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BEYOND BORDERS Mass MoCA’s surprising take on Canadian art





FEATURED ARTISTS Display until December 31, 2012

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C O N T E N T S Fall/Winter 2012 Vol. 11 No. 3




Artifacts, Acquisitions & Academics


Universities hold some of the most extensive and exciting art collections in Western Canada. How do they stay relevant and accessible?



Sleepless in Stampede City

By Mary-Beth Laviolette

Feature Previews

Shows scheduled for the fall season Cathy Terepocki ........................... 16 Tara Nicholson ............................ 18 James Braithwaite and Glen MacKinnon ......................... 20

By Portia Priegert

With a Cultural Capital designation and a renewed focus on the arts, can Calgary build and sustain its own Nuit Blanche event?

First Impressions

News and events from across the region; opinion by Jeffrey Spalding


Exhibition Reviews

Exclusive reviews of recent shows throughout Western Canada New Alberta Contemporaries ...... 24 Natalka Husar ............................. 26 Alberta Mistresses of the Modern ... 27 Stephen Hutchings ...................... 27 Ryan Peter ................................... 28 Amy Loewan ............................... 28 Yo-In ........................................... 30 The Works................................... 30

33 51

Feature Review

Oh Canada, at Mass MoCA, North Adams, Massachusetts


Five artists to consider right now; plus, Salt Spring Island collector Joan McConnell Steve Smith ................................. 51 Marie-Danielle Leblanc ................ 51 Kyle Herranen.............................. 52 Steven Friedman ......................... 53 Kathleen Black............................. 53



54 Auctions

In their multmedia exhibition, Storytime, Winnipeg artists Leslie Supnet and Glen Johnson create a not-so-traditional narrative


Spring 2012 Review

Life’s Little Tragedies

Roots of a Movement


Back to the Land, at the Art Gallery of Greater Victoria, showcases the homesteaders, artists, activists and architects of the Vancouver Island pottery scene of the 1970s and 80s By John Luna


Back Room

Richard Halliday, Constellation Series #12, oil stick and acrylic on canvas, 2010. By Jill Sawyer

What’s in the galleries this season Elizabeth Russell .......................... 56 Sasha Rogers............................... 58 Lisa Steele / Kim Tomczak ............ 60 Sara Robichaud ........................... 61 State of Mind .............................. 62 Annette Kelm .............................. 63 Jaynus O’Donnell ........................ 64 Barbara Amos ............................. 65 Catherine McAvity ....................... 66 Bill Burns..................................... 68 Bill Lobchuk ................................ 70

By Cliff Eyland


Previews and Profiles


Sources Where to find fine



art galleries across the west

Services and resources for art makers and art buyers

46 Galleries West Fall/Winter 2012 5



Reviews Editor


Art Director Contributors



Publisher & Director of Advertising



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Prepress Printed in Canada

Jill Sawyer 1-866-415-3282 P.O. Box 5287, Banff, Alberta, T1L 1G4 Portia Priegert Wendy Pease Dick Averns, Nicole Bauberger, Margaret Bessai, Ross Bradley, Beverly Cramp, Christina Cuthbertson, Cliff Eyland, Tom Hardy, Michael Harris, Rachel Rosenfield Lafo, Mary-Beth Laviolette, John Luna, Marlene Milne, Janet Nicol, Portia Priegert, Heather Setka, Jeffrey Spalding, Murray Whyte Tom Tait 403-234-7097 Toll Free 866-697-2002 Published in January, May and September. $19.50 per year including GST/HST. For USA $24.50. For International $31.50. Subscribe online at or send cheque or money order to: #301, 690 Princeton Way SW Calgary, Alberta T2P 5J9 #301, 690 Princeton Way SW, Calgary, Alberta, T2P 5J9 403-234-7097 Fax: 403-243-4649 Toll free: 866-697-2002 Island Digital Services Ltd. Transcontinental LGM-Coronet

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Mass MoCA’s surprising take on Canadian art






On the Cover: Douglas Coupland, Arctic Landscape Fuelled by Memory, at the Oh, Canada exhibition at Mass MoCA, North Adams, Massachusetts.



September 6 – 29, 2012 Special late night showing on September 15 to celebrate Nuit Blanche

THE LONE LAKE MURDERS October 4 – 24, 2012 Featuring the collection of Murray & Christine Quinn

CANADA’S GROUNDBREAKING ILLUSTRATOR Illustrative Work 1931 – 1956 October 4 – 24, 2012

©The Cahén Archives™


Up front in the visual arts Artisans take on antique aircraft

A collective of Whitehorse “yarn bombers” knit up plane cozy


t takes a community to clothe an airplane. It began as a conversation between women and organizations in Whitehorse. Mary Bradshaw, Director of the Yukon Arts Centre Public Gallery, and Casey McLaughlin, Executive Director/Curator of the Yukon Transportation Museum, approached Jessica Vellenga, a fibre artist and member of the Yarn Bomb Yukon Collective, who had been yarn bombing lampposts around town — piecing together knitted covers for public objects. The Yukon Transportation Museum had a plane they wanted people to warm up to. The DC-3, mounted on a pole outside the museum, right beside the Alaska highway, works as Canada’s biggest weathervane, even if it doesn’t fly anymore. Yarn-clad, it still points to which way the wind blows. Yarn Bomb Yukon invited people to knit or crochet anything, from a granny square to a four- by six-foot blanket. Soon the group had people stitching away at free lessons and sending in donations. Vellenga credits Whitehorse’s “level of community engagement in the arts” with helping make the project a success. But people took part all across North America, from Lansing, Michigan to Huntsville, Ontario, and from Kent, Ohio to Langley, BC. Yarn bombing, as a form of gentle and easily reversible graffiti, often occurs anonymously, but stealth wasn’t the plan for this project. A grant from the Yukon Arts Fund helped rent construc10 Galleries West Fall/Winter 2012

Before and after shots of the DC-3 yarn bomb in Whitehorse.

tion equipment for the installation and buy knitting needles and yarn. Volunteers did all the work. Promoting the project also promoted the Transportation Museum. Yarn Bomb Yukon consulted conservators to make sure to treat the airplane with due care, and architect Mary Ellen Read of Northern Front Studio helped them figure out how to make the pattern work. Many different four- by six-foot blankets build up the surface area, and after the cozy comes off the plane, the blankets will be donated to charities. Panels rolled out along the wings. Strips were laid along the fusillage and sewn together in early August. Then the plane was laced into its garment, like a corset, to avoid sag, and to avoid damaging sensitive parts during the two-week display. The Yukon Arts Centre will host the Canadian Museums Association conference in May of 2013. Their theme is “The Cultural Collaboration.” Vellenga points to this project, “a unique partnership between an artist collective, Transportation Museum, and Public Gallery,” as a prime example of cultural collaboration at work. — Nicole Bauberger

FIRST IMPRESSIONS BMO 1st Art! honours undergrad artists The BMO 1st Art! prize has named undergrad artists from Canada’s top visual arts programs winners of their annual awards. Deans and instructors from visual art programs across the country are each asked to nominate three students from their programs, and winners are chosen in each province and territory by a selection committee, in 2012 including Jake Moore of Concordia’s FOFA Gallery, Candice Hopkins of the National Gallery of Canada, Vancouver Art Gallery’s Kathleen Ritter, curator Nicholas Brown, and Gilles Ouellette and Dawn Cain of BMO. The grand prize of $10,000 this year went to Mika Goodfriend of Concordia, with western regional winners (who each received $5,000) including Yi Xin Tong of Simon Fraser University School for the Contemporary Arts, Noor ul Ain of Alberta College of Art + Design, Agnes Neufeld of the University of Manitoba School of Art, Lavinia Van Heuvelen of Nunavut Arctic College, Kristin Poenn of the Yukon School of Yi Xin Tong, Post-Lithic Breakables, archival metallic c-prints, four parts, 18" X 24". Winner of one of the BMO 1st Art! prizes.

