawings and paintings on the off-cut paper and cardboard his father brought home from the Victoria factory where he worked as a sign painter. At age 12, he entered a local hobby show and sold his first painting — a watercolour of a hummingbird and its nest. When his father started his own sign-painting business in the 1940s, Robert took advantage of the opportunity to learn silk-screen process printing. Though he attended university in Victoria and Vancouver for seven Robert Genn at ‘Shale-splitters’ on the Opabin Pass, Yoho National Park
BY BRIAN BRENNAN www.gallerieswest.ca
Fall/Winter 2007 Galleries West 75
THE KEYS TO SUCCESS, HE DECIDED, WERE PROFESSIONALISM AND PRODUCTIVITY. “TO BE A SUCCESSFUL APPLE VENDOR YOU MUST ALWAYS HAVE APPLES IN YOUR CART.” Above: Robert Genn, Late Surprise, acrylic on canvas, 36" X 40"
years, taking various courses that appealed to him, including psychology, sociology, and history, Genn never earned a degree in anything. Mostly, he just doodled in the margins of his notebooks. He didn’t graduate from the Los Angeles Art Center School, though he learned about designing automobiles. “I think I’ve got some form of attention deficit disorder,” he says now, half-jokingly. Genn had no lack of focus when it came to painting. He held his first solo exhibition while studying in Los Angeles, and painted almost non-stop for six months when he returned to British Columbia and established a small studio on Vancouver’s Pender Street. He supported himself as a freelance advertising artist while refining his craft, and filled his studio with watercolours and oils of Vancouver gardens, flowers, and remembered scenes from the coast. Eventually, he chose 24 of his best paintings from different genres and burned the rest. “That was really the seed that got me into the galleries,” he says. By the time he was in his late 20s, this largely self-taught artist had convinced himself he could succeed as a full-time painter. A Vancouver gallery, The Art Emporium, had sold a few of his landscapes, and more sales seemed imminent. “I believed in the system,” says Genn. “I knew there were artists out there who not only survived, but thrived. This business about artists being poverty-stricken was a bunch of
76 Galleries West Fall/Winter 2007
BS.” The keys to success, he decided, were professionalism and productivity. “To be a successful apple vendor you must always have apples in your cart.” In 1964, when he was 28, Genn married Carol Shimozawa, a Vancouver-based CP Air flight attendant he had been dating for two years. “I was tired of getting postcards from faraway places,” he wrote in his 1981 memoir, In Praise of Painting. They settled initially in Amsterdam, and spent the next 18 months travelling around Europe in a used Volkswagen bus that they bought for $500. Genn took photographs and painted along the way. He eventually covered their trip expenses by selling a dozen paintings to tourists at a hotel in Spain. They returned to Canada by freighter and spent 15 days travelling in the VW from Halifax to Victoria, where they spent Christmas with Genn’s family. They subsequently converted the bus into a mobile studio with a desk and permanent easel that Genn could use for travelling around Canada in search of inspiration and subject matter. Before moving to their present home in Surrey, Robert and Carol lived south of Vancouver in the coastal town of White Rock, which offered an abundance of attractive outdoor subjects for a developing landscape artist. They raised three children, and all of them inherited Robert’s love of creativity. “We don’t have any doctors or lawyers here,” he says proudly. Son Dave Genn, born in 1969, plays guitar with the Vancouver rock group, 54-40. Son James, 35, writes and directs films and television series, and his twin sister Sarah is a musician and painter who has travelled the length of the Mackenzie River on painting expeditions with her father. She has also painted with Genn in the Grand Canyon, along the West Coast Trail, and, this past spring, in the mountains of Yoho National Park. They followed in the footsteps of Group of Seven co-founder J.E.H. MacDonald, who painted in the Lake O’Hara region of Yoho between 1924 and 1930. Before heading out, Genn said it would be like “dying and going to heaven” because “you’re putting your bottom on the same rock that this important Canadian artist sat on.” Some of Genn’s acrylic sketches from the recent Lake O’Hara trip are scheduled to be included in a solo exhibition, Mountain Work, at Banff’s Canada House Gallery between October 18 and November 2. “The show was very carefully timed to share the bounty of work that would domino from his trip,” says curator Barbara Pelham. “It’s an absolute honour to work with Bob and share his work with the world.” The Banff show was also timed to coincide with the www.gallerieswest.ca
IMAGES COURTESY CANADA HOUSE, BANFF
release of a new hardcover book by Genn, titled Love Letters to Art. Combined with reproductions of paintings he has done on location in various parts of the world, the book includes 120 of the more than 600 newsletters Genn has been writing twice weekly since 1999 for his website, www.painterskeys.com The website began as a way of communicating with the people who had read and enjoyed his 1997 handbook, The Painter’s Keys: A Seminar with Robert Genn. It now reaches 50,000 online subscribers with its reflections on the painting life and an extensive resource of art quotations. In 2005, Genn used the website to lead an international fight against a Chinese online company, arch-world.com, that had lifted thousands of high-resolution images of paintings without permission from gallery and dealer sites around the world, and put them on sale at prices as low as $15. Genn, whose paintings sell for as much $30,000, found 120 of his images on the Chinese site. When the Canadian government and the Chinese embassy in Ottawa failed to help him, he mobilized his online subscribers to bombard the offenders with e-mails calling on them to cease and desist. “It seemed to work,” says Genn. “We got 800 Canadian artists taken off that site. One by one, they fell like leaves.” Currently, Genn is in the process of recording some of www.gallerieswest.ca
his website letters onto a CD with background music provided by daughter Sarah on vocals accompanied by a New York bassist named Keith Whitty. “There’s no economic motive in it whatsoever. It’s just been a fun thing to do.” At age 71, Genn is still prolific in the studio, producing enough acrylic paintings on canvas to keep busy at least ten of the 20 Canadian galleries that handle his work. “They’re the ones in the front seat taking the bugs in their teeth,” he says. “I run them like a mutual fund. When one is pulling on the oars, the other one may be slacking off. You might not even hear from one for a year. But it all still works out. There’s enough cash flow to keep on working.”
ABOVE: Robert Genn, To Awaken in Such a Place, acrylic on canvas, 36" X 40"
In addition to his October show at Canada House, Banff, Genn will also open an exhibition December 2 at Mayberry Fine Art in Winnipeg. His work is also represented in Canada at Heffel Gallery, Vancouver; Hambleton Gallery, Kelowna; West End Gallery, Edmonton; Assiniboia Gallery, Regina; Hollander York Gallery, Toronto. Brian Brennan is a Calgary author and journalist whose profiles of Western Canada’s distinguished established artists appear regularly in Galleries West. His latest book is How the West was Written: The Life & Times of James H. Gray. Fall/Winter 2007 Galleries West 77
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Grand Opening September 6 & 7, 2007 Thurs 6 pm-9 pm (meet the artists) & Fri 9 am-9 pm
www.prosartschool.com • www.geneprokop.com Gallery/Framing Hours: M/W/F/S 10-4pm T/T 10-7pm 78 Galleries West Fall/Winter 2007
exhibition reviews PETER DEACON
Reviews: What we saw at exhibitions in the West
Exhibition: When: Where:
Solstice May 12 – June 26, 2007 Virginia Christopher Fine Art, Calgary Reviewed by: Wes LaFortune
SEAN RANDALL Exhibition: When: Where: Reviewed by:
New Paintings June 8 – June 20, 2007 Keystone Gallery, Calgary Dina O’Meara
You don’t walk into a landscape by Sean Randall, you manoeuvre your way through his vision of fields, scrub and bright skies, attracted by the artist’s use of texture and colour to build a sense of perspective the closer you come to the canvas. All the components of a prairie landscape are present, made with meticulously narrow strokes of the brush — the sheaths of grain, the leafy trees, a backdrop of mountains in the distance. But the overall effect is a patchwork quilt of perspective. As viewers in the new Keystone Gallery (in Calgary’s Art Central complex) approach Randall’s large acrylic pieces, the complexities of each painting surface as the painter uses a lattice of images to lead the eye through a game of multi-layered visual hopscotch. The use of a grid to deconstruct a landscape and bring different perspectives of the same subject to a painting is a departure from Randall’s previous, more traditional watercolour landscapes. The work is an unplanned venture into his past as an architect and architectural illustrator. “For me, doing the work was a very liberating way of painting, believe it or not,” Randall says from his home on the outskirts of Regina. A graduate of the University of Manitoba’s Faculty of Architecture, Randall was strongly influenced by painting instructor Gordon Adaskin and the surrealist architect John Hejduk. The New York-based Hejduk designed buildings within buildings, taking geometrical shapes and distorting them into exaggerated forms that weren’t intended to be lived in. The architect worked off a nine-square grid that, rather than bringing the viewer’s eye to a centre point, created a space at the centre. It’s a technique Randall uses to fill his canvases. “For me it was very liberating to establish an objective system, but then to be completely free and open within that system,” he says. The artist’s six pieces reflect a structural discipline based on a 15 by 15 square grid. In “Wolf Tree”, painted in tones of green, purple and the golden light of late afternoon, two leafy trees stand out against the sky in an otherwise bare landscape. As you look closer, each square tells a different story. With “All Four”, Randall has ostensibly painted a winter landscape, brushing in a few cattle wandering in a grey, cropped field. But interspersed in the painting’s patchwork squares are vivid images of the landscape during all the seasons, allowing viewers to relive the area’s yearly cycle as Randall experienced it. www.gallerieswest.ca
Peter Deacon, Solstice (detail), 15" X 15" mixed media panels, 2007
The Solstice arrived early at Calgary’s Virginia Christopher Fine Art. The exhibition by Calgary-based painter Peter Deacon covered more than seven metres of the gallery’s wall space, a multi-media piece comprised of 37 panels. Using the Continental Divide near Banff as a meeting point between east and west, Solstice is a clever visual metaphor that explores western and eastern values. Subtle shifts in colour on each of the panels create a luminous and expansive work that underscores the unrelenting forward march of time. Postage stamps, fragments of topographical maps and a manipulated photo of one of the peaks in the Rockies (that appears on each of the panels) are set into its constituent parts to form a multi-faceted puzzle that asks viewers to try and unlock its artful mysteries. The other works that complete this exhibition include five mixed media pieces from Deacon’s earlier Facing West – Looking East series, which conceptually began life in 1988 when Deacon was an artist in residence at The Banff Centre’s Leighton Artists’ Studios. Unlike Solstice, which uses board as its foundation, in this series copper plates form the base of each piece. Again taking a collage-like approach, the artist embeds within the context of the five works fragments of maps, correspondence and photographs. The seductive patina of the copper is what makes each of the five pieces stand out, with Deacon taking full advantage of the metal. Deacon has planted the sheets of copper in the rocky soil of the Rocky Mountains (near the Continental Divide). He leaves the plates underground for months at a time, until they’re retrieved with the help of a handheld GPS navigation system. The technique marks the copper with unique characteristics that could never be recreated in the studio, and the result is a collaboration between the artist and the Earth. This unusual creative approach has been a continuing presence during much of Deacon’s career as a visual artist and educator. A long-time fine art instructor at the University of Calgary, Deacon was recognized in 2004 (along with fellow instructor and artist Marjan Eggermont) with the Alan Blizzard Award for his contribution to first year engineering courses. Art and engineering might seem an unusual combination, but Deacon’s innovative approach brings together the disparate worlds to surprising effect.