Visual Arts, and Anita Miles of the University of Regina. Inaugural Edmonton Visual Arts Prize awarded This past summer, artist Arlene Wasylynchuk was awarded the first-ever Eldon & Anne Foote Edmonton Visual Arts Prize, selected from 15 submissions from across the region. The new $10,000 prize is a partnership between the Eldon & Anne Foote Fund at the Edmonton Community Foundation, the Edmonton Arts Council, and the Visual Arts Alberta Association. Nominated by the Art Gallery of Alberta, Wasylynchuk was selected from a shortlist of artists that included Paul Freeman, David Janzen, Amy Loewan, and Alan Henderson. Her winning piece, Saltus Illuminati, was an installation on elements from the natural environment. Known mainly as a landscape painter, Wasylynchuk created the work for the AGA in late 2011 by rolling paintings into new forms and lighting them from within, creating the illusion of a lit grove of trees in the Gallery’s RBC New Works Gallery. The Eldon & Anne Foote Edmonton Visual Arts Prize will be awarded annually for five years.


Galleries West Fall/Winter 2012 11


In my opinion: Should private funding models be underwriting new “public” art spaces? By Jeffrey Spalding


ithout much fanfare the shape of the arts waterfront has dramatically altered in western Canada. First it was the Rennie Foundation Collection, now joined by the launch of two new lavish-sized ‘privately-funded’ art exhibition spaces: The Esker Foundation in Calgary as well as the Equinox Project Space in Vancouver. Each is a marvel and blessing, each adds immensely to our lives. For voracious art aficionados impatient and frustrated by the paltry number of venues and far too infrequent changing exhibitions, these additional options are a much welcomed bonus. My personal favorite is the Equinox initiative. It was coaxed out of a forlorn and dilapidated warehouse site, a financially-lean conversion into a crisp, clean no-nonsense handsome venue that humbly directs your attention towards the art, rather than compete via architectural flourish. Equinox’ maiden voyage of Fred Herzog work, followed by their current collage show, Cut and Paste, tackle ambitious projects, intelligently curated. Previously, public art galleries would have taken these leads. Individuals of their own free volition chose to found and fund art institutions and make art services available for all, free of charge. Gratitude expressed; justly deserved. Despite the celebratory shout-out, perhaps reflection is also in order, coupled with a modicum of caution. The proliferation of variants upon the model of the private art foundation amounts to a sea change. Is this evidence of a cultural revitalization, an irrepressible Darwinian evolution? Foundations are poised to be the agencies that will increasingly be privileged to select which art is shown to the public. What does this foretell? Truly, the last time we experienced such a fundamental re-ordering of this magnitude was with the inauguration of the first artist-run centres in the early 1970s. Prior, the structure and governance of art exhibiting institutions was fairly uniform. All levels of government worked together with public subscriptions, memberships and private individuals to define, fund, and guide the evolution of a collective enterprise: the public art museum. Corporate and private patronage flowed through these agencies and their largesse was recognized through naming opportunities. Many consistent contributors have found their way onto governance boards. Influence upon the conduct, direction and programming of these agencies remains a witches’ brew, complex negotiations and jockeying between a mélange of divergent stakeholders representing competing interests, demographics and values. In Canada in the 1970s, it was the artists who rebelled. Tired of waiting for museums to energize and embrace the contempo-

rary art scene, they lobbied for the creation of publicly-funded, artist-governed spaces dedicated to advanced art. They strove to exercise direct control over the delivery system that shapes art, and the centres became places for rapid deployment, bringing timely attention to the most intriguing and challenging developments. Now, perhaps the realities of bureaucratic funding procedures may be dampening their abilities to exercise a playful, spontaneous nature. Once a nimble speedy skiff, they too may be evolving into lumbering steamships, difficult to navigate, unable to adeptly turn as current conditions dictate. In 2012, it’s become the collector’s time to exert their suasion. Rather than electing to direct his benevolence to amplify the lustre of pre-existing facilities at favoured institutions, the extraordinary gifts of philanthropist Michael Audain generously enabled new creations — the Audain Gallery at Simon Fraser University, plus the Audain Art Centre at UBC. Privatelyfunded art prizes and awards are similarly in ascendency. Unquestionably, each evolved for their own unique reasons, pursuing individual aims, and it's thrilling to see someone step up. But remember — it’s their money. What they see, is what you get. At least with public institutions, as I have experienced, you can rally and toss the bums out. The recent dismissal of Paul Schimmel, the highly regarded long-standing Chief Curator of the Museum of Contemporary Art in Los Angeles further exposed fault lines in the public realm. All four of the internationally prominent artists on their board resigned. It demarked a fundamental rift in vision concerning institutional governance, and the artist-defectors defined their reactions as a principled defense of scholarly autonomy against the untoward influence of billionaire art collectors. Others considered it an overdue democratization of the viewpoints embraced by the institution, and rebuff of the dominance of privileged elite artists. Somewhere between these polarized discordant views lies reality. In my opinion, we definitely need a national campaign, a dedication to collectively, massively enrich and appropriately endow our public institutions. If we do, I'm confident that they can inspire us with vital, relevant, socially responsible programs that fulfill broad-based requirements. If we won’t, then get ready for a return to reliance upon Versailles, the Vatican, and the interests of the 1%. As I recall, that hasn’t always worked out.

At least with public institutions, as I have experienced, you can rally and toss the bums out.

12 Galleries West Fall/Winter 2012

Recently appointed artistic director of the Museum of Contemporary Art — Calgary, Jeffrey Spalding is an artist, curator, former museum director, past president of the Royal Canadian Academy of Art and member of the Order of Canada.



ELIAS Jason de Haan, Salt Beard (Mercury), salt and borrowed bust, 2010.

Western artists shortlisted for Sobey Gareth Moore and Jason de Haan are among the five artists shortlisted for the 2012 Sobey Award for contemporary Canadian art. For the tenth anniversary of the prize, among the highest-profile awards in visual art in Canada, the overall winner will receive $50,000, with $5,000 going to each of the finalists. This year’s jury panel includes curators David Diviney of the Art Gallery of Nova Scotia, Bruce Grenville of the Vancouver Art Gallery, and Ryan Doherty of the Southern Alberta Art Gallery, along with Louise Dery, director of the Galerie de l’UQAM, and David Liss, artistic director of the Museum of Contemporary Canadian Art. Moore was recently commissioned to create a major installation for dOCUMENTA (13), and he’s had recent solo exhibitions at Catriona Jeffries in Vancouver and Witte de With in Rotterdam. A multidisciplinary artist, de Haan works in sculpture, installation, performance, drawing, and bookworks, and has had recent solo shows at the Clint Roenisch Gallery in Toronto and at ODD Gallery in Dawson City, Yukon.

Mendel, AGA appoint senior staff Former senior curator Catherine Crowston has been appointed executive director of the Art Gallery of Alberta in Edmonton, after six months as acting executive director. Crowston joined the gallery in 1997, and has been closely involved in all its major activities over the past 15 years, including the growth of the Alberta Biennial of Contemporary Art and the gallery’s recent move into a new purpose-built space. She is also the vice chair of the City of Edmonton Public Art Committee. At the Mendel Gallery, soon to be renamed the Remai Art Gallery of Saskatchewan, Lisa Baldissera was recently appointed chief curator, succeeding Dan Ring, who retired last year. Baldissera isn’t new to Saskatoon, where she finished an MFA at the University of Saskatchewan in 1998. She was the curator of Contemporary Art at the Art Gallery of Greater Victoria from 1999 to 2009, and has recently been working on a PhD project on Emily Carr at Goldsmiths College in London. Whyte Museum receives surprise donation In June, while speaking at the opening of the exhibition Yellowstone to Yukon: The Journey of Wildlife and Art,

'BMMJOHGPSUIF#MVFTCZ4IJSMFZ&MJBT BDSZMJDPODBOWBT Y 26 St. Anne Street, St. Albert AB 1 - 78 0 - 4 5 9 - 3 6 7 9 w w w. a r t b e a t . a b . c a

3650 Rue McTavish, Montréal QC 1- 5 14 - 2 86 - 24 76 w w w. a r t a p . c o m

6 -1170 Taylor Avenue, Winnipeg MB 1- 8 0 0 - 8 2 2 - 5 8 4 0 w w w. b i r c h w o o d a r t g a l l e r y. c o m

323 Howe Street, Vancouver BC 1- 604-687-7466 www.rendezvousar tgaller

812-11 Avenue SW, Calgary AB 1- 8 8 8 - 8 7 4 - 5 5 1 9 w w w. w e b s t e r g a l l e r i e s . c o m

If your gallery would like to represent Shirley Elias, please contact Jacqueline at (204) 294-6324

www.emotesar Galleries West Fall/Winter 2012 13



Artist's Choice September - October, 2012 Mali Vargas, BFA

Greg Pyra

Spirit of the Season

ABOVE: Rendering of the interior

November - December, 2012

of the restored Art Gallery of Grande Prairie.