68" X 68" acrylic on canvas
Sampling: appropriated images from the Rococco to the Internet When: June 7 – 30, 2007 Where: Bjornson Kajiwara Gallery, Vancouver Reviewed by: Beverly Cramp
At first glance, animal lovers will have a difficult time viewing CorriLynn Tetz’s latest paintings at Bjornson Kajiwara Gallery. Six of the seven works are images of hunters posing with their kill: a man ➤➤ Fall/Winter 2007 Galleries West 79
exhibition reviews squatting, rifle in hand, behind a dead grizzly bear; a man standing in a relaxed pose beside a downed buffalo; and three unsettling pictures of men embracing the limp lifeless body of a leopard. The subject matter isn’t necessarily Tetz’s primary interest. The artist chose her images from the Internet to, as she writes, “use specific and personal events to question archetypal statements about control, documentation, pride and failure.” Certainly hunters represent a statement about control – the control over another creature’s life. Yet Tetz’s wider body of work is concerned with investigating mementos and cultural signifiers that are used to construct meaning. Through such investigations, Tetz leads to the discovery of what she calls, “the inherent absurdity of everyday life”. Tetz uses her skill with painting technique to distort any sense of photorealism in her images and induce a sense of the distance between a recalled event and the memento we use to represent the memory. In “Safari #3”, the picture of a leopard hunter holding his prey in an absurd embrace, posturing for the camera, the picture resembles a black and white photo that has been treated with a blue colour wash. Broadly brandished brush strokes are clearly visible especially in the ground foliage and the sky. Even more striking is how Tetz’s minimal use of line and detail produces animated facial expressions. Viewers can’t help being thrown into the psychological world of the figures. The exhibition includes one non-hunter painting. “Separate” depicts two women and a man at a party. The man wears a party hat and is dressed in a white shirt and tie. Suspenders hold his trousers high up on his waist. Tetz’s theatricality is clearly evident in this evocative piece. The panel looks separated at the front with the two women on one side and the man on the other. The women appear to be dressed up and one has the hint of an earring, indicated by a splash of white paint, almost more a reflection than a piece of jewelry. All three characters have eyes downcast. Are they sorrowful? Tired? Pensive? This painting leaves the interpretation up to the viewer.
Corri-lynn Tetz, Safari #1, 2007, oil on panel, 16.5" diameter
MARIANNA SCHMIDT Exhibition:
Carnaval Photographs & Paintings; Selected Prints & Drawings; Mixed Media Works 1963 - 2002 When: June 25 – Sept 15, 2007 Where: Teck Gallery, SFU Harbour Centre, Vancouver; Burnaby Art Gallery, Burnaby; Evergreen Art Centre, Coquitlam Reviewed by: Ann Rosenberg
NATHAN BARTLEY Exhibition: When: Where:
The Salt People June 1 - 23, 2007 Oxygen Art Centre, Nelson BC Reviewed by: Susan Andrews Grace
Nathan Bartley’s installation The Salt People is a poetic examination of single moments as if they last an eternity. Bartley renders grief and separation in black and white, exploring internal and external landscapes. Bartley limits materials, technique, and palette in this examination of two pre-patriarchal stories — the Old Testament story of Lot’s Wife and the myth of Orpheus and Eurydice. Lot’s wife is told to not look back at the burning city of Sodom, but she does and she’s turned to a pillar of ash and salt. Orpheus goes into the underworld to plead for Eurydice, who has died of snakebite. Orpheus is allowed to retrieve her as long as he does not look back at her. In his anxiety he looks and she vanishes forever. In both stories someone looks back, lingers, and loses the beloved. The Salt People are those who look back in memory, identify with their loves, and become frozen in one or the other divisions of the psyche, male 80 Galleries West Fall/Winter 2007
or female. “Thoughts, like salt, appear and dissolve,” Bartley writes in his artist’s statement. “Nothing is permanent despite our need for a stable conceptualization.” The 29 works in The Salt People are contour drawings, made with acrylic paint on raw muslin and various papers. Bartley sometimes layers torn cloth over images. He chose muslin for its lightness, the feathery quality of its torn edges and its scrim-like amplification of shadow. The show is also influenced by Chinese landscape and Japanese brushstroke. Bartley spent his early youth in Asia studying meditation traditions. This accounts for the authority of his technical expression and the Taoist flavour of his analysis. There’s also a North American, 21st century sensibility in the overlay of imagery. “Bad Lot”, in its pun on the Old Testament character, is a suite of nine works in which the largest, approximately 10 feet by five feet, is a headless male figure in a boxing posture with a vacuum cleaner-like hose wrapped around his neck, as well as a mélange of marks, images and abstract shapes. The central image is flanked with four smaller pieces on either side — a group of CNN broadcasters on the right, and on the left faces covered in muslin, figures with Pierre Berton bow ties, suggesting a sameness of nonconformity and maleness. A Marilyn Munroe/mid-century figure peppers the installation with her hourglass figure, girly hair and 50s dress. She appears five times in the suite “The Three Judges” and 13 times in the whole installation. The Salt People effectively expresses Bartley’s ideas about the psycho-spiritual polarization of male and female, as well as north and south, east and west. The mood of the show is dark, and it suggests that the artist holds out little hope for us or our planet. And yet there is also mercy in these meditations, a prayer which may just join heaven to earth with a massive gesture of balance.
Nathan Bartley, Blinding Angels, 2007, acrylic on raw muslin,1'11" X 2'5"
Over 100 expertly chosen works by Marianne Schmidt are hung in three concurrent shows in the Lower Mainland, and the installation of work at each venue elucidates and astounds. Together, they constitute a fitting memorial for a reclusive, eccentric artist who died at 87 in 2005. At the time, she had been virtually forgotten by the local art community, which had recognized her unusual gifts when she began her career in the mid‘60s after enrolling in the Vancouver School of Art at age 42. According to Robin Laurence — an executor of Schmidt’s estate and one of the curators of the retrospective — Schmidt left a legacy of “approximately 3000 works on paper, most of which have never been shown.” Only the Stedelijk Museum voor Actuele Kunst in Ghent, Belgium (one of the lenders to the retrospective) owns a ➤➤ www.gallerieswest.ca
west fall winter v3.ai 01/08/2007 9:30:32 PM
Sept 27 - Oct 27
The Willock and Sax Gallery carries a diverse selection of Western Canadian historical and contemporary art, with a focus on many fine Alberta artists, including original paintings, photography, prints and drawings, functional and fine art ceramics, sculpted/stained/handblown art glass, sculpture, jewellery and woodturning. Along with Folk Art, the gallery features First Nations art as well as Inuit sculpture and drawings from Cape Dorset. In addition we have available handcrafted knives and a selection of Alberta music CDs.
Willock & Sax Ltd. Gallery Formerly of Waterton Lakes National Park Now at 110 Bison Courtyard, 211 Bear Street Banff, Alberta, Canada, T1L 1C2
403.762.2214, 1.866.859.2220 firstname.lastname@example.org www.willockandsaxgallery.com
west fall winter marshall 2.ai 27/07/2007 11:45:27 PM
Whyte Museum of the Canadian Rockies
Raising Prairie Form / Red #2, oil on canvas, 2007
A Yellow Light / June, oil on canvas, 1993-2000
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111 Bear St., Banff, AB (403) 762-2291 www.whyte.org
Fall/Winter 2007 Galleries West 81
exhibition reviews large body of her work. The Burnaby Art Gallery is, so far, the most avid collector of Schmidt’s prints and works on paper. For this multi-venue exhibition, Schmidt’s earliest work is installed in the Burnaby Art Gallery. It shows how she displayed and transcended her influences from the beginning. Two late 60s intaglio etchings called “In the Forum” and “Carnaval” depict bizarre crowd behavior in the streets of imaginary urban settings, rendered in bird’s-eye perspective. On the whole, Schmidt out-Brut’s Art Brut by going beyond Jean Dubuffet’s belief in “savagery, instinct, mood, violence and madness,” creating images where dismembered bodies and body parts drift. The Burnaby exhibition continues with a section on Schmidt’s art in other print (or mixed) media, including the striking Pop-Art influenced 1974-5 work called “On the Road to Lake Titicaca”. In this lithograph, a piece of pink luggage decorated with stylized flowers is an ‘intruder’ in her black and white portrait of the barren road to the world’s highest lake, as if it were a gaudy, overdressed stranger waiting for a bus that would never come. The Burnaby show leaps ahead in time (chronologically) to end with two l990s examples of the type of collage-based Xerography prints that the artist continued to make until 2002. These attractive pieces have a Surrealist look. The imagery is delivered by the then-controversial color-copier. The Mixed Media Works exhibition at the Evergreen Centre in Coquitlam contains more works than the other two venues and covers the greatest time frame. It starts with several 1963-5 pieces from Schmidt’s student days, then presents six more examples from the suite of ‘realistic’ drawings alluded to in the other venues, then fast-forwards to the mid ‘80s and beyond to showcase the expressionistically rendered figurative works on paper that display Schmidt’s whole-hearted embrace of the style of George Baselitz, Jean Michel Basquiat and Francis Bacon. These painterly outpourings of her cynical, black-humored observations on human angst and emotions are as immediate as the representational drawings and Xerographs are studied. In all three parts of the retrospective, Schmidt exposes many aspects of herself in a fearless fashion — creating images of despair, jealousy, anger, marital dysfunction, exhibitionism and hysteria. Bill Chandler — a long-time collector of Schmidt’s art — said at the opening that he thought that in terms of dealing with sexuality and violence Marianna’s work “goes to places that Jack Shadbolt never found.”
Marianna Schmidt, Untitled, 1993, mixed media with collage on paper, 29.5 X 21 cm
Chris Flodberg, Recollections of a Trip to Paris, 2007,
oil on canvas,
www.gallerieswest.ca for more exclusive exhibition reviews, including:
8' x 16' x 6"
THE 2007 ALBERTA BIENNIAL OF CONTEMPORARY ART When: Where: When: Where: Reviewed by:
June 27 – Sept 9, 2007 Art Gallery of Alberta, Edmonton Oct 27, 2007 – Jan 6, 2008 Walter Phillips Gallery, Banff Gilbert A. Bouchard
The theme of this sixth Alberta Biennial is “Living Utopia and Disaster.” Curated jointly by the Art Gallery of Alberta’s head curator Catherine Crowston and Sylvie Gilbert, senior curator at the Walter Phillips Gallery at The Banff Centre, new works by 22 artists from various centers around Alberta were chosen for the way they address the paradoxical nature of life in 21st-century Alberta. 82 Galleries West Fall/Winter 2007
We live in a place particularly rife with tension-wracked oppositional communities, symbolized by the extremes of the resource extraction industry balanced by an increasingly vocal green movement. It’s somewhat melodramatic and cliché as a theme, but it’s also a truism, especially in boom-time Alberta, where boundless optimism is married to a nagging sense of dread. It’s a show of work by artists from across the province, from senior artists to emerging artists, so the take on this particular theme is diverse. While boasting more painters than the previous incarnation of the Biennial, there are a several adept examples of sound installation, video, fabric art and electronic media. Given such a broad, controversial and versatile theme, the broad sweep of artists assembled ends up betraying multiple political leanings and philosophical tactics. Some artists have taken a direct path in addressing the idea of utopia/dystopia through an exploration of international war hot-spots. These include a series of paintings by Julian Forrest based on internet pictures of soldiers from Afghanistan holding guns (sometimes in self-portraits from sites like hotornot.com) and an eerie set of videos (projected from tiny TVs recessed in equally tiny portals in the gallery’s walls) by Mary Kavanagh depicting people frolicking holiday-style on the gargantuan white sand-dunes of an American missile testing ground. The most disturbing work in this category is a large landscape/still-life triptych painted by Chris Flodberg. His more-realist-than-not paintings juxtapose lush formal banquet settings with scenes of the urban devastation of war. The effect of Flodberg’s work is glaring, neatly off-setting the dual concepts of guilt and pleasure that transfix the developed world. These big thematic connections between hope and catastrophe are also addressed in works from a profoundly personal perspective. The installation piece created by Jonathan Kaiser, “Lost Boys and the 100 Year Mortgage,” a tiny, vaguely Victorian-style room filled with empty cages and terraria, comments on the tension between the artist’s childhood fantasies and dreams and his often conflicting, adult desires. Meditative and claustrophobic, Kaiser creates an articulated discourse about potentiality and the hunger we all have to grow and expand our horizons.