Alberta Moments Audrey Pfannmuller, Nadien Cole and Donna Miller October 17-27, 2012. Opening: Oct. 16 at 7 pm.

Nadien Cole

Festive Gems Member’s show during the production of The Misanthrope by Moliere December 5-15, 2012 Opening : Dec 4 at 7 pm


Calgary Artwalk Please join us for Calgary Artwalk (September 15th and 16th), and Alberta Culture Days (September 28-30th) at the ASA Gallery at the Lougheed House!

For more information, please visit our website at The ASA and Lougheed House gratefully acknowledge their funding partners and the support of the Government of Alberta’s ‘Community Spirit Donation Program‘

14 Galleries West Fall/Winter 2012

RIGHT: Exterior of the rebuilt 1929 heritage building for the Art Gallery of Grande Prairie.

the Whyte Museum of the Canadian Rockies’ executive director Michale Lang got a surprise. Peter Poole, a local resident and trustee of the Eleanor Luxton Foundation, presented her with a working sketch by the late landscape artist Carl Rungius. The sketch is for Runguis’ highprofile painting Lake McArthur (which won the artist the $500 Carnegie Prize in 1925), also in the Whyte’s collection. Poole’s donation enhances an important collection of Rungius landscape and wildlife art at the Museum — Rungius was closely associated with Banff throughout his career as a painter, and he maintained art studios in the town as well as in New York. 36 artists chosen for 2013 Alberta Biennial Guest curator Nancy Tousley has chosen 36 artists to represent the province in the 2013 Alberta Biennial of Contemporary Art, which will open at the Art Gallery of Alberta early next year. After 60 studio visits across the province, she’s

selected a cross-section of artists working in all media for the show, which will be called The News From Here. Created in 1996 to showcase the work of current Alberta artists, the theme of the 2013 Biennial is about art and artists and post-regionalism. Tousley describes it: “the idea of a single, dominant centre is no longer applicable…(artists are) now, more than ever, aware of the larger art world in which they participate.” Artists chosen for the 2013 show include Faye Heavyshield, David Hoffos, Donna White, Sarah Fuller, Sherri Chaba, Chris Cran, Elisabeth Belliveau, Taras Polataiko, and Gary James Joynes. Sask Legislative Building creates artists’ residencies To celebrate its 100th Anniversary, the Saskatchewan Legislative Building in Regina has appointed eight artists in residence in partnership with the Saskatchewan Arts Board. The artists have each been

FIRST IMPRESSIONS invited to create work during consecutive two-week periods, incorporating the themes of community engagement and legacy art-making, and all the work will be unveiled at the Legislature in early December, positioned in each of the eight alcoves in the building’s rotunda. In addition to Residency coordinator Laura Hale, who is creating work around the province’s motto, “From Many People’s Strengths”, artists chosen include sculptor and stonemason Robert Assie, Terri Fidelak, who will create 100 pieces of polished Tyndall stone and place them in communities throughout the province, and instructor and illustrator Allan Dotson, who is creating a crowd-sourced board game centred on Regina. Saskatoon-based artist Sandra Ledingham will build site-specific structures in the Legislature’s setting of Wascana Park, metal artist Miranda Jones will engage local schoolchildren in creating a shadow puppet theatre, Regina-based artist Heather Cline will open her project up to public participation, and artist and actor Anita Smith will direct a performance project with local women’s and girls’ groups. Painter receives $25,000 Joseph Plaskett Award At the age of 95, Vancouverbased painter Joseph Plaskett lends his name and support to one of the largest annual visual arts prizes in Canada, the Joseph Plaskett Award, in conjunction with the Royal Canadian Academy of Arts. For 2012, the $25,000 prize was awarded this past spring to painter Philip Delisle. Chosen by a jury panel including artist Jan Peacock, NSCAD University instructor Alex Livingston, and Peter Dykhuis, director of the Dalhousie University Art

Gallery, Delisle’s recent work recreates spaces and actions of painters at work — framing their studios and living spaces, often in a birds’-eye view. The award was established in 2004 with a grant from Plaskett to support a Canadian MFA student to travel and study in Europe. Former winners of the award have included Jessica Groome, Todd Tremeer, Jennifer Lefort, and Mark Neufeld. Grande Prairie gallery ready to open After a substantial session of fundraising and rebuilding, the newly renamed Art Gallery of Grande Prairie is set to fully open this fall in two revitalized spaces. Formerly the Prairie Art Gallery, it has expanded into the restored 1929 Grande Prairie High School Building, which incorporates the landmark purpose-built Montrose Cultural Centre. The milestone marks a great leap forward for the Gallery, whose staff and directors have spent years renovating and re-establishing the space after the High School building, a designated historic site, suffered a partial roof collapse in 2007. None of the work in the Gallery’s collection was significantly damaged, and the event set off a five-year process of full restoration. Now that the restored building is fully connected to the Montrose Cultural Centre, the gallery will be completely open and functioning as the AGGP with an opening celebration on September 28 and 29th as part of Alberta Culture Days, with the final touch to this long-term project coming soon. The Gallery has commissioned Lethbridge artist David Hoffos to create a site-specific outdoor work, called Night School, which will be installed outside the door of the newly restored building.

SEP 7-29 2012


Picks from the Rabbit Hole

OCT 12-27 2012

BUFFY SAINTE-MARIE 16 Million Colors

NOV 2-24 2012



Galleries West Fall/Winter 2012 15



ALBERTA: Thank-you! Come again, September 15 - October 20, 2012, Alberta Craft Council, Discovery Gallery, Edmonton Cathy Terepocki loves ghost towns and the curious abandoned things in them, and after several visits to Bents, an abandoned town near Saskatoon, Terepocki decided on an intervention. She created 130 souvenir cups, and with the permission of the current land-owners, restocked the shelves of the old general store. Her documentation of the project, an installation called Thank-you! Come again is on this fall at the Alberta Craft Council gallery in Edmonton. Terepocki has photographed Bents each time she’s visited. The village is knee deep, sinking into grassy prairie. A grain elevator, a few houses and a machine shop lean from the wind on what was once Main Street. Inside the square ABOVE AND BELOW: Cathy Terepocki, facade of the Red & White general store is a mix of artifacts under heavy dust: bygone products, a stack ceramics from the Bents Cup Project. of un-delivered mail, machine parts, a row of neatly arranged, but clearly used shoes. Terepocki added her souvenir cups to the shelves, and photographed them before leaving. The gallery exhibition includes photographs and objects made in clay. Thank you! Come again, is written on the wall in a vintage style. The phrase, endemic to stores and restaurants, has been emptied through repetition and reinvested satirically in popular culture. Here it evokes a by-gone era, and is a little ironic. A plinth holds salt-and-pepper sized grain elevators. Arranged in an arc, featureless and white, the elevators are symbolic of the train-line and towns that formed the backbone of rural agriculture. On the wall, Terepocki’s photos of Bents give context to shelves made of salvaged wood displaying 30 cups and mugs. These are samples of the vintage Medalta tableware souvenirs Terepocki decorated in sepia decals of clip-art grain elevators and pennants, and screen-printed with glazed colour, hearts and sunsets. “I found it! Bents SK”, “I [heart] Bents”, “I went to BENTS and all I took was this lousy mug”, “I was conceived in Bents SK.”, and just simply, “Bents SK”. The slogans are also ceramic decals, fired onto glazed cups at a high temperature for imperfect results: words are crooked or have lost a letter in the kiln. A wall of hanging souvenir plates carries this idea farther. Damaged, warped, they are the opposite of shiny, gold-rimmed commemorative plates. Their designs are screen-printed details from Terepocki’s photographs of the ghost town. The glazed surfaces are sandblasted matte. Unlabelled, they carry the fragments of a narrative with a missing meaning. Cathy Terepocki’s interest in abandoned places began during her BFA in ceramics at the Alberta College of Art and Design. A class visit to the Historic Clay District near Medicine Hat brought her to the Medalta factory site, and it looked just as the workers had left it on their last day — tools and clay-spattered aprons lying at work stations, waiting for the next work day that never came. It was mysterious and compelling. Today, the national historic site has restored Medalta as a working museum with a residency studio program for international artists, and an archive of ceramic wares and tools. Terepocki applied to develop and build “The Bents Cup Project” there, and was accepted. With the help of Medalta studio technicians, Terepocki created the cups and grain elevators from vintage jig moulds. The archive also granted her vintage ware to experiment with. She composed slogans and experimented with decals, and learned screen printing photos in glaze colours (Paul Scott, author of “Print on Clay” had just been in residence and shared his methods with the studio). This period of research and development brought new techniques into Terepocki’s repertoire. Currently based in Saskatoon with her young family, she has a full-time clay studio and sells nationally. Her functional ware is wheel-thrown, and decorated with a fresh approach to decals, collaging florals with scientific diagrams with a printmaker’s eye and a quilter’s verve. — Margaret Bessai 16 Galleries West Fall/Winter 2012