Lynne Allen: Shortcut to Heaven and Across a Divide, March 15
to April 28, 2007 at Urban Shaman and Martha Street Studio, Winnipeg. David Cantine: Unflat, April 14 to June 10, 2007 at the Art Gallery of Alberta, Edmonton. Toni Hafkenschied and Tim van Wijk: Handheld Landscape, March 30 to May 5, 2007 at AKA Gallery, Saska-
toon. Erin McSavaney: Universal Uniform, April 21 to May 12,
2007 at Atelier Gallery, Vancouver. Riel Benn: Alter Ego, May 11 to June 22, 2007 at Red Shift
Gallery, Saskatoon. www.gallerieswest.ca
Art with Feel...
Marilynn Bracken “Fly Fishing” (The Gone Fishing Series) Oil on canvas 37" X 49" Custom-Framed $1,250
bracken studio Representing Local & Regional Ar tists Ar t Central #104, 100 7th Ave SW. Calgar y, AB. 266 - 5337 www.swirlf inear t.com www.gallerieswest.ca
Art Central Upper Level Studio 202 100 - 7th Ave. SW Calgary, Alberta T2P 0W4 Canada 403-554-1523 www.brackenstudio.com
Hours: Tue. to Fri, 11 am until 6 pm Sat. Noon until 4 pm Sun. if you are lucky Gladly open by appointment 1st Thur. open late until 9 pm
Fall/Winter 2007 Galleries West 83
Your guide to more than 450 fine art galleries in Western Canada For more information, send your request by email to email@example.com
ALBERTA INDEX Banff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Black Diamond . . . . . . . . . . . . . . . . . . . . . . . . . 84 Blairmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Bragg Creek . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Calgary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Camrose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Canmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Cochrane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Didsbury. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Donalda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Drumheller . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Edmonton . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Fort MacLeod . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Fort McMurray . . . . . . . . . . . . . . . . . . . . . . . . . 93 Grande Prairie. . . . . . . . . . . . . . . . . . . . . . . . . . 93 High River. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Jasper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Kananaskis Country . . . . . . . . . . . . . . . . . . . . . 93 Lacombe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Lethbridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Medicine Hat . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Okotoks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Red Deer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Rosebud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Waterton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Wetaskiwin. . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Wildwood . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 BRITISH COLUMBIA INDEX Abbotsford. . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Bowen Island . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Cherryville. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Comox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Courtenay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Duncan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Galiano Island . . . . . . . . . . . . . . . . . . . . . . . . . 95 Golden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Grand Forks . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Invermere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Kamloops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Kelowna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Nanaimo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Nelson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Oliver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Penticton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Qualicum Bay/Beach . . . . . . . . . . . . . . . . . . . . . 96 Prince George. . . . . . . . . . . . . . . . . . . . . . . . . . 97 Salmon Arm . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Salt Spring Island . . . . . . . . . . . . . . . . . . . . . . . 97 Sechelt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Sidney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Silver Star Mountain . . . . . . . . . . . . . . . . . . . . . 97 Sooke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Terrace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Tofino. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Vancouver . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Vernon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Victoria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Whistler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 MANITOBA INDEX
Brandon . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Churchill . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Gimli. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Winnipeg . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Winnipeg Beach . . . . . . . . . . . . . . . . . . . . . . 107 SASKATCHEWAN INDEX
Assiniboia . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Estevan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Lumsden. . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Meacham . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Melville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Moose Jaw . . . . . . . . . . . . . . . . . . . . . . . . . . 107 North Battleford . . . . . . . . . . . . . . . . . . . . . . 107 Prince Albert . . . . . . . . . . . . . . . . . . . . . . . . . 107 Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Saskatoon. . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Swift Current . . . . . . . . . . . . . . . . . . . . . . . . 109 Yorkton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 NORTHERN TERRITORIES INDEX Dawson City. . . . . . . . . . . . . . . . . . . . . . . . . . 109 Inuvik . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Whitehorse . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Yellowknife. . . . . . . . . . . . . . . . . . . . . . . . . . . 109
ALBERTA GALLERIES BANFF Commercial Galleries ABOUT CANADA GALLERY 105 Banff Ave (PO Box 1507), Banff, AB T1L 1B4 T. 403-760-2996 F. 403-760-3075 Toll Free: 800-760-9872 firstname.lastname@example.org www.aboutcanada.ca About Canada recently extended its fine art gallery
84 Galleries West Fall/Winter 2007
area. Specializing in authentic Canadian art, sculpture, jewellery and giftware the extended gallery provides the opportunity to offer the stunning original works of local photographers Bruno Engler and Doug Leighton, the bold modern oil paintings of Mark Sharp and the captivating watercolours of Thep Thavonsouk. Daily 10 am - 9 pm. CANADA HOUSE GALLERY PO Box 1570, 201 Bear St, Banff, AB T1L 1B5 T. 403-762-3757 F. 403-762-8052 Toll Free: 800-419-1298 email@example.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 Canada’s 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 Banff Springs Hotel, 403 Spray Ave, Banff, AB T. 403-760-2382 Toll Free: 800-310-9726 firstname.lastname@example.org www.mountaingalleries.com New to Banff — Mountain Galleries was founded in 1992, a favourite stop for collectors of Canadian Art. Now with three locations and 5,000 square feet of exhibition space. The mission of the gallery is to support Western Canadian artists, both wellestablished and mid-career. This commercial gallery features a museum quality collection of painting, sculpture and other treasures. Daily 10 am - 10 pm. SUMMIT GALLERY OF FINE ART 120 Banff Ave, Banff, AB T1L 1E1 T. 403-762-4455 Toll Free: 888-358-4455 email@example.com www.summitfineart.com This welcoming, spacious gallery features the Canadian landscape through painting, photography and sculpture and offers a large selection of art jewellery, ceramics and hand-blown glass — all informed by nature. Large selection always available even during solo exhibitions. Private viewing room provided. Centrally located at 120 Banff Ave up the stairs. Daily 10 am - 9 pm. THE QUEST GALLERY 105 Banff Ave, Box 1046, Banff, AB T1L 1B1 T. 403-762-2722 F. 403-760-2782 firstname.lastname@example.org WILLOCK & SAX GALLERY Box 2469, 110 Bison Courtyard, 211 Bear St Banff, AB T1L 1C2 T. 403-762-2214 Toll Free: 866-859-2220 email@example.com www.willockandsaxgallery.com Recently relocated from Waterton Park, the Willock and Sax Gallery carries a diverse selection of Western Canadian historical and contemporary art, with a focus on fine Alberta artists — including original paintings, photography, prints and drawings, functional and fine art ceramics, sculpted/stained/handblown art glass, sculpture, jewellery and woodturning. Daily from 10 am. 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 firstname.lastname@example.org www.banffcentre.ca/wpg/ WHYTE MUSEUM OF THE CANADIAN ROCKIES PO Box 160, 111 Bear St, Banff, AB T1L 1A3 T. 403-762-2291 F. 403-762-8919 email@example.com 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 Banff’s heritage log homes and cabins; historic walking tours of the
Banff townsite; and exhibition tours of the galleries. Open daily, 10 am - 5 pm. BLACK DIAMOND Commercial Gallery TERRA COTTA GALLERY 110 Centre Ave, Box 689 Black Diamond, AB T0L 0H0 T. 403-933-5047 firstname.lastname@example.org www.terracottagallery.ca Begun as an outlet for their own ongoing work as potters, the ‘dudes’, Evonne and Robert Smulders have created a formidable gallery showing art in diverse media created primarily by artists living in southern Alberta. Wed to Sat 11 am - 5 pm, Sun noon - 4 pm or by appt. BLAIRMORE Public Gallery CROWSNEST PASS PUBLIC ART GALLERY 14733 20 Ave, Crowsnest Pass, AB T0K 0E0 T. 403-562-2218 F. 403-562-2218 www.telusplanet.net/public/cnpaaa/ Located on scenic Hwy 3 in Frank, the Crowsnest Pass Public Art Gallery features an eclectic selection of rotational exhibitions throughout the year. The Gallery Gift Store offers a wide range of fine arts and crafts created by local and area artists. Donations are accepted. Open Monday to Friday from 10 am to 4 pm, and weekends and holidays from 1 to 4 pm. BRAGG CREEK Commercial Galleries SUNCATCHER’S DESIGN STUDIO 4-Old West Mall, PO Box 840 Bragg Creek,, AB T0L 0K0 T. 403-265-6200 F. 403-278-6299 email@example.com www.suncatchersdesigns.com Recently relocated to Bragg Creek, SunCatcher’s has provided residential and commercial custom stained glass and sandcarved glass to the Calgary area since 1979. They are pleased to offer in-home consultation for custom work. The gallery features an ever-changing variety of leaded windows, vintage paintings, lithos, blown glass, raku, new and vintage jewellery, and various artists works. Tues to Sat 11 am - 6 pm, Sun and Mon noon - 5 pm.
NEW TOWN The long-time Waterton Park seasonal gallery, Willock & Sax has moved to a new year-round location at the Bison Courtyard (211 Bear St) in Banff. THE ALICAT GALLERY PO Box 463, Bragg Creek, AB T0L 0K0 T. 403-949-3777 F. 403-949-3777 firstname.lastname@example.org www.alicatgallery.com Located about 30 minutes west of Calgary, the gallery opened in 1987. It represents more than 100 local and Western Canadian artists and artisans working in oils, acrylics and watercolours. Native art, ceramics, carvings, sculpture and ironwork of the finest quality are also shown. Daily 11 am - 5:30 pm. CALGARY Artist-run Galleries EMMEDIA GALLERY & PRODUCTION SOCIETY 203-351 11 Ave SW, Calgary, AB T2R 0C7 T. 403-263-2833 F. 403-232-8372 email@example.com www.emmedia.ca EMMEDIA encourages and supports independent video, audio and digital media production and provides access to broadcast quality video and audio production and post-production facilities. The gallery promotes exploration and expression of per-
sonal, artistic, social, formal or technical issues and ideas with active programming and both theoretical and technical workshops and scholarship programs. Mon to Sat 9:30 am - 5:30 pm. STRIDE GALLERY 1004 Macleod Tr SE, Calgary, AB T2G 2M7 T. 403-262-8507 F. 403-269-5220 firstname.lastname@example.org www.stride.ab.ca A non-profit, artist-run centre exhibiting contemporary artwork. Provides an experimental venue for artists to develop their practices, in whatever medium they choose. The gallery is committed to ongoing excellence in exhibitions, lectures, special events and publications. Tues to Sat 11 am - 5 pm. THE NEW GALLERY Unit B27, 200 Barclay Parade SW, PO Box 22451, Bankers Hall RPO Calgary, AB T2P 5G7 T. 403-233-2399 F. 403-290-1714 email@example.com www.thenewgallery.org From its new location on the second level of Eau Claire Market, Calgary’s oldest artist-run centre is committed to providing a forum for a wide spectrum of critical discourse and multi-disciplinary practices within the contemporary visual arts. Tues to Sat 11 am - 5 pm. TRUCK 815 1 St SW, lower level, Calgary, AB T2P 1N3 T. 403-261-7702 F. 403-264-7737 firstname.lastname@example.org www.truck.ca/ A non-profit artist-run centre dedicated to promoting hybrid and emerging forms of contemporary art through the public presentation of work by regional, national and international artists. TRUCK contributes to the development and understanding of contemporary art within the Calgary community. Free admission. Tues to Sat 11 am - 5 pm. Commercial Galleries ART CENTRAL 100 7 Ave SW, Art Central, Calgary, AB T2P 0W4 T. 403-543-9900 email@example.com www.artcentral.ca This landmark building on the NW corner of 7th Ave and Centre St SW in downtown Calgary has been renovated to house artist studios, galleries, and ancillary retail businesses. Centrally located opposite Hyatt Regency Hotel, only one block from Stephen Avenue Walk. For more information or leasing inquiries visit website or call for Sandra Neil. ART MODE GALLERY 399 17 Ave SW, Calgary, AB T2S 0A5 T. 403-508-1511 F. 403-508-1510 Calgary@artmode.com www.artmode.com Located just minutes from the downtown core, this 3,000 square foot gallery is home to more than 50 Canadian artists and several internationallyrenowned artists. Many styles and media are represented including eastern and western Canadian landscapes. Also located in Edmonton and Ottawa. Open every day. ARTFIRM GALLERY 617 11 AVE SW, Lower Level, Calgary, AB T2R 0E1 T. 403-206-1344 F. 403-206-1399 firstname.lastname@example.org www.artfirm.ca Artfirm presents an expanding group of artists working in a full range of media including painting, sculpture, and innovative media. Artfirm is committed to the sale of exceptional, contemporary artwork by local, Canadian and international artists. Tues to Sat 10 am - 5 pm. ARTISTS OF THE WORLD 514 11 Ave SW, Calgary, AB T2R 0C8 T. 403-244-8123 F. 403-229-9687 email@example.com www.artistsoftheworld.com Calgary’s largest and most eclectic art destination, this beautifully-renovated 20,000 sq. ft. heritage building features a vast fine art display, memorabilia and rare custom and vintage motorcycles. The facility boasts a dance floor, theatre room and multiple plasma screens as well as being fully equipped
to host events for up to 800 people. Mon to Fri 10 am - 6 pm, Sat 11 am - 5 pm, Sun noon - 5 pm. ARTS ON ATLANTIC GALLERY 1331 9 Ave SE, Calgary, AB T2G 0T2 T. 403-264-6627 F. 403-264-6628 firstname.lastname@example.org www.artsonatlantic.com The gallery showcases an eclectic mix of fine Canadian art and craft. Five minutes from downtown, it is a warm, intimate space in historic Inglewood. Mediums include painting, copper, glass, jewelry, wood, specialty cards, photography and native leather and beading. The book arts and classes are a specialty. Wed to Fri 11 am - 5 pm, Sat 10 am - 5 pm, Sun noon - 5 pm and by appt. ARTSPACE GALLERY 1235 26 Ave SE, Crossroads Market, 2nd level Calgary, AB T2G 1R7 T. 403-269-4278 F. 403-291-0356 email@example.com www.artspace.ca Located in an historical building 5 minutes from downtown, the gallery showcases established and emerging Canadian artists with an ever-changing kaleidoscope of paintings, sculptures, prints and photography, as well as fine craft media such as glass, ceramics and metals. Fri 4 pm - 9 pm, Sat, Sun 10 am - 5 pm. AXIS CONTEMPORARY ART 107-100 7 Ave SW, Calgary, AB T2P 0W4 T. 403-262-3356 firstname.lastname@example.org www.axisart.ca Represents professional Canadian and International artists working in diverse media including painting, sculpture, printmaking, drawing and photography. The artists represent distinctive artistic practices in terms of their approach, technique and themes. The result: work that is compelling, fresh and engaging. Mon to Fri 10 am - 6 pm, First Thurs till 8 pm, Sat noon - 6 pm.