Staging Point, Acrylic on Linen, 48” x 36”

Shoreline Muse, Acrylic on Canvas, 72” x 48”


September 15 – 27, 2012

September 29 – October 11, 2012



Evergreen, Oil on Canvas, 36” x 30”

Bell’s Hill Road, Acrylic on Canvas, 36” x 30”


October 13 – 25, 2012

November 17 – 29, 2012



1203 BROAD STREET VICTORIA, B.C. 250-388-0009

12308 JASPER AVENUE EDMONTON, AB. 780-488-4892




TOP: Tara Nicholson, Swimmer, Near Chute Lake, c-type print, 2012, 30" X 30". BELOW: Tara Nicholson, Trailer, Port Renfrew, c-type print, 2012, 30" X 30".

18 Galleries West Fall/Winter 2012

BRITISH COLUMBIA: Somewhere Beyond Nowhere, September 7 to October 6, Deluge Contemporary Art, Victoria Since completing her MFA thesis work two years ago, Wilderness and Other Utopias photographed in Haida Gwaii, British Columbia, Tara Nicholson has integrated the peripatetic tendency prevalent in so much of contemporary art practice further into her work. She’s used travel and temporary relationship as keys for developing a body of work based on locations in British Columbia, Alberta, Ontario, Quebec, and Holland. She insinuates herself into new communities to determine local byways, campsites and landmarks, temporary shelters and ephemeral spectacles: a swimming hole in an abandoned quarry, a ski-doo graveyard, a decaying papier-mâché mascot killer whale, dumped like a corpse at the edge of summer woods. A phrase in Nicholson’s exhibition statement joins “local and remote.” This in itself is a comment, on the disjunctive way that modern development thrusts fragments of suburbia into what was previously wilderness, at the same time leaving behind pockets of dilapidation in the form of desolate retreats of pasttense recreational seclusion or forsaken networks of resource extraction infrastructure. Lapsed, lost or unlikely habitation abounds in Nicholson’s work, from a tepee on Salt Spring Island, to a flagging Conservative campaign sign tacked to an aging industrial compressor, to a rustic tower clad in pristine Tyvek; the vacated hideaway, the forgotten boomtown, or subcultural otherworld gone to seed. In one of the images from Holland, Kuierpadtien, the torqued sheath of a worn blue water slide leads to the colours of an improbably idyllic tableau of children paddling on an artificial lake. Nicholson seeks out visions that in her words, “hover between reality and fantasy,” a fluxing of nature and artifice too precious or precarious to last forever. Nicholson relies on firsthand experience and anecdote, noting, “often I try and find a place from memory or look for things I specifically remember, textures, light or structures.” Nicholson employs this well-tuned sense of place to “challenge identity”, and its attendant territoriality. She cites John O’Brian and Peter White’s book, Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art, which, in unravelling the nationalist mythology of Canadian landscape, examines the way notions of ‘northernness’ and ‘wilderness’ became part of the country’s cultural identity in the early twentieth century. Nicholson is interested in the persistence of such myths, even as her own approach echoes the restless explorations of early Canadian painting (the title of her show is almost an answer to a recent survey of Emily Carr at the Art Gallery of Greater Victoria, On the Edge of Nowhere.) Outside of the viewfinder’s capture, some moment of human interaction is often part of the picture. Nonetheless, Nicholson chooses in many (but not all) cases to exclude figures from her work. This creates an ambiguous but charged scene. Figures that remain are often strikingly isolated, as in one particularly vertiginous composition of a naked woman floating in a lake overlooked by a fire-scorched horizon of dessicated pines (this turns out to be a self-portrait), or a trio of riders on an overcast beach that blurs hooves and hair with roving patches of grey on the horses and sand into something inaudible, emblematic and weightless with nostalgia. Tara Nicholson grew up in Northern British Columbia, spending time in the Okanagan and on Vancouver Island. She has attended artist residencies in Newfoundland and Banff, and exhibited work across Canada, at The Parisian Laundry Gallery, Montreal, The Jeffery Boone Gallery, Vancouver and a recent exhibition in the 2012 Calgary Banff Canmore Exposure Photography Festival. Nicholson teaches at the Vancouver Island School of Art, and the University of Victoria. — John Luna

Galleries West Fall/Winter 2012 19



ALBERTA: All You Can Eat, opens September 29, 2012, Trianon Gallery, Lethbridge Didn’t your mother ever tell you not to play with your food? For artists Glen MacKinnon and James Braithwaite, notions of play and food seem to go hand-in-hand. With equal measures of fascination, humour, inquiry and humility, this uncle-nephew duo tease out complex ideas surrounding food production and consumption, while remaining playfully aloof on the subject. “What started as a collaboration has ended up as a kind of surreal culinary pit-fight” says Braithwaite about his ongoing postcard project with collaborator MacKinnon. The practice of drawing, the theme of food and the art of comedic delivery are the battlefield on which the two wage their war. See the results in their upcoming exhibition, All You Can Eat. For months they’ve sent dozens of meticulously drawn artworks back and forth in the mail depicting scenes of ever-escalating levels of absurdity and cheekiness. “Working on this project is like hallucinogenic free-jazz pushups for my illustration career,” says Braithwaite. “It’s a place to experiment, try bizarre new things, and at the same time try to keep up with the glowering monolith that is Glen MacKinnon.” Their project has evolved out of a decades-old history the two share: Glen is James’ uncle, and for many years sent personalized and highly elaborate Christmas crackers to his sister and each member her growing family. James is Glen’s nephew, and years later as a successful illustrator, credits these Christmas crackers as a major influence in his formative years: “Ever since I was a little kid, he has been polluting my impressionable mind with hilarious and lewd drawings, and that little germ of hilarity has taken root and ruined my chances of ever becoming an investment banker” And it’s a good thing too, that Braithwaite’s ambitions to hold a straight-laced, suit-wearing job were squandered before they started. As an artist and illustrator his work was featured in the animated short film I Met the Walrus, which was nominated for an Oscar in 2008, won an Emmy in 2009, and awarded the Guggenheim/Youtube prize in 2010. Ironically, for the Lethbridge-based MacKinnon, the practice of drawing — while fundamental to his everyday life — has typically remained a private activity not entering the realm of his artistic pursuits. Known primarily as a sculptor and wood-block printmaker, MacKinnon brings a level of sobriety into the mix with his Taber Suite, a series of new works featuring large-scale food producers in and around Taber, Alberta. “My work will address a concern I’ve dealt with throughout my career, that is: the natural world mediated by human involvement.” While MacKinnon will explore these ideas in the media he’s honed for TOP: James Braithwaite, Untitled, years, the representational and political nature of this series are somewhat of a departure for him. pen and ink on paper, 4" X 6", 2012. The shift follows MacKinnon’s participation in Ecotone, a symposium and residency project that brings ABOVE: Glen MacKinnon, Sugar Beet (Taber ranchers, scientists and artists together over shared social, political and environmental concerns. Southern AlSuite), pencil on paper, 30" X 22", 2012. berta is rich in food production and MacKinnon’s interest lies in the evolutionary line between people who raise food and factories that produce it. In addition to the postcard project, Braithwaite will also create new solo work for All You Can Eat. A series of ten portraits based on a fictional battle at Harris Teeter grocery store. “I have envisioned a day in the not too distant future where food is scarce, and roving, hungry gangs search the desolate landscape for the last remaining Pop Tart…To save the store from these gangs, the few surviving employees, or Teetlings, make a brave stand to protect the store…The drawings I am making … are celebratory portraits of the proud Teetling Martyrs and the ceremonial meat hats they so bravely died in.” — Christina Cuthbertson 20 Galleries West Fall/Winter 2012

RENDEZVOUS ART GALLERY Contemporary Canadian Art

East View, Texada Island by Ron Hedrick

Westcoast Wind by Min Ma

September Sky by Rod Charlesworth

MASTERS OF THE CANADIAN LANDSCAPE Featuring Min Ma, Ron Hedrick and Rod Charlesworth ��������������������������������������������� ���������������������������������������������������� RendezVous Art Gallery 323 Howe Street Vancouver, BC V6C 3N2 604 687-7466

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22 Galleries West Fall/Winter 2012



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Galleries West Fall/Winter 2012 23


What we saw at exhibitions in the West Left: Lindsay Knox, Poem for a Homebody, installation detail, 2009. Below: New Alberta Contemporaries, opening night (Front) Jamie Gray, Redeemed, 2011.

The New Alberta Contemporaries, June 15 to August 29, 2012, The Esker Foundation, Calgary

Fifteen years in the making, 15,000 square feet of ‘A’ grade exhibition space, and considerably more than $15 million dollars: just some of the history behind Calgary’s newest major gallery project, the Esker Foundation. It’s the brainchild of Jim and Susan Hill, a Calgary couple whose success in the energy industry has enabled legacy-scale philanthropy, this stylish non-commercial space has demonstrably raised the quality of art and culture for Calgary and its visitors, as well as providing new opportunities for international talent. Choosing the right approach for a premiere exhibition in any new facility is a hard task, and it’s refreshing that Esker didn’t opt for contemporary art stars or a blockbuster show from the historical canon. Instead, The New Alberta Contemporaries is comprised of artists selected via an open call for recent graduates from the province’s various post-secondary institutions; not just undergraduates, but also master’s level and PhD. 24 Galleries West Fall/Winter 2012

sues, invariably political, that have, or will continue to have, international relevance. Similarly, such themes have been articulated creatively in Alberta for a considerable time. As such, you could say the show simply encompasses the ‘glocal’. Within this framework, a number of artists grapple critically with our place in the world. Lindsay Knox’s wall sculpture, Poem for a Homebody, proffers deep red felted folds, drawing in the gaze. The human-sized form creates a life-like cushion for inward and outward emotions, and while the door handle at the centre may not be totally necessary, it’s a handy signifier for a binary of entry/exit. Eveline Kolijn’s latticed Styrofoam containers offer a simple black and white dynamic, but are a beautifully executed and moving appropriation of fast food and excess, implicating anyone indulging in acts of consumption. Another artist looking to implicate audiences is Richard Smolinski, whose Draw a Blank gives visitors the opportunity to sit down and literally draw or write on a stack of clean pages. Whether one likes or dislikes his minimal starting point, in considering Frank Stella’s adage of “what you see is what you see,” audiences


In discussing the outcome, one critique I heard wondered if we really need another grad show, and suggested the art was lacking in quality. Certainly, with such a stunning gallery (designed by Kasian Architecture) it could be said that the seductive architectonics automatically make the art shine. But with a curatorial premise based on a survey of mostly emerging talent, through one curator’s eyes, interest focuses on both the process and potentially prickly protocol of profiling new art from newer artists. With 47 artists in the show, there’s a wide range of media encompassing broad subject matter. Caterina Pizanias’ curatorial statement advises that viewers “will not see the grand geopolitical issues that play out on the international stage [instead seeing…] exciting explorations in areas such as landscape/geography, gender, sexuality, the body, memories, and ecology.” Of course, these are many of the grand is-

Aondrea Maynard

Karrie Arthurs

Tanya Slingsby

CKG relaunch + opening reception Friday September 14, 5 - 8 pm

& Bénédicte Dussere

November 15 - December 22

October 11 - November 10

September 11 - October 6


Galleries West Fall/Winter 2012 25


&!,,7!,+s/CT  Agnes Bugera Gallery 12310 Jasper Ave 780-482-2854

Bearclaw Gallery 10403 124 St 780-482-1204

Daffodil Gallery 10412 124 St 780-760-1278

Peter Robertson Gallery 12304 Jasper Ave 780-455-7479

Scott Gallery 10411 124 St 780-488-3619

SNAP Gallery 10123 121 St 780-423-1492

The Front Gallery 12312 Jasper Ave 780-488-2952

West End Gallery 12308 Jasper Ave 780-488-4892


Take a self-guided walking tour of the eight member galleries on the Edmonton Gallery Walk. The close proximity and diversity of the galleries provides an attraction for art lovers everywhere. Just west of the downtown core in the 124th Street area. 26 Galleries West Fall/Winter 2012

here can at least exert more control Natalka Husar, Boss, oil on ragboard, 2008, 18" X 16". on what they ultimately get. And even if visitors decline, the work still draws on something: their own blankness. Other worthy mentions include Colin Lyons’ Industrial Palimpsest and Automatic Ruin, demonstrating both aesthetic and intellectual considerations while juxtaposing the machinery of art, and Raina Enss’ drawn-out video installation. Just as a natural esker — a post-glacial deposit of gravel, rock and soil — has taken many years to carve its place in the world, only time will tell which of these artists leave their mark. In the meantime, the graceful and gracious Esker Foundation, with its prominent Inglewood location, free entry, convenient hours and legacy endowment, has undoubtedly remade the grade. — Dick Averns Natalka Husar: Burden of Innocence Act 2 and Act 3, March 31 to April 14, 2012, Douglas Udell Gallery, Vancouver

When Lomography (a global community whose strong passion is creative and experimental analogue film photography) became massively popular amongst hipsters in the early ‘90s, it could be passed off as a sweet affectation, like their record players and grunge wear. But when Facebook recently decided to purchase Instagram (a free photo sharing program launched in October 2010 that allows users to take a photo, apply a digital filter to it, and then share it on a variety of social networks) for $1 billion, our collective fascination with “vintage� imagery became undeniable. The whole point of Instagram, after all, is to turn digital photos into something resembling a washed out Polaroid. We reject as inaccurate cold “true� depictions of lived experience because memory itself is a sort of romance. And so we demand “romantic� images. The captivating collection of paintings that makes up Natalka Husar’s Burden of Innocence: Act 2 and Act 3 make use of Lomography and Instagram extensively. Husar a Canadian artist who lives in Toronto but has travelled extensively to her parents’ homeland in the Ukraine, has constructed a cobbled-together history play, a broken portrayal of life in Ukraine and Ukrainian life in America. Her domestic scenes and headshots feel like worked-over candid photographs at times. We feel we’re missing half the photos from her scrapbook, the photos which would allow us to construct a more complete understanding of a place and time. In her history play, Husar gives us three acts. In Act One, we’re introduced

REVIEWS to Husar’s alter-ego, “Nurse,” and to the artist’s abiding notion that the painted figure is enmeshed in a cyclical relationship with the painter herself. “Nurse” is both subject and subject-maker. In Act Two, “Trial,” a series of thugs is portrayed in a lineup of headshots. These morally questionable men — all large and rough and apparently violent — are given some grace via the artist’s touch. Finally, in Act Three, “Banquet,” Husar combines characters from the first two acts to produce her most interesting canvases. The large-scale “Looking at Art,” merges 1960s Americana with life in contemporary Ukraine to produce a dinner-table scene that’s as much festive as grotesque. Husar returns, still dressed as “Nurse,” to serve the table where her other subjects are dining. A tacky tablecloth is done in garish blue, which seems to be picked up in the flesh of the diners. Husar’s 20-plus-year art career has been largely focused on Ukraine. And we see, in these recent works, a magnum opus. She gives us vaguely miserable characters, who are redeemed by the obscuring lens of nostalgia — a lens which is easier to apply to made-up people than to actual broken souls she would have met while visiting Communist Ukraine. This confusion between social reality and painted nostalgia is strong: if we are meant to infer a history play here, we are not meant to figure out a fixed storyline. — Michael Harris Alberta Mistresses of the Modern: 1935 – 1975, March 10 to June 3, 2012, Art Gallery of Alberta, Edmonton

The challenge for curators and art historians when dealing with art of the 20th century lies in defining what exactly modern art is, and when it replaced the European Academy or even French Impressionism as the art of its time. Icons of Modernism from the National Gallery of Canada, on view at the same time as the Alberta Mistresses of the Modern; 1935 – 1975 starts its look at modern art with the Fauvists in 1905 and traces its development through Cubism, Surrealism, Futurism, and Dadaism to name just a few of the faces of modern art in the early part of the 20th century. In Alberta, these changes came somewhat later and took on a distinctive regional flavor coloured by the unique sense of the landscape and independent spirit of the artists, as articulated in curator Mary-Beth Laviolette’s focused look at the introduction of modernism in the province. Though academic landscape traditions had already shifted with the Group of Seven prior to World War I, even this was not fully embraced until well into the middle part of the 20th century in Alberta. The work of the ten women in the Alberta exhibition traces the changes taking place in studios throughout North America at the time. In the work of Annora Brown, we see the progression from the academic approach to landscape and still life to a vibrant cubist interpretation of rural Alberta in Foothills Village. Marion

Stephen Hutchings, Landscapes for the End of Time, May 10 to August 5, 2012, Winnipeg Art Gallery. Review by Marlene Milne.