TRANSITIONS The loss of the Jean Fosbrooke Gallery to the wrecker’s ball taking down Penny Lane in Calgary was only temporary. Jean has found a new ‘home’ for many of her artists and herself, in association with Patti Dibski’s art consulting company, Gibson Fine Art. Their secondfloor space on 17th Avenue, next to Mount Royal Village, is now open to the public. COLLAGE 206-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-265-3330 www.artcentral.ca COTTAGE CRAFT 8330 Macleod Trail S, Calgary, AB T2H 2V2 T. 403-252-3797 F. 403-252-6002 email@example.com www.cottage-craft.com THE CROFT 2105 4 St SW, Calgary, AB T2S 1W8 T. 403-245-1212 F. 403-214-1409 firstname.lastname@example.org www.croftgallery.com DIANA PAUL GALLERIES 737 2 ST SW, Calgary, AB T2P 3J1 T. 403-262-9947 F. 403-262-9911 email@example.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. DOUGLAS UDELL GALLERY CALGARY 725 11 Ave SW Calgary, AB T2R 0E3 T. 403-264-4414 F. 403-264-4418 firstname.lastname@example.org
www.douglasudellgallery.com In the art business in Edmonton since 1967, and Vancouver since 1986, and now in Calgary, Douglas Udell Gallery represents many of Canada’s 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. FOURBYFIVE GALLERY OF PHOTOGRAPHY 14-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-263-1515 email@example.com www.fourbyfive.com Dedicated to the establishment of photography as a collectible art form, the gallery displays a collection of contemporary photography from several established local photographers. All photographs are processed to archival standards. The gallery’s mission is to participate in the education and understanding of the collection of photography as art. Mon to Fri 9 am - 5 pm, Sat 11 am - 4 pm. FRAMESWEST 1221 9 Ave SE, Calgary, AB T2G 0S9 T. 403-265-8338 firstname.lastname@example.org www.frameswest.com Long-known for their collector quality framing, the gallery has extended its ‘artful living’ theme at its location in Inglewood with paintings by Lisa, exclusive leather furniture by Selene, glass by Starfish Glassworks, pottery accessories by Jonathan Adler, leather rugs by Saas and resin works by Martha Sturdy. Mon to Sat 10 am - 5:30 pm. GAINSBOROUGH GALLERIES 441 5 Ave SW, Calgary, AB T2P 2V1 T. 403-262-3715 F. 403-262-3743 Toll Free: 866-425-5373 email@example.com www.gainsboroughgalleries.com Extensive collection of fine artists including Tinyan, Raftery, Wood, Desrosiers, Lyon, Hedrick, Min Ma, Simard, Brandel, Schlademan, Anderson, Cameron, Crump and Degenhart. Calgarys largest collection of bronze — by Stewart, Cheek, Lansing, Taylor, Danyluk and Weaver. Gemstone carvings by Lyle Sopel. Mon to Fri 10 am - 5:30 pm, Sat till 5 pm.
ART GALLERY OF CALGARY
August 31, 2007 – January 5, 2008
The Alberta Biennial Celebrates Alex Janvier Curated by Donna Wawzonek Opening Reception: Friday, September 7, 2007 In collaboration with the Art Gallery of Alberta and the Walter Phillips Gallery at The Banff Centre, AGC is pleased to showcase a series of paintings by Alex Janvier, one of Alberta’s most influential Aboriginal artists. Complementary to the theme of this year’s Alberta Biennial, Janvier’s work presents a unique approach to political concern through his signature style of curvilinear, gestural painting strokes, abstract imagery and biting political commentary.
www.artgallerycalgary.org Your gallery. Today’s art 117 – 8 Avenue S.W. P: 403.770.1350
GALLERY OF CANADIAN FOLK ART 2206A 4 St SW, Calgary, AB T2S 1W9 T. 403-229-1300 www.galleryofcanadianfolkart.com A surprising and unique gallery that exhibits and sells Canadian folk art: furniture, paintings, carvings, textiles, antiques and artifacts gathered from across the country. Presents “uncommon art of the common people.” Wed to Fri 11 am - 6 pm, Sat, Sun 11 am - 5 pm. GERRY THOMAS GALLERY 100-602 11 Ave SW - lower level Calgary, AB T2R 1J8 T. 403-265-1630 F. 403-265-1634 firstname.lastname@example.org www.gerrythomas.com This contemporary, New York-style gallery boasts an impressive 4600 sq ft of original art work ranging from glass sculpture to abstract oil paintings and photography. The gallery, which can accommodate events of up to 300 people, is anchored by a central art deco bar, three plasma screens and a sophisticated sound system. Wed to Sat 10 am - 6 pm. GIBSON FINE ART LTD 850 16 Ave SW, 2nd floor, Calgary, AB T2R 0S9 T. 403-244-2000 email@example.com www.gibsonfineart.ca Now showing the artists of Fosbrooke Fine Arts. 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. Thurs 11 am - 8 pm, Fri 11 am to 6 pm, Sat 11 am to 5 pm and by appointment. HARLEKIN GALLERIES 8330 Macleod Trail S, Calgary, AB T2H 2V2 T. 403-253-4046 firstname.lastname@example.org www.harlekingalleries.com An eclectic gallery bringing a fresh new look to the art scene in the southwest part of Calgary, Harlekin showcases original works of art by well-known and emerging artists in a friendly, relaxed atmosphere. Professional framing onsite. Located in Heritage Plaza at the corner of Macleod Tr and Heritage Dr. Mon to Fri 10 am - 5:30 pm, Sat 10 - 5 pm.
Barbara Amos, New Growth, 24" x 72", (4 panels), Oil on Canvas
Barbara Amos September 22 - October 6
Barbara Amos Wanda Rottenfusser October 20 - November 3
Wanda Rottenfusser Raymond Theriault & Ray Van Lune November 17 - December 1
Raymond Theriault & Ray Van Lune Kensington Fine Art Gallery LOCATED IN THE DESIGN DISTRICT
102, 628 - 11 Avenue SW Calgary Alberta T2R 0E2 403-228-2111 www.kensingtonfineart.com Fall/Winter 2007 Galleries West 85
NOTE: Some numbers on the Map may refer to more than one gallery in close proximity, or in the same direction by arrow. 1 2 2 2 2 2
Alliance Fran_aise Gallery Art Central Axis Contemporary Art Bracken Studio Gallery Collage Fourbyfive Gallery
2 2 2 2 2 2 2 3 4 5 6 7 8
INFLUX Jewellery Gallery Keystone Art Gallery Nova Scotian Crystal Quab Gallery Studio Todorovich Swirl Fine Art & Design Tyrrell Clarke Gallery Art Gallery of Calgary Art Mode Gallery artfirm Artists of the World artpoint Gallery Arts on Atlantic Gallery
HARRISON GALLERIES 709 A 11 Ave SW, Calgary, AB T2R 0E3 T. 403-229-4088 F. 403-920-0494 email@example.com www.harrisongalleries.com/ The gallery carries a select collection of traditional and contemporary artwork representing local, regional and internationally renowned artists. Tues to Thurs 11 am - 6 pm, Fri and Sat 11 am - 5 pm and by appointment. Other location in Vancouver. HERRINGER KISS GALLERY 101, 1111 - 11 Avenue S.W., Calgary, AB T2R 0G5 T. 403-228-4889 F. 403-228-4809 firstname.lastname@example.org www.herringerkissgallery.com The Herringer Kiss Gallery represents provocative and innovative artwork by emerging and mid-career Canadian artists. Artists include Harry Kiyooka, Bill Laing, Marjan Eggermont, Ken Webb, Reinhard Skoracki, David Burdeny, Charles Malinsky, Jeremy Herndl and Elizabeth Barnes. Tues to Fri 11 am 5:30 pm, Sat 11 am - 5 pm. INFLUX JEWELLERY GALLERY 201-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-266-7527 F. 403-266-7524 email@example.com www.influxgallery.com Specializing in Canadian contemporary art jewellery, INFLUX carries the work of over 40 artists. Find simple and understated objects to wear everyday — or extravagant, sculptural art pieces. Materials range from silver and gold to rubber and felt. Rotating
86 Galleries West Fall/Winter 2007
9 10 11 12 12 12 13 14 15 16 17 18 19
Artspace Gallery BRiC Gallery Centennial Gallery Cottage Craft Harlekin Galleries Leighton Art Centre The Croft Devo Art Gallery Diana Paul Galleries Douglas Udell Gallery EMMEDIA Gallery FramesWest Gainsborough Galleries
exhibitions. Openings and demonstrations from 5 pm -8 pm on First Thursdays. Mon - Fri 11 am - 6 pm, Sat 11 am - 5 pm. JOHN SCOTT GALLERY 111-908 17 Ave SW, Calgary, AB T2T 0A3 T. 403-244-9993 F. 403-244-9943 firstname.lastname@example.org www.johnscottgallery.ca Located in the historic Devenish Building on trendy 17th Ave SW, John Scott Gallery showcases a variety Canadian and international artists. They specialize in contemporary style art including landscapes, still life’s, abstract, and figurative. Tues to Fri 10 am - 5:30 am, Sat 11 am - 5 pm, and by appointment. KENSINGTON FINE ART GALLERY 102-628 11 Ave SW Calgary, AB T2R 0E2 T. 403-228-2111 F. 403-228-0640 email@example.com www.kensingtonfineart.com In Calgary since 1968, Kensington Fine Art Gallery features original 21st century Canadian art, including bronze and raku pieces, presented in a relaxed and friendly atmosphere. Recently relocated to 11th Ave SW between 5th St and 6th St. Tues to Sat 10 am - 5:30 pm. KEYSTONE ART GALLERY 207-100 7 Ave SW (Art Central) Calgary, AB T2P 0W4 T. 403-237-6637 firstname.lastname@example.org www.keystoneartgallery.com
20 Gallery of Canadian Folk Art 21 Glenbow Museum 22 Gerry Thomas Gallery 23 Gibson Fine Art 24 Harrison Galleries 25 Herringer Kiss Gallery 26 Illingworth Kerr Gallery 26 Marion Nicoll Gallery 26 Mezzanine Gallery 26 Peters Gallery 26 Ruberto Ostberg Gallery 26 The Nickle Arts Museum
27 28 29 30 31 32 33 34 35 36 37 38
John Scott Gallery Kensington Gallery Loch Gallery Masengo Gallery Masters Gallery Micah Gallery Museum of the Regiments Galleries Newzones Gallery Paul Kuhn Gallery Rowles & Company Ltd Rubaiyat Gallery Skew Gallery
The Keystone Gallery promotes art created by Canadian emerging to established artists with art in all media and a focus on regional artists. There are regularly scheduled solo, group and themed exhibitions. Custom framing and installation services, design and art consultation. Mon to Sat 10 am 5:30 pm and by appt.
RE-POSITIONING Calgary photographer Steve Speer, has re-positioned a portion of his FourByFive Gallery of Photography in Art Central, Calgary as a cooperative of several photographer colleagues showing their work on a rotating basis. LOCH GALLERY 1516 4 St SW, Calgary, AB T2R 1H5 Toll Free: 866-202-0888 email@example.com www.lochgallery.com Established in 1972 and recently opened in Calgary, 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
39 40 41 42 43 44 45
Stephen Lowe Art Gallery Stride Gallery The Collectors’ Gallery Tr_panierBaer Triangle Gallery Truck Virginia Christopher Fine Art 46 Wallace Galleries 47 Webster Galleries
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 - 6 pm. MASENGO GALLERY 1216a 9 Ave SE, Calgary, AB T2G 0T1 T. 403-262-8889 firstname.lastname@example.org www.masengogallery.com MASTERS GALLERY 2115 4 St SW, Calgary, AB T2S 1W8 T. 403-245-2064 F. 403-244-1636 email@example.com www.mastersgalleryltd.com Celebrating more than 30 years of quality Canadian historical and contemporary art. Tues to Sat 10 am - 5:30 pm. MICAH GALLERY 110 8 Ave SW, Stephen Ave Walk Calgary, AB T2P 1B3 T. 403-245-1340 F. 403-245-1575 firstname.lastname@example.org www.micahgallery.com The gallery specializes in unique First Nations art and jewellery from across North America. Featured artists include Ernie Whitford, local wood carver; Nancy Dawson, West Coast jeweller; Ernie Scoles, Cree painter; as well as a large selection of Navajo sandpaintings, Inuit soapstones and traditional and contemporary turquoise jewellery. Mon to Wed 10
am - 6 pm, Thur - Fri 9 am - 7 pm, Sat 10 am - 5:30 pm, Sun 11 am - 5 pm. Seasonal hours may be in effect, please call. NEWZONES 730 - 11 Ave SW, Calgary, AB T2R 0E4 T. 403-266-1972 F. 403-266-1987 email@example.com www.newzones.com/ Opened in 1992, Newzones represents leading names in contemporary Canadian art. The gallery has developed strong regional, national, and international followings for its artists. The focus has been a program of curated exhibitions, international art fairs and publishing projects. Services include consulting, collection building, installation and appraisals. Tues to Sat 10:30 am - 5:30 pm and by appointment. NOVA SCOTIAN CRYSTAL 112-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-237-8003 F. 403-237-8069 Toll Free: 888-977-2797 firstname.lastname@example.org www.novascotiancrystal.com At NovaScotian Crystal, traditional mouth-blown, hand-cut glassware is not so much a craft as a way of life. Running counter to a world-wide trend to mechanization, a small band of craftsmen took matters into their own skilled hands and in 1996 NovaScotian Crystal was born on the Halifax Waterfront — the only maker of handcrafted crystal in Canada. Drop by the new Calgary showroom to experience the beauty of handmade masterpieces. Mon to Sat 10 am - 6 pm. PAUL KUHN GALLERY 724 11 Ave SW, Calgary, AB T2R 0E4 T. 403-263-1162 F. 403-262-9426 email@example.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. QUAB GALLERY 212-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-261-2855 F. 403-261-4855 Scotty@quab.ca www.quab.ca An intriguing art gallery environment with edgy surroundings where the work of Canadian artists is exhibited in an atmosphere of unobtrusive intimacy. With a special Quebec/Alberta connection, Quab wants the viewer to delve into the mind of the artist and be transported into a world that has been created just for them. Mon to Fri 10 am - 6 pm, Sat noon - 6 pm, Sun by appt.
NEW GALLERY The John Scott Gallery recently opened in the Devenish Building on 17th Avenue in Calgary under the directorship of owner Scott Beitel. ROWLES & COMPANY LTD 311 6 Ave SW - Plus 15 Level Calgary, AB T2P 3H2 T. 403-290-1612 F. 403-290-1942 firstname.lastname@example.org www.rowles.ca Features over 100 western Canadian artists in original paintings, bronze, blown glass, metal, scrimshaw on moose antler, marble and soapstone. Specializing in corporate collections and gifts, the gallery offers consultation for special commissions, packaging and complete fulfillment for a wide variety of corporate projects. Mon to Fri 9 am - 5 pm. RUBAIYAT GALLERY 722 17 Ave SW, Calgary, AB T2S 0B7 T. 403-228-7192 email@example.com From its inception in 1973, Rubaiyat has been a purveyor of the finest quality handcrafts. Whether it be the sumptious color of an off-hand blown glass piece, the grain of exotic wood, or the brilliant combinations of precious metals and stones in its jewellery collection, their aim is to inspire the visitor and craftsman alike. Mon to Sat 10 am - 5:30 pm. RUBERTO OSTBERG GALLERY 2108 18 St NW, Calgary, AB T2M 3T3
T. 403-289-3388 firstname.lastname@example.org 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. Tues to Sat noon - 5 pm. SKEW GALLERY 1615 10 Ave SW, Calgary, AB T3C 0J7 T. 403-244-4445 email@example.com www.skewgallery.com A recently-opened contemporary art gallery, offering an opportunity for both the uninitiated and the seasoned collector to view or acquire a dynamic range of painting, sculpture and photography from across Canada. Specializing in theme group exhibitions, with a focus on presenting topical art in an informed context. Monthly rotation of shows. Tues to Sat 10 am - 5 pm and by appt. 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 firstname.lastname@example.org www.stephenloweartgallery.ca Specializing in fine art orginals by distinguished Canadian artists of national and international acclaim for over 25 years. Offers an excellent selection of outstanding paintings and sculptures in landscapes, florals, still life, and figurative in contemporary and traditional styles. Mon to Sat 10 am - 5 pm. SWIRL FINE ART & DESIGN 104-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-266-5337 email@example.com www.swirlfineart.com Tracy Proctor launched Swirl in June 2006, in order to promote other independent artists. The vibrant and diverse artwork draws art lovers from Calgary and further afield. Currently representing ten established and aspiring artists, all from Western Canada, the gallery showcases an abundance of talent with a broad range of styles. Consultations and commissions are available. Mon to Fri 10 am - 6 pm, Sat 11 am - 4 pm. THE COLLECTORS’ GALLERY OF ART 1332 9 Ave SE, Calgary, AB T2G 0T3 T. 403-245-8300 F. 403-245-8315 firstname.lastname@example.org www.collectorsgalleryofart.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.
THE PETERS GALLERY 1904 20 Ave NW, Calgary, AB T2M 1H5 T. 403-210-0078 F. 403-269-3475 email@example.com www.thepetersgallery.com Established in 1993, this eclectic gallery and framing studio represents important traditional and contemporary Canadian artists featuring quality original works of art — paintings, sculpture, glass and works on paper. They assist both first-time buyers and the seasoned collector to make informed choices for their personal or corporate collections. Mon - Fri 10 am - 5:30 pm, Thur till 6 pm, Sat 11 am - 4 pm. TRÈPANIERBAER 105, 999 8 St SW, Calgary, AB T2R 1J5 T. 403-244-2066 F. 403-244-2094 firstname.lastname@example.org 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. TYRRELL CLARKE GALLERY 213-100 - 7 Ave, Art Central Calgary, AB T2P 0W4 T. 403-245-4281 email@example.com www.tyrrellclarke.com VIRGINIA CHRISTOPHER FINE ART 816 11 Ave SW, Calgary, AB T2R 0E5
“Last Light”, Oil on Canvas, 12” x 40”
Also represented by: The Artym Gallery Invermere, BC White Rock Gallery White Rock, BC Adele Campbell Gallery Whistler, BC Tutt Art Galleries Kelowna, BC “Mountain Chickadee” Oil on Canvas 20” x 24”
Le Balcon d'art Saint Lambert, QC www.kissfineart.com (403) 229-0045 Fall/Winter 2007 Galleries West 87
T. 403-263-4346 firstname.lastname@example.org www.virginiachristopherfineart.com Established in 1980, the gallery has earned a national reputation among discerning collectors of contemporary Canadian art. Exhibitions change monthly, showcasing museum-calibre, original paintings, sculpture and ceramics by artists with well-established reputations. Representing the Estate of Luke O Lindoe (1913-1999). Gallery open Tues to Sat 11 am - 5:30 pm. The Vue Cafè serves lunch 11 am - 4 pm. Inquiries invited for private functions. WALLACE GALLERIES LTD 500 5 Ave SW, Calgary, AB T2P 3L5 T. 403-262-8050 F. 403-264-7112 email@example.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 Canada’s 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 firstname.lastname@example.org www.webstergalleries.com Since 1980, Webster Galleries Inc. has been a leading specialist in stone sculpture and offers a large collection of Inuit sculpture, oils, watercolours, bronzes, pencil works, ceramics and hand-pulled prints within 10,000 square feet of gallery space. Mon to Sat 10 am - 6 pm; Sun 1 pm - 4 pm. Cooperative Galleries ARTPOINT GALLERY AND STUDIOS 1139 - 11 St SE, Calgary, AB T2G 3G1 T. 403-265-6867 F. 403-265-6867 email@example.com www.artpoint.ca Housed just behind the CPR tracks in Ramsay, the gallery is home to over 40 artists and members of the artpoint society. In the Upstairs and Downstairs Galleries, members and invited art groups show their work in monthly changing exhibitions — from painting to sculpture; photography to textiles. Turn E from 8 St onto 11 Ave SE and follow gravel road. Thurs & Fri 1 pm - 5 pm, Sat 11 am to 5 pm, Sun 1 pm - 5 pm, or by appointment. BRIC GALLERY 227 35 Ave NE, Calgary, AB T2E 2K5 T. 403-520-0707 CENTENNIAL GALLERY 133-125 9 Ave SE, Calgary, AB T2G 0P6 T. 403-266-6783 firstname.lastname@example.org Public Galleries ALLIANCE FRANÇAISE GALLERY 1221 2 St SW, 2nd floor, Calgary, AB T2R 0W5 T. 403-245-5662 F. 403-244-3911 email@example.com www.afcalgary.ca/ Located in the heritage Memorial Park Building, the Alliance Française of Calgary offers a wide range of exhibitions in its new gallery. It promotes the visual arts and their multicultural aspects as an important expression of French civilization and also facilitates cultural activities offered in conjunction with French language classes. Mon to Fri 9:30 am - 1 pm, 2 pm - 5:30 pm; Sat 9:30 am - 1 pm.