Six of eight oil paintings in Stephen Hutchings’ exhibition are huge, suspended low and doubled by reflections on the shiny black floor. When approached, the paintings slowly swallow their mirror images. They seem to glow from the inside out, yet they hold the patina of age. They recall Turner or Constable, but there are no ships, ruins, people, carts or animals. There are no cues or clues to place them in a specific time or space. Roads creep through bushes and bracken, then disappear. Find the complete review online at

Galleries West Fall/Winter 2012 27

REVIEWS Nicoll, one of the most influential artists in Alberta in the 20th century, also started with a traditional approach but soon began to reduce her subjects to graphic abstract forms such as her 1963 canvas Morley Reserve. Nicoll would continue to explore emotional expression through her automatic drawings, which took her later work into the realm of the non-objective. Two artists, Dorothy Henzell Willis and Laura Evans Reid, bring a European expressionist approach to the prairie landscape. Their dark brooding colours and dynamic brushwork are in stark contrast to the work of Margaret Shelton, whose

Ryan Peter, Untitled (Blue Tooth), acrylic, spray paint, and Epson pigment-based ink on acrylic with plywood wall mount, 2012, 70" X 48".

forms adrift on a snow white ground. The one thing that cannot be denied is the important place these ten women held in the history of Alberta’s visual arts community. Just as Alberta’s Famous Five secured a voice for women in a male-dominated political system, these women challenged the old boys’ club that was the norm in the visual arts world for centuries. — Ross Bradley Ryan Peter: A Bunch of Radishes, May 25 to July 14, 2012, Republic Gallery, Vancouver

In vibrantly coloured biomorphic paintings at the Republic Gallery, Ryan Peter reconsiders the legacy of Modernism. He seems particularly drawn to Surrealism for its evocation of the fantastic, rejection of the rational and celebration of chance and accident. Surrealism is experiencing a resurgence in contemporary art practice as witnessed by last year’s Unreal exhibition at the Vancouver Art Gallery, which included work by contemporary artists. Recalling the floating forms and saturated background colours in the paintings of Spanish Surrealist Joan Miró, Peter’s mutant, phantasmagoric forms hover between representation and abstraction. Always centred within the picture plane, they establish a classic figure-ground relationship. His quirky shapes are both comical and unnerving as they dance, prance and dissolve into the nebulous space around them. The cartoon-like figure in Untitled (Blue Tooth) sports a giant toothshaped head that tapers directly to a truncated leg ending in a foot with a few squiggly toes. A second leg-like form is attached on the right, propping the figure paintings and prints carry on the Canadian landscape traditions of the Group of Seven. Also bringing a European flavor to the scene is Sibyl Budde Laubental, whose mostly traditional clay work seems somewhat out of place in this collection. Reid also introduced an element of social commentary into her work, as seen in the 1937 work Social Credit Meeting. Ella May Walker and Helen Stadelbauer also captured the challenges of the urbanization of society. In her Edmonton Oil Refinery of 1954-55, Walker’s massive industrial landscape towers over the small human figure trudging to his daily grind. Stadelbauer’s Rooftops, New York from 1948-49 depicts an impersonal overcrowded cityscape devoid of human presence. It is Stadelbauer, who takes the largest step away from the traditional art forms with her 1976 op art work Stacking Cubes. The whimsical images of Janet Mitchell are always difficult to categorize. This self-taught artist was an important part of the Calgary art scene for many years, and her magical compositions, such as Proportional Representation, from 1973, explore the use of colour and shape in a spontaneous yet beautifully controlled composition. In Edmonton, the central figure in the change to a modern approach was Thelma Manarey. Although always rooted in nature, her canvases and prints became more and more abstract, as seen in Sun Rise, Sun Set with its fractured Marion Nicoll, Morley Reserve, oil

28 Galleries West Fall/Winter 2012

Amy Loewan, Illuminating Peace, June 9 to September 1, 2012, Grand Forks and District Art and Heritage Centre, Grand Forks, B.C. Review by Tom Hardy.

Amy Loewan’s work is a highly crafted presentation of a social and spiritual belief: that peace, in ourselves and with others, can be attained through acts of consciousness initiated by art. The three large-scale works — meticulously constructed hanging scrolls — are woven by hand from strips of folded rice paper. They bear text through various graphic representations, including calligraphy, print and world alphabets. Loewan’s art functions in the social arena, but without engaging political arguments or questioning aesthetic structures. Peace is conclusive here. As viewers we are asked to suspend disbelief and allow the work to affect us. Find the complete review online at


on canvas, 1963, 44 5/8" X 36 1/4".

balinese art for the modern home

granville street vancouver b.c. t

Karel Doruyter

Rick Bond

September 15 - 29

October 6 - 20

Opening Reception Sep 15, 1 - 4 PM. Artist in Attendance.

Opening Reception Oct 6, 1 - 4 PM. Artist in Attendance.

Bright Prospects, Oil on Canvas, 48” x 72” (diptych)

Sandpiper Beach, Acrylic on Canvas, 14” x 18”

606 View St | Victoria, BC | V8W 1J4 | 250 380 4660 | |

Galleries West Fall/Winter 2012 29

REVIEWS upright. The electric blue colour and swirling moiré pattern of the background combine with the jaunty stance of the figure to inject the painting with a pulsating sense of movement. Not all of Peter’s shapes are specifically figurative. In Untitled (Grid), the bulbous organic forms that hang in the centre of the painting could be read as body parts or even a bunch of vegetables, perhaps the radishes of the exhibition’s title. Although the gallery’s statement about Peter’s work talks about his “investigation of the division between painting and digital Kazuo Nakamura, Spring Forest, oil on photography,” the works canvas, 1963, 61 X 78.7 cm. read primarily as paintings, their photographic origins obscured in a layered process of creation. Peter actually combines several techniques and media. Small Surrealist-inspired drawings are scanned and enlarged on the computer, printed out digitally and then transferred to acrylic sheets or plastic paper using a process called decalcomania. He then spray paints and hand paints images on top of the underlying pattern. Testing how everyday materials interact with more traditional painting and printing media, Peter has experimented with substances such as Pepto-Bismol, spray deodorant, laundry detergent and beer. Although only one painting in this exhibition included Pepto-Bismol, he’s created multiple dynamic and intriguing surfaces. The brilliant orange painting, Untitled (Grid) is lined with cracked sections that resemble dry skin or parched earth. These areas contrast with places where pigment bleeds and pools, blends with the printed checkerboard grid, dissolving at the edges. Peter has said he finds it difficult to work in colour (his last show at the gallery was a series of monochromes), but his intense colours are startling and seductive. They give each painting an individual tone and mood that enhances their hallucinatory effect. — Rachel Rosenfield Lafo Yo-In: Reverberation, May 19 to August 25, 2012, Nikkei National Museum, Burnaby, B.C.