Michael Foers, Untitled, 48” x 36”, acrylic o/c
by Michael Foers
Maya Eventov, Birches, 48” x 36”, acrylic o/c
October 19 – November 14 and featuring Maya Eventov
Suite 111, 908 - 17th Ave SW (Devenish Building)
Calgary, AB T2T 0A3 (403) 244-9993 www.johnscottgallery.ca
88 Galleries West Fall/Winter 2007
ART GALLERY OF CALGARY 117 - 8 Ave SW, Calgary, AB T2P 1B4 T. 403-770-1350 F. 403-264-8077 firstname.lastname@example.org www.artgallerycalgary.org The Art Gallery of Calgary is an interactive and dynamic forum for contemporary art exhibitions and activities that foster appreciation and understanding of visual culture. Tues to Sat 10 am - 6 pm, Sun noon - 4 pm. To 10 pm every first Thursday of the month. DEVO ART GALLERY 317 7 Ave SW, 4th Flr TD Square, Calgary, AB T. 403-221-4274 GLENBOW MUSEUM 130 - 9 Ave SE, Calgary, AB T2G 0P3 T. 403-268-4100 F. 403-262-4045 email@example.com www.glenbow.org/ The colourful history of Canada’s West comes alive at Western Canada’s largest museum. Discover the
diverse people, stories and events that shaped this region. Glimpse the world beyond Western Canada through special exhibitions and their own eclectic, international collections. Daily 9 am - 5 pm, Thur till 9 pm. Adult $12; Sen $9; Stu $8; under 6 free; family $37.50. Glenbow Shop open daily 10 am - 5:30 pm, Thur till 9 pm. ILLINGWORTH KERR GALLERY Alberta College of Art & Design, 1407 14 Ave NW Calgary, AB T2N 4R3 T. 403-284-7633 F. 403-289-6682 www.acad.ab.ca/ikg.html LEIGHTON ART CENTRE Box 9, Site 31, R.R. 8, By Millarville, 16 km south of Calgary off Hwy 22 west Calgary, Alberta T2J 2T9 T. 403-931-3633 F. 403-931-3673 firstname.lastname@example.org www.leightoncentre.org Situated on 80 acres of rolling foothills 15 minutes southwest of Calgary, the former home of landscape painter A.C. Leighton represents 50 years in Canadian landscape painting. Changing exhibitions and sales — workshops on painting techniques for various skill levels from beginners to accomplished artists. Located south on Macleod Tr to Spruce Meadows Tr west to 37 St (Hwy 773) and south (then west and south) to 266 Ave W (bottom of big hill, west and south on winding road) to Leighton Centre. Museum entrance 50 yds south of Centre. Tues to Sat 10 am - 4 pm. MARION NICOLL GALLERY Alberta College of Art & Design, 1407 14 Ave NW Calgary, AB T2N 4R3 T. 403-284-7625 F. 403-289-6682 email@example.com www.acad.ab.ca/galleries/mng/gate.cfm MEZZANINE GALLERY 2500 University Drive NW, Calgary, AB T2N 1T1 T. 403-220-4913 mezzanine.ffa.ucalgary.ca MUSEUM OF THE REGIMENTS GALLERIES 4520 Crowchild Tr SW, Calgary, AB T3E 1T8 T. 403-240-9723 F. 403-686-1280 www.museumoftheregiments.ca Experience the sites and sounds of Canada’s military history through five permanent and one changing exhibition gallery, from the time when the North West Mounted Police arrived in Alberta through a journey with the men and women of the Canadian Forces spanning the globe. Bookstore and Library. Mon to Thurs 9:30 am - 9 pm, Fri to Sun 9:30 am - 4 pm. THE NICKLE ARTS MUSEUM University of Calgary, 434 Collegiate Bd NW Calgary, AB T2N 1N4 T. 403-220-7234 F. 403-282-4742 firstname.lastname@example.org www.ucalgary.ca/~nickle A broadly focused public gallery that is an integral part of the University of Calgary. 18 to 24 exhibitions per year focus on contemporary western Canadian art and on numismatics, reflecting the museum’s two major collections. Mon to Fri 10 am - 5 pm, Thur to 9 pm, Sat 1 pm - 5 pm (May through Aug, Mon to Fri 10 am - 5 pm only). TRIANGLE GALLERY OF VISUAL ART 104-800 Macleod Tr SE, Calgary, AB T2G 2M3 T. 403-262-1737 F. 403-262-1764 email@example.com www.trianglegallery.com Dedicated to the presentation of contemporary Canadian visual arts, architecture and design within a context of international art, the gallery is engaged in the advancement of knowledge and understanding of contemporary art practices through a balanced program of visual art exhibitions to the public of Calgary and visitors. Admission fee: Adults $2.00; Senior/Students - $1.00; Family - $5.00; Members of the Triangle Gallery - Free. Annual Membership - $25.00. Free admission on Thursdays. Tues to Fri 11 am - 5 pm, Sat noon - 4 pm. CAMROSE Commercial Gallery CANDLER ART GALLERY 5002 50 St, Camrose, AB T4V 1R2 T. 780-672-8401 F. 780-679-4121 Toll Free: 888-672-8401 firstname.lastname@example.org 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.
works by 25 central Alberta artists. The approachable and welcoming atmosphere is ideal for browsing and buying. Full custom framing services available. Mon to Fri 10 am - 5:30 pm, Sat 10 am - 4 pm.
Celebrating Visual Culture
DONALDA CANMORE Public Gallery DONALDA GALLERY FOR THE ARTS 5002 Main St, Donalda, AB T0B 1H0 T. 403-883-2255 www.donaldagallery.com A crossroads for art creators and art appreciators, the gallery is located in the historic Imperial Bank of Canada building with a commanding view of the Meeting Creek valley. Features a permanent exhibition of ceramics, water colours and oil paintings by native son, Luke Lindoe along with changing exhibitions by professional, emerging and beginning artists from the area. Just north of Stettler at Hwy 53. Open May through October.
Big Roan, pastel, Susanne Loutas
Commercial Galleries ELEVATION GALLERY 100-729 Main St, Canmore, AB T1W 2B2 T. 403-609-3324 email@example.com www.elevationgallery.ca With new street-front location housing the works of more than 20 visual artists, the Elevation Gallery exhibits a constantly changing array of painting, jewellery, printmaking, sculpture, drawing, ceramic and glass. Artists range from emerging to established, all working with some elements of contemporary style. Daily 10 am - 6 pm. (Closed Mon in shoulder seasons.)
DRUMHELLER THE AVENS GALLERY 104-709 Main St, Canmore, AB T1W 2B2 T. 403-678-4471 firstname.lastname@example.org www.theavensgallery.com Established in 1980, the Avens Gallery features original work by local and regional senior artists: Alice Saltiel, Zelda Nelson, Elizabeth Wiltzen, Tony Bloom, Thep Thavonsouk. Changing displays highlight a variety of paintings and photographs as well as fine craft and sculpture in glass, clay, wood, metal and bronze. Website updated daily. Open daily 10:30 - 5:30, extended hours in summer. THE CORNER GALLERY 705 Main St, Box 8110, Canmore, AB T1W 2T8 T. 403-678-6090 Toll Free: 800-649-7948 www.cornergallery.com Original works by Canadian artists — Elaine Fleming, Mike Svob, Tinyan, Min Ma and Vilem Zach. Paintings, pottery, bronze, soapstone, jade, photography and raku. Phone for hours. Public Gallery CANMORE LIBRARY GALLERY 950 8 Ave, Canmore, AB T1W 2T1 email@example.com www.caag.ca COCHRANE
STUDIO WEST BRONZE FOUNDRY & ART GALLERY PO Box 550, 205 - 2 Ave SE, Industrial Park Cochrane, AB T4C 1A7 T. 403-932-2611 F. 403-932-2705 Original bronze works both finished and in progress at Canada’s largest sculpture foundry. Free tours of the lost-wax methods of bronze casting. Also paintings, western prints, Pioneer Women’s Museum, artifacts and more. Mon to Fri 9 am - 5 pm, evenings by appointment and call (403) 932-2611 for weekend hours. In Cochrane, 15 min from Calgary on Hwy 1A. WESTLANDS ART GALLERY 118 - 2 Ave W, Cochrane, AB T4C 1B2 T. 403-932-3030 F. 403-932-7810 firstname.lastname@example.org www.westlandsart.com DIDSBURY Commercial Gallery GILDED GALLERY 106-2034 19 Ave (Box 2004) Didsbury, AB T0M 0W0 T. 403-335-8735 F. 403-335-8736 email@example.com www.gildedgallery.com Specializing in original works by emerging artists of Central Alberta, the gallery shows more than 120
19 Perron Street St. Albert AB T8N 1E5 P: 780.460.4310 • F: 780.460.9537 E: firstname.lastname@example.org www.artsheritage.ca
ON EARTH Nov 1 to Dec 1, 2007 Works by Susanne Loutas and Judy Schafers
EDMONTON AND AREA Artist-run Galleries HARCOURT HOUSE GALLERY 10215 112 St - 3rd Flr, Edmonton, AB T5K 1M7 T. 780-426-4180 F. 780-425-5523 email@example.com 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 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. LATITUDE 53 10248 106 St, Edmonton, AB T5J 1H5 T. 780-423-5353 F. 780-424-9117 firstname.lastname@example.org www.latitude53.org Founded in 1973 by a collective of Edmonton artists, Latitude 53 supports the research and development of new artistic practices and concepts, and encourages experimentation by artists through diverse programming. Tues to Fri 10 am - 6 pm, Sat Noon - 5 pm.
Intimate setting also available for small functions
the VAAA Gallery presents . . .
Gary Langman & Judith Martin
NEW GALLERY Well-known Alberta photographer Gerry Thomas is taking his work public, along with that of other artists, in new, self-named galleries on 11th Avenue in Calgary, a seasonal off-shoot in Waterton Park, and a space in the 7th Street lofts adjacent to Kohon Designs Inc in Edmonton, which has also moved into the fine arts field. SNAP GALLERY 10309 97 St, Edmonton, AB T5J 0M7 T. 780-423-1492 F. 780-424-9117 email@example.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. Commercial Galleries AGNES BUGERA GALLERY 12310 Jasper Ave, Edmonton, AB T5N 3K5 T. 780-482-2854 F. 780-482-2591 firstname.lastname@example.org www.agnesbugeragallery.com Agnes Bugera has been in the art gallery business since 1975, and is pleased to continue representing
landscape paintings by
Detail, Path Less Travelled, Gary Langman
Commercial Galleries RUSTICA ART GALLERY #4-123 2 Ave West, PO Box 1267, Rustic Market Square, Cochrane, AB T4C 1B3 T. 403-851-5181 Toll Free: 866-915-5181 email@example.com www.rusticagallery.com Housed in a rustic log building in downtown Cochrane, this warm and inviting gallery specializes in fine art original paintings and sculpture by local and Western Canadian artists notably the Western Lights Group (Murray Phillips, Roger D. Arndt, Jonn Einerssen, Brent Heighton and Vance Theoret). Local artists include Rick Berg, Lisa Wirth, Ann Perodeau, Shannon Luyendyk and Lorri PullmanMacDonald. Tues to Sat 10 am - 5:30 pm.
Commercial Galleries MELTING POT GALLERY 196 1 St W, Drumheller, AB T0J 0Y4 T. 403-823-2483 F. 403-272-0222 firstname.lastname@example.org www.meltingpotgallery.ca
Profiles Public Art Gallery
october 4 - november 3, 2007 VAAA Gallery 3rd flr, 10215 - 112 Street Edmonton, AB T5K 1M7 1.780.421.1731 toll free 1.866.421.1731 email@example.com Located in Harcourt House Arts Centre
Featuring Parkland Prairie Artists 5002 - 50 Street Camrose, AB T4V 1R2 1-888-672-8401 www.candlerartgallery.com firstname.lastname@example.org "Tulips" by Joyce Kamikura Mixed Media on Canvas
Art Supplies, Complete Framing Department, Prints, Posters, Gifts
Fall/Winter 2007 Galleries West 89
NOTE: Some numbers on the Map may refer to more than one gallery in close proximity, or in the same direction by arrow.