As I walked into the gallery, a painting in green hues caught my eye. Titled Spring Forest (1963), the impressionistic landscape glowed with the intensity of a television screen in an unlit room. The oil on canvas by Kazuo Nakamura (1926 - 2002) is a bit of a mystery because the artist is better known for linear, mathematical abstractions produced as a member of Painters Eleven, work more akin to his other painting in the show, Inner Structure (1955). Is the forest a refuge or a prison? Wilderness could have represented both to Nakamura, who spent five years with his family in an internment camp in the B.C. interior, part of the mass incarceration of Japanese-Canadians during the Second World War. Nakamura’s work is included in this group show at the Nikkei National Museum that marks the 70th anniversary of the internment. The exhibition explores the legacy of this traumatic and tragic period by bringing together eight contemporary artists of Japanese-Canadian ancestry. Four of the artists lived through the internment as children. The others were born in Canada after the war, descended from people who experienced the incarceration. 30 Galleries West Fall/Winter 2012

What do these works tell us of the memory, place and identity of a group of people whose country once treated them so abominably? There are scars, as evinced in the oil painting, Judges (circa 1964) by Shizuye Takashima (1928 – 2007). This work of two bound judgmental figures, looking at times menacing and, at others, somewhat furtive, begs questions of repression and imprisonment. Takashima and her family were interned in New Denver, B.C., and her work in the 1960s was dominated by tortuous figures looking down on the viewer. Some pieces are sorrowful, as in the paper-based works of Emma Nishimura, who grew up in Toronto listening to her grandparents’ stories of wartime struggles. Four years after her grandmother died, Nishimura found a box with hundreds of paper mock-ups of clothing, items her grandmother had made before sewing actual, life-size outfits. The box also contained patterns with Japanese names and measurements, dated 1943, for people who would have lived in the same internment camp. Nishimura recreated some of the paper mock-ups, carefully stitched them together and placed them within faded landscapes, evincing a three-dimensional quality. Through these sad remembrances, Nishimura explores ideas of assimilation and cultural integration in Fading Away (2008), Longing for something other (2010) and Carried Along (2008). And finally, there is healing in Nobuo Kubota’s Zen-influenced serigraph, Chant (1986), which nods to his Canadian identity with maple leaves that seem to float out of his mouth. On leaving the gallery, I felt the artists in this show — which also included Cindy Mochizuki, Jon Sasaki, Louise Noguchi and the late Aiko Suzuki — honoured the concept of yo-in: the ringing of a bronze temple bell with the intention that bad experiences and wrong deeds will fade away with each reverberation. — Beverly Cramp

The Works Art & Design Festival, June 21 to July 3, 2012, Edmonton. Review by Ross Bradley.

Gone are the days of people lining up around the block to see hot or occasionally risqué shows, but there were lots of things to do and see at the 27th annual Works Festival in Edmonton’s downtown core. With over 50 exhibitions in 31 venues, this art and design extravaganza offered great variety. There was indeed a nudity warning on the Big Tent at Winston Churchill Square, but there was no lineup to get into the PopSex exhibition, with its emphasis on historic material from 1920’s Berlin. David Folk’s filing cabinet of contemporary gay porn was certainly worth investigating but, in our jaded society, it barely raises an eyebrow. Find the complete review online at

Just Imajan Gallery Authentic Canadian Art

The Bookshop, P.E.I., 12” x 16”, Acrylic

Morning on the Bow, 12” x 16”, Oil

by Janet B. Armstrong

������������������������������������������������������������� �������������� 16”x 12”, Oil

403-932-7040 320 1st Street West Cochrane, Alberta


Galleries West Fall/Winter 2012 31



Allan Harding MacKay Portrait of a Somali Woman, 1993 Charcoal and pastel on paper 121 x 136.5 cm Beaverbrook Collection of war Art CWM 19960062-126

A Brush with War Military Art from Korea to Afghanistan

Canada’s personal, dramatic, and poignant involvement in international conflict since the Second World War as seen through the eyes of our country’s artists.

Through November 2012 At The Founders’ Gallery, The Military Museums | 4520 Crowchild Trail SW, Calgary

An exhibition organized by the Canadian War Museum in partnership with the Directorate of History and Heritage, Department of National Defence.This exhibition has been made possible in part by a generous donation from the Beaverbrook Canadian Foundation.

32 Galleries West Fall/Winter 2012





BY MURRAY WHYTE I’ll spare you some disappointment up front: There is absolutely no way I’ll address each and every work in Oh, Canada, the sprawling, highly subjective and surprise-filled survey of Canadian contemporary art that opened at the Massachusetts Museum of Contemporary Art this spring. This has less do with quality, interest, page space or anything else than the simple fact that the exhibition is packed to the rafters, and in the generous confines of Mass MoCA’s sprawling campus, housed in an old textile mill in North Adams, this is really saying something. Curator Denise Markonish set out five years ago to craft the show based on personal experience and face time, not the set agendas of an international art world enamoured of a certain group of British Columbian photoconceptualists, and as her experience grew, so did the show. What started as a loose guess in 2007 — a dozen or so artists, Markonish told director Joe Thompson — swelled by dozens as she logged air miles and no small amount of road time — most notably on the Dempster Highway between Inuvik and Dawson City with Charles Stankievech one frigid February day — forming her own vision of the true north, strong and free. Whatever else you might like to call Oh, Canada, it is certainly that: unshackled — or unconcerned, or both — by the established coterie of must-haves on the Canadian art checklist, Markonish’s take is fresh, inventive, surprising, counter-intuitive, remarkably insightful in spots, crowded and laboured in others, and overall, really big. I could go on. One hundred-plus works of art made by 60-plus artists and collectives can leave one at a loss for adjectives. Even that many seems modest given Markonish’s initial list of 800 artists;

Janice Wright Cheney, Widow, wool, cochineal dye, velvet, taxidermy form, pins, wood, 2012.

Galleries West Fall/Winter 2012 33

of those, she visited 400 in their studios, devoting a minimum of an hour to each. And yet, Oh, Canada has a charming intimacy despite its volume. In an institution whose notable features include 30-foot vaulted ceilings, that’s no easy task, but Markonish is unintimidated (and likely a little chuffed) to present monumental works that maximize the space’s potential while holding true to her priorities. Speaking of priorities, Markonish’s emerge quickly here. Even monumental works have a handmade feel. Kim Morgan’s towering cast-latex lighthouse drapes from floor to ceiling in the gallery’s most cavernous space. But you’re prepared for this from the get-go — from Janice Wright Cheney’s grizzly bear quilted with felt roses at the exhibition’s entrance through to the grisly fabric sculptures of Luanne Martineau, or the porcelain bone geodesic dome by David R. Harper, the work underscores the intimacy, which comes from Markonish’s intense interest in craft — the intricacies of the hand-made, radically re-imagined in a contemporary way. This is surely a trend in contemporary art generally in recent years — if you saw the Whitney Biennial in 2010, you’ll know what I mean — and Canada is no exception. I’ve been observing the trend for some years. Interesting, then, that it takes a major survey from a foreign museum to put a fine point on a burgeoning movement right here in our home and native land. That’s partly because of the branded art-world identity Canada has laboured long to establish, via the international successes of such towering figures as Jeff Wall and Rodney Graham. As long ago as the 80s, their large scale photographic works (and in Graham’s case, videos) established a particular

kind of mediated art-making as Canada’s global contribution, and the label stuck for a long time, assuming a kind of Group-of-Seven-esque point of nationalistic, artistic pride, contemporary version. The slow, solid ascent of artists in their wake not beholden to those specific priorities — Geoffrey Farmer, say, who showed at dOCUMENTA (13) this year, or the perennial stardom of Brian Jungen — has less to do with specific associations than geography. A star-studded senior cohort made Vancouver, in particular, a consistent destination for international curators; for too many of them, Canadian contemporary art of import was whatever was being made there, to the exclusion of too much else. Markonish is not one of those. By deliberate choice, she avoided the big names, and if you count by region, you’ll see how studiously she adhered to that. The prairies account for 18 artists here, four from Saskatchewan, eight from Alberta, and six from Winnipeg. Ontario and Quebec have 10 each; the Martimes seven and the Yukon three, almost equaling the heretofore Canadian art powerhouse of British Columbia, with four. There will surely be those who grouse at this apparent exclusion, but Markonish didn’t make a show to make them, or anyone else, happy. If anything, Oh, Canada’s sensitivities are less to the Canadian art establishment than to the country itself. Indigenous artists are well represented here, not by token but by genuine cohesion. Kent Monkman’s “Two Kindred Spirits” fits right in. A campy diptych of dioramas that destabilize Hollywood-ized western lore (Tonto hovers over a prone Lone Ranger, in stoic concern) at the same time as it critiques institutional conventions like the diorama itself (a natural