1 Agnes Bugera Gallery 2 Alberta Craft Council Gallery 3 Art Beat Gallery 3 Profiles Gallery 3 Studio Gallery 4 Art Gallery of Alberta 5 Bearclaw Gallery
an excellent group of established and emerging Canadian artists. Spring and Fall exhibitions offer a rich variety of quality fine art including landscape, still life, and abstract paintings as well as sculpture and photography. New works by gallery artists are featured throughout the year. Tues to Sat 10 am - 5 pm and by appointment. ART BEAT GALLERY 26 St Anne St, St Albert, AB T8N 1E9 T. 780-459-3679 F. 780-459-3677 email@example.com www.artbeat.ab.ca Located in the Arts and Heritage District of St. Albert, this family-owned business specializes in original artwork by Western Canadian artists. Paintings in all media, sculpture, pottery, and art glass. Home and corporate consulting. Certified picture framer. Part of St. Albert Artwalk - May through August. Tues to Fri 10 am - 6 pm, Thur to 8 pm, Sat 10 am - 5 pm. BEARCLAW GALLERY 10403 124 St, Edmonton, AB T5N 3Z5 T. 780-482-1204 F. 780-488-0928 firstname.lastname@example.org 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 and David Morrisseau. A wide variety of paintings, jade and Inuit soapstone carvings, and Navajo and Northwest coast jewellery. Mon 11 am - 5 pm, Tues to Sat 10 am - 5:30 pm.
90 Galleries West Fall/Winter 2007
5 Scott Gallery 6 Centre d’Arts Visuels d’Alberta 6 Johnson Gallery South Side 6 Picture This Gallery 7 Christl Bergstrom’s Red Gallery 8 Douglas Udell Gallery
CHRISTL BERGSTROM’S RED GALLERY 9621 Whyte (82) Ave , Edmonton, AB T6C 0Z9 T. 780-439-8210 F. 780-435-0429 email@example.com www.christlbergstrom.com This storefront gallery and studio, in the Mill Creek area of Old Strathcona, features the work of Edmonton artist Christl Bergstrom, both recent and past work including still lifes, portraits, nudes and landscapes. Mon to Fri 11 am - 5 pm, Sat by appt. DOUGLAS UDELL GALLERY 10332 124 St, Edmonton, AB T5N 1R2 T. 780-488-4445 F. 780-488-8335 firstname.lastname@example.org www.douglasudellgallery.com In the art business in Edmonton since 1967, and Vancouver since 1986, and now in Calgary, Douglas Udell Gallery represents many of Canada’s 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. FRINGE GALLERY 10516 Whyte Ave - lower Edmonton, AB T6E 2A4 T. 780-432-0240 F. 780-439-5447 FRONT GALLERY 12312 Jasper Ave, Edmonton, AB T5N 3K5 T. 780-488-2952 F. 780-488-2952 email@example.com Located in Edmonton’s gallery walk district. Since
9 10 10 11 12 13 13 14
Electrum Design Extension Centre Gallery Fab Gallery Fringe Gallery Front Gallery Gerry Thomas Gallery Kohon Design Inc Harcourt House Gallery
14 15 16 17 17 17 18 19
VAAA Gallery Lando Gallery Latitude 53 Little Church Gallery Multicultural Gallery Pro’s Art Gallery Peter Robertson Gallery Rowles & Company Ltd
opening in 1979 the gallery has specialized in exhibiting fine art and craft by Alberta artists, with exhibitions changing every three weeks. Tues to Sat 10 am - 5 pm. GALLERY DE JONGE 27022A Highway 16A Spruce Grove, AB T7X 3M1 T. 780-962-9505 firstname.lastname@example.org www.gallerydejonge.com GERRY THOMAS GALLERY 139-10309 107 St, Edmonton, AB T5J 1K3 T. 780-232-7497 email@example.com www.gerrythomas.com Located in the 7th Street Lofts in the heart of downtown Edmonton, this unique industrial-style gallery shows a wide variety of original artwork from international artists and some of Western Canada’s most impressive artists. Featuring one-of-a-kind glass work, sculpture, paintings and photography. Wed to Sat 10 am - 6 pm. JOHNSON GALLERY SOUTH SIDE 7711 85 Street, Edmonton, Alberta T6C 3B4 T. 780-465-6171 firstname.lastname@example.org www.johnsongallery.ca KOHON DESIGNS INC 143-10309 107 St, Edmonton, AB T5J 1K3 T. 780-428-6230 F. 780-428-6249 email@example.com www.kohon.ca Kohon Designs, situated in the heart of downtown
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Royal Alberta Museum SNAP Gallery The Works Gallery TU Gallery West End Gallery
Edmonton, offers signature style and quality in custom furniture design, original artwork, photography, glassware and sculpture. The European look and complementary cappuccino bar create a pleasant environment. Their professional consultation services include leasing options for corporate and business collections. Mon to Fri 9:30 am - 5 pm, Sat 10 am - 4 pm. LANDO GALLERY 11130 - 105 Ave NW, Edmonton, AB T5H 0L5 T. 780-990-1161 firstname.lastname@example.org www.landogallery.com Edmonton’s largest commercial art gallery in the centre of Edmonton was established as Lando Fine Art in 1990 by private art dealer Brent Luebke. It continues to provide superior quality Canadian and international fine art, fine crafts, custom framing, art leasing, appraisals and collection management. The gallery also buys and sells Canadian and international secondary market fine art. Mon to Fri 10 am - 5:30 pm, Sat 10 am - 4:30 pm, or by appt. PETER ROBERTSON GALLERY 10183 112 St, Edmonton, AB T5K 1M1 T. 780-452-0286 F. 780-451-1615 email@example.com www.probertsongallery.com The former Vanderleelie Gallery boasts one of Edmonton’s most elegant contemporary art spaces. Established in 1992, the gallery represents artists at various stages of their professional development and working in a variety of media. Under the ownership and direction of Peter Robertson, the gallery mounts 15 exhibitions each year. Tues to Sat 10 am - 5:30 pm.
Shirley CordesRogozinsky Imposed Restriction
Shirley Elias Piano Forte
26 St. Anne Street St. Albert, AB (780) 459-3679 www.artbeat.ab.ca
Fine Art & Professional Custom Framing
SHOWING THIS FALL
Alberta Highway 53 The Artist’s Journey Exhibiting the works of: Margreet Beekman, Sandra Bingeman, Cindy Brown, Colleen McGinnis, Dee Poisson and Sonja Zacharias
Carl Beam - Sep 29 to Oct 11 Alex Janvier - Oct 20 to Nov 1 Maxine Noel - Nov 3 to Nov 15 Aaron Paquette - Nov 24 to Dec 6
Syncrude Raven, watercolour on paper by Alex Janvier
Artists will be in attendance at official show openings. Aug 27 - Sept 8, 2007 Allied Arts Council of Spruce Grove Spruce Grove Art Gallery 35 - 5th Ave, Spruce Grove, AB 780-962-0664 Official Opening: Sept 1, 1-4 pm Sept 14 - 30, 2007 The Gallery on Main Second Level, 4910 - 50th Ave. Lacombe, AB • 403-782-3402 Official Show Opening: Sept 14, 7-10 pm Oct 10 - 23, 2007 Beatty Heritage House 5014 - 51 St., Rimbey, AB Official Show Opening: Oct 13, 12-5 pm Contact: Dee Poisson (403) 335-8389 or firstname.lastname@example.org for further information. M&J
The Gallery on Main LACOMBE
Bearclaw Gallery 10403-124 St. Edmonton, Alberta T5N 3Z5
TEL: 1+(780) 482-1204 email@example.com www.bearclawgallery.com
Fall/Winter 2007 Galleries West 91
PICTURE THIS! 959 Ordze Road, Sherwood Park, AB T8A 4L7 T. 780-467-3038 F. 780-464-1493 Toll Free: 800-528-4278 firstname.lastname@example.org 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. PRO’S ART GALLERY & FRAMING 101-10604 178 St, Edmonton, AB T5E 2S3 T. 780-486-6661 email@example.com www.prosartschool.com Pro’s Art specializes in original oils and giclèes from both established & emerging artists. Landscapes, still lifes, figurative works and florals are all well represented. They also offer professional art instruction and fine art framing. Mon to Sat 10 am - 4 pm, Tues and Thurs till 7 pm. ROWLES & COMPANY LTD 10130 103 St, Mezz Level Edmonton, AB T5J 3N9 T. 780-426-4035 F. 780-429-2787 firstname.lastname@example.org www.rowles.ca Features over 100 western Canadian artists in original paintings, bronze, blown glass, metal, scrimshaw on moose antler, marble and soapstone. Specializing in corporate collections and gifts, the gallery offers consultation for special commissions, packaging and complete fulfillment for a wide variety of corporate projects. Second location in Calgary. Mon to Fri 9 am - 5 pm, Sat noon - 5 pm. SCOTT GALLERY 10411 124 St, Edmonton, AB T5N 3Z5 T. 780-488-3619 F. 780-488-4826 email@example.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 hand
92 Galleries West Fall/Winter 2007
pulled prints and photography, ceramics and sculpture. Tues to Sat 10 am -5 pm. TU GALLERY 10718-124 St., Edmonton, AB T5M 0H1 T. 780-452-9664 firstname.lastname@example.org www.tugallery.ca WEST END GALLERY 12308 Jasper Ave, Edmonton, AB T5N 3K5 T. 780-488-4892 F. 780-488-4893 email@example.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. Tues to Sat 10 am - 5 pm. Cooperative Galleries SPRUCE GROVE ART GALLERY Melcor Cultural Centre, 420 King St, PO Box 3511 Spruce Grove, AB T7X 3A8 T. 780-962-0664 F. 780-962-0664 firstname.lastname@example.org www.alliedartscouncil.ca Administered by the Allied Arts Council of Spruce Grove, the gallery is located in a new building along with the Spruce Grove Library. It shows original works by members of the AAC with a new featured artist every 3 weeks. They host several members’ shows each year, as well as an Alberta-wide Seniors & Open Art Competition. They sponsor ongoing classes for adults and children. Mon to Sat 10 am 8 pm. THE STUDIO GALLERY 11 Perron St, St Albert, AB T8N 1E3 T. 780-460-5993 F. 780-458-7871 email@example.com Public Galleries ALBERTA CRAFT COUNCIL GALLERY 10186-106 St, Edmonton, AB T5J 1H4 T. 780-488-5900 F. 780-488-8855 firstname.lastname@example.org www.albertacraft.ab.ca Alberta’s 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; closed Sun. ART GALLERY OF ALBERTA 100-10230 Jasper Ave, Enterprise Sq (former Hudson’s Bay building) Edmonton, AB T5J 4P6 T. 780-422-6223 F. 780-426-3105 email@example.com www.artgalleryalberta.com Founded in 1924, the gallery is the only museum in Alberta strictly devoted to the exhibition and preservation of art and visual culture. In conjunction with a full and varied exhibition schedule, the gallery provides lectures, talks and seminars on art and artrelated issues. Temporary location during expansion and renovation. Mon to Fri 10:30 am - 5 pm, Thurs until 8 pm (free admission 4 pm - 8 pm), Sat & Sun 11 am - 5 pm. CENTRE D’ARTS VISUELS D’ALBERTA 9103 95 Ave, Edmonton, AB T6C 1Z4 T. 780-461-3427 F. 780-461-4053 firstname.lastname@example.org www.savacava.com EXTENSION CENTRE GALLERY 8303 112 St, 2nd Flr, University Extension Centre Edmonton, AB T6G 2T4 T. 780-492-0166 email@example.com www.extension.ualberta.ca/liberalstudies/finearts_gallery.aspx FAB GALLERY 3-98 Fine Arts Building, University of Alberta Edmonton, AB T6G 2C9 T. 780-492-2081 firstname.lastname@example.org www.ualberta.ca/ARTDESIGN/html/fab/index. html MCMULLEN GALLERY University of Alberta Hospital, 8440 112 St Edmonton, AB T6G 2B7 T. 780-407-7152 F. 780-407-7472 email@example.com www.capitalhealth.ca/mcmullen
MULTICULTURAL PUBLIC ART GALLERY 5411 51 St, Stony Plain, AB T7Z 1X7 T. 780-963-2777 F. 780-963-0233 PROFILES PUBLIC ART GALLERY, ARTS & HERITAGE FOUNDATION 19 Perron St, St Albert, AB T8N 1E5 T. 780-460-4310 F. 780-460-9537 firstname.lastname@example.org Located in the historic Banque d’Hochelaga in St. Albert, the gallery features contemporary art, usually by Alberta artists, who show their painting, sulpture, 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. ROYAL ALBERTA MUSEUM 12845 102 Ave, Edmonton, AB T5N 0M6 T. 780-453-9100 F. 780-454-6629 www.royalalbertamuseum.ca THE WORKS GALLERY 200-10225 100 Ave, Edmonton, AB T5J 0A1 T. 780-426-2122 F. 780-426-4673 email@example.com www.theworks.ab.ca VAAA GALLERY 10215 112 St, 3rd Flr, Edmonton, AB T5N 1M7 T. 780-421-1731 F. 780-421-1857 Toll Free: 866-421-1731 firstname.lastname@example.org www.visualartsalberta.ab.ca Visual Arts Alberta Association is a non-profit Provincial Arts Service Organization (PASO) for the visual arts which celebrates, supports and develops Alberta’s visual culture. The gallery hosts an ongoing exhibition schedule. Mon to Fri 10 am - 4 pm. FORT MACLEOD Commercial Gallery PRAIRIE WINDS GALLERY 210 Col Macleod Blvd, PO Box 1539 Fort Macleod, AB T0L 0Z0 T. 403-553-3020 email@example.com www.lindastewart.ca Located at 210 Col Macleod Blvd (Main Street) in historic Fort Macleod, the gallery features paintings,
photography, giclèes, ceramics and hand-crafted leather products by Western Canadian artists. Also featured are bronze sculptures by well-known Alberta sculptor Linda Stewart. Mon to Sat 10 am - 5 pm. FORT MCMURRAY Commercial Gallery ARTWORKS GALLERY 9917 Biggs Ave, Fort McMurray, AB T9H 1S2 T. 780-743-2887 F. 780-743-2330 firstname.lastname@example.org www.artworksgallery.ca Showcases paintings, bronze sculptures, glass, photography, jewellery, funky furniture, and other multimedia works. Also features Northern arts such as soapstone and wood carvings, caribou hair tuftings and birchbark bitings. Changing group exhibitions feature new works by gallery artists, including paintings by Alex Janvier, Frederick R. McDonald and Carol Breen, sculptures by Brian Clark, and various works by other Western Canadian artists. Mon to Sat 9:30 am - 6 pm, Fri till 8 pm, or by appt. Public Gallery KEYANO ART GALLERY 8115 Franklin Ave, Fort McMurray, AB T9H 2H7 T. 780-791-8979 GRANDE PRAIRIE Public Gallery PRAIRIE ART GALLERY 103-9856 97 Ave, Grande Prairie, AB T8V 7K2 T. 780-532-8111 F. 780-539-9522 email@example.com www.prairiegallery.com The largest public gallery serving NW Alberta and NE British Columbia. In March 2007, gallery services were interrupted by the collapse of its facility, a provincial historic resource. Innovative exhibitions and programs will transcend the gallery’s current limitations at its interim location until a new facility opens in 2009. Mon to Fri 10 am - 4 pm.
firstname.lastname@example.org www.thegalleryonmain.com Located just off Hwy. 2 in the heart of Historic Downtown Lacombe, this gallery boasts the largest selection of original art in central Alberta. Representing over 60 Alberta artists, the gallery’s selection covers a wide variety of media. Mon to Sat 10 am - 5:30 pm. Winter Hours: Tues to Sat noon 5 pm. LETHBRIDGE Commercial Galleries COULEE RIDGE ART GALLERY Lethbridge Centre Mall, 217-200 4 Ave S Lethbridge, AB T1J 4C9 T. 403-380-2210 F. 403-380-2219 email@example.com www.couleeridge.com JERRY ARNOLD GALLERY 604 3 Ave S Lethbridge, AB T1J 0H4 T. 403-320-2341 www.jerryarnoldgallery.com THE MILLER GALLERY 407A 5 St S Lethbridge, AB T1J 2B6 T. 403-329-1050 firstname.lastname@example.org www.themillergallery.ca TRIANON GALLERY 104 5 St S - Upstairs Lethbridge, AB T1J 2B2 T. 403-380-2787 F. 403-329-1654 Toll Free: 866-380-2787 email@example.com www.savillarchitecture.com Cooperative Galleries GALLERY POTEMKIN 316 5 St S, Lethbridge, AB T1J 2B5 firstname.lastname@example.org
HIGH RIVER Commercial Galleries ART AND SOUL STUDIO/GALLERY 124 6 Ave SW, High River, AB T1V 1A1 T. 403-601-3713 email@example.com www.artandsoul.ab.ca This studio/gallery is the creative space of artist/owner Annie Froese. The gallery features original work in a variety of mediums created by Alberta artists, most of whom live within an hour of High River. Oils, acrylics, watercolours, mixed media, glass, ceramics and more are displayed in this 1917 arts and crafts home. An opportunity to indulge the senses. About 1/2 hr south of Calgary. Fri, Sat 11 am - 5 pm, Sun 1 pm - 5 pm. TWO FEATHERS GALLERY 153 Macleod Tr, PO Box 5457 High River, AB T1V 1M6 T. 403-652-1024 F. 403-652-1026 firstname.lastname@example.org www.rbarstad.com JASPER Commercial Gallery MOUNTAIN GALLERIES AT THE FAIRMONT The Gallery at Jasper Park Lodge, #1 Old Lodge Rd Jasper, AB T0E 1E0 T. 780-852-5378 F. 780-852-7292 Toll Free: 888-310-9726 email@example.com www.mountaingalleries.com Mountain Galleries was founded in 1992, a favourite stop for collectors of Canadian art. Now with three locations and 5,000 square feet of exhibition space. The mission of the gallery is to support Western Canadian artists, both well-established and mid-career. This commercial gallery features a museum quality collection of painting, sculpture and other treasures. Daily 8 am - 10 pm. KANANASKIS COUNTRY Commercial Gallery THE MOUNTAIN GALLERY PO Box 128, Delta Kananaskis Lodge Kananaskis, AB T0L 2H0 T. 403-591-7610 LACOMBE Commercial Gallery THE GALLERY ON MAIN 4910 50 Ave, 2nd Flr, Lacombe, AB T4L 1Y1 T. 403-782-3402 F. 403-782-3405
RETIREMENT Linked with the Southern Alberta Gallery of Art in various roles since 1979 and Curator since 1985, Joan Stebbin will retire from the gallery at the end of 2007.
Gallery at PICTURE THIS! Representing the fine art of local and international artists.
Public Galleries BOWMAN ARTS CENTRE 811 5 Ave S, Lethbridge, AB T1J 0V2 T. 403-327-2813 F. 403-327-6118 firstname.lastname@example.org members.shaw.ca/aacbac GALT MUSEUM 502 1 St S ( 5 Ave S & Scenic Dr), Lethbridge, AB T. 403-320-3898 F. 403-329-4958 email@example.com www.galtmuseum.com The Galt Museum & Archives engages and educates the public in the unique human history of southwestern Alberta by preserving and presenting, with passion and innovation, their two and three dimensional collections, stories and memories. May 15 to Sep 15, daily 10 am - 6 pm; Sep 16 - May 14, daily 10 am - 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 firstname.lastname@example.org www.saag.ca One of Canada’s 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 email@example.com www.uleth.ca/artgallery The main gallery maintains a collection of more than 13,000 works, organizes on-campus and touring exhibitions, and provides access to the collec-
The Western Lights Artists Group show end of October. Visit picturethisgallery.com for info on this show and other events.
Tip of the Trees by Yuan Cheng Bi original - acrylic
www.PictureThisGallery.com 959 Ordze Road, Sherwood Park, AB, Canada, T8A 4L7 SINCE 1981 (780)467.3038 At the Gateway to Sh. Park on Wye Rd toll free 1.800.528.4278
KIM PENNER Kim Penner, New Release Sweet Sixteen Limited Edition Giclée Prints 12" x 48"
See us at: Calgary •Spruce Meadows - MASTERS - CHRISTMAS MARKET •Roundup Centre - FESTIVAL OF CRAFTS Edmonton • Canadian Finals Rodeo
Fall/Winter 2007 Galleries West 93
NATIVE ARTS Jewellery â€˘ Carvings Original Art & Prints
tion as part of the Faculty of Fine Arts. The collection was founded with the goal of providing students with the experience of original works of art on their own terms. Students and faculty are able to view individual works on request. 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. MEDICINE HAT Commercial Gallery FRAMING AND ART CENTRE 628 2 St SE, Medicine Hat, AB T1A 0C9 T. 403-527-2600 F. 403-529-9109 firstname.lastname@example.org
250-717-8235 115-1295 Cannery Lane Kelowna, BC V1Y 9V8
Public Galleries CULTURE CENTRE GALLERY 299 College Dr SE, Medicine Hat, AB T1A 3Y6 T. 403-529-3806 F. 403-504-3554 email@example.com www.memlane.com/nonprofit/ccga ESPLANADE ART GALLERY 401 First St SE, Medicine Hat, AB T1A 8W2 T. 403-502-8580 F. 403-502-8589 firstname.lastname@example.org www.esplanade.ca This is a new home for 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, Youth and Student - $3, 6 & Under - Free, Family - $12, Thur Free for all ages. Mon to Fri 10 am - 5 pm; Thur till 9 pm; Sat, Sun and Hol noon - 5 pm.
VIEWPOINT GALLERY 3827 39 St, City of Red Deer Culture Services Red Deer, AB T4N 0Y6 T. 403-309-4091 email@example.com www.reddeer.ca The Viewpoint Gallery provides an opportunity for local professional artists to display their artwork for sale. Artistsâ€™ work is promoted through exhibitions, the website as well as printed materials and advertising. Mon to Fri 8 am - noon, 1 pm - 4:30 pm. ROSEBUD Commercial Gallery AKOKINISKWAY GALLERY Box 654, Rosebud, Alberta T0J 2T0 T. 403-677-2350 , Toll Free: 800-267-7553 firstname.lastname@example.org www.experiencerosebud.com WATERTON Commercial Gallery GUST GALLERY 112A Waterton Ave Waterton Lakes, AB T0K 2M0 T. 403-859-2535 email@example.com www.gustgallery.com WETASKIWIN Commercial Gallery CAELIN ARTWORKS 4728 50 Ave, Wetaskiwin, AB T9A 0R7 T. 780-352-3519 F. 780-352-6806 Toll Free: 888-352-3519 firstname.lastname@example.org www.caelinartworks.com
OKOTOKS WILDWOOD Public Gallery THE STATION CULTURAL CENTRE PO Bag 20, 53 North Railway St Okotoks, AB T1S 1K1 T. 403-938-3204 F. 403-938-8963 email@example.com RED DEER
Original Canadian Art Since 1964
ROBERT GENN Show and Sale May 22, 2008 Artist reception and book signing hambleton galleries 1290 Ellis St, Kelowna, BC V1Y 1Z4 Phone: (250) 860-2498 firstname.lastname@example.org galleriesWestAD_jul07.pdf 8/1/07 3:29:57 PM www.hambletongalleries.com
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