Opposite: Patrick Bernatchez, Chrysalides Empereur, 35mm film transferred in HD, 10 min, 2008 – 2011. Below: Charles Stankievech, LOVELAND, video installation with objects, 5:10 min, 2011. Right top: Installation view, Oh Canada at Massachusetts Museum of Contemporary Art. Right below: Sarah Anne Johnson, Cheerleading Pyramid, Uniqué chromogenic print


with acrylic ink, 2011.

history museum trope much maligned for its ossifying effect on native cultures especially), Monkman’s work is cheeky, political and has an overt materiality, the presence of which runs through Oh, Canada as a taut connector. Materiality emerges in ways both subtle and overt, and there’s none more the latter than Calgary’s Chris Millar. His dizzying installations have grabbed and held tight to imaginations both in Canada and beyond (more dizzying, in fact, when you realize that these intricate amalgamations of pop-cultural castoffs are a form of three-dimensional painting, and not, as they appear to be, bricolage), and he’s given pride of place here at the entrance to one of four distinct portions of the show. In an exhibition where square footage is at a premium, Millar gets plenty, and it’s hard to think of a work more deserving. At the same time, here’s where Oh, Canada gets a little tough to take. Arm’s length from Millar’s work is Kristan Horton’s captivating “Haptic Sessions ed #1/3,” a painstaking manual animation of various bits — a set of keys, a lighter, a gum wrapper, a matchbook — found on the street in different cities that Horton set in motion using a flatbed scanner (it’s presented as a video). It both baffles and enthralls in the implied labour of its digital self, but step too far back to drink it in, though, and you trip over Millar’s work. And that’s to say nothing of the low rumbling coming from the closet-sized theatre just the other side of the wall, where Patrick Bernatchez’s darkly absurd video, of Ronald McDonald trapped in a submerging car unspools. Watch your step here, too, because Clint Neufeld’s cast-porcelain tractor engine, a remarkable feat of craft and imagination, is shoved in the hallway next to the door. Overstuffed can signal a genuine exuberance, an emotional connection so truly felt that not a single other work can be left out, and Markonish certainly has that. But overstuffed is also just overstuffed, and several times I felt as though the show might have benefited from a few exclusions, the better to let the remaining works breathe. Markonish’s curatorial instincts are bang-on in so many cases, like the intuitively perfect juxtaposition of Michael Snow’s hypnotic “Solar Breath (Northern Karyatids)” presented next door to Charles

Stankievech’s equally beguiling “”Loveland.” Snow’s naturalistic flap of a modest curtain against a screen sits in one tiny chamber, and Stankievech’s, a gorgeous cloud of purple smoke curling through an arctic landscape, in the next. But the pairing is shoved in a side chamber off the main corridor that’s so missable that, when I was there, too many did, to say nothing of the claustrophic labyrinth the pairing formed. In this way, Oh, Canada may in fact represent too much of a good thing, with important works by artists like Sarah Anne Johnson or Terrance Houle relegated to the hallway, or David Hoffos’s immersive “Scenes from the House Dream” reduced to three small quotations in a closet-sized space that gave little or no sense of his remarkable vision. But it’s a little too Canadian to complain. Instead, I prefer to embrace what Markonish has done, which is start a brand-new conversation about things we’d long since taken for granted. Oh, Canada isn’t the final word; it’s just the beginning. Oh Canada is on at Mass MoCA in North Adams, Massachusetts, through April 1, 2013. Galleries West Fall/Winter 2012 35



OPPOSITE TOP: Condition reporting

versity of Lethbridge art gallery

the painting, City of Lethbridge

storage areas, where unframed

c. 1919, oil on board. University of

works on paper are stored, with

Lethbridge Art Collection, gift of the

Hanging Cabbages by Gathie Falk

Ukrainian Canadian Association of

(undated). From the University of

Lethbridge, 1971.

Lethbridge Art Collection, gift of Jim

OPPOSITE LOWER: One of the Uni-

Coutts, 2010.

36 Galleries West Fall/Winter 2012

University art collections hold thousands of objects — from Picasso prints and experimental videos to Inuit sculptures and paintings by Emily Carr. Caring for them is an increasingly challenging job, as institutions cope with growing collections and tighter budgets. Storage space is at a premium and staff must often devote time to organizing exhibitions as well as the day-to-day concerns that face every collection, such as updating records and controlling heat, humidity and other environmental factors that cause works to deteriorate. But one of the biggest risks to art comes when people handle it. And for a university collection, that’s a critical issue because instructors and researchers often need to see pieces up close. “There’s a risk of fire and a risk of terrible weather and moisture getting into the building where the collection is housed, and those are all big factors,” says Juliet Graham, registrar of the University of Lethbridge’s art collection. “You try to do everything you can to prevent that from happening. But really, where damage mostly occurs, in all collections, is when works are handled.” Graham, along with her former assistant, Miranda Grol, is organizing an exhibition at the university’s gallery that offers a behind-the-scenes look at conservation of the institution’s 13,000 objects. Caring for the Collection, which runs from October 26 to December 24, features work that has undergone conservation treatment, as well as photographs and videos that illustrate various tricks of the trade. While Graham says the collection is generally in good condition, one thing they pay special attention to is work in frames. “They look beautiful from the front, but you open up the back and it’s taped in with some horrible fibre-based tape that’s yellowed and crackled,” says Graham. “That’s really common. When that happens, it affects the paper and weakens the fibres in the paper because the acidity in the tape, or the surrounding materials, makes the artwork very fragile. And then it’s vulnerable to handling damage over time when people are moving it around and don’t realize that. It’s easy for little tears to happen.” Conservators are increasingly opting for preventive measures rather than dramatic treatments to repair individual pieces. “If you could put $1,000 into a single treatment, that would be one thing,” says Graham. “But if you could put $1,000 into materials to house 15 works so they could be handled without being damaged, that would be a better use of your money. That’s the direction conservation is going overall — to put in place preventive measures so the damage curators know is going to occur, or is likely to occur, is less likely. For instance, an artwork on paper in a frame with glass and matting is much safer than an artwork that’s loose.” Some older universities started collections a century ago and have extensive historic and ethnographic holdings. The University of Alberta houses artifacts collected between 1890 and 1939 by Molly Cork, the first female missionary in the Belgian Congo. Some institutions have special collections amassed by wealthy benefactors, such as a large coin collection at the University of Calgary donated by businessman Carl O. Nickle in 1980. The curator of the university gallery often oversees the collection, but some universities don’t have galleries. Sometimes, there’s not even a fine arts program. The University and College Art Gallery Association of Canada surveyed its

membership between 2004 and 2006, hoping to get a better understanding of how university galleries and art collections function. “Trying to define what university art galleries are as a collective group is like trying to define finches on the Galapagos Islands,” says the association’s president, Peter Dykhuis, director of the Dalhousie Art Gallery in Halifax. “We conducted the survey because we had this idea that we all had these similar traits and attributes, you know, we’re all birds. Then we find out that we’re all like exotic sub-species of finches. A lot of it has to do with the missions of the various universities, how they came into being.” Most post-secondary institutions have some art, even if it’s just portraits of former presidents or work by professors and students displayed in foyers. But it’s hard to get an exact figure of the total number of works in collections. One estimate, by the galleries association in 2006, suggests national holdings of around 200,000 objects, with a corresponding value of some $500 million. But monetary valuations are problematic, given the vagaries of the art market and the fact that most of a collections’ market value typically resides in a small subset of work that may not reflect overall cultural or historic values. As storage and conservation issues became more pressing over the last several decades, universities began setting up management systems. Policies governing collections vary in scope but typically set out criteria for acquisitions based on things such as the work’s condition and artistic merit as well

Galleries West Fall/Winter 2012 37


ABOVE: Jack Shadbolt, Festival of

Belkin Art Gallery, The University of

the Worm II, 1954-63, acrylic, ink

British Columbia. Gift of the Estate

and gouache on paper 27” X 40”.

of Sheila and Wilfred Watson, 1998

Collection of the Morris and Helen 38 Galleries West Fall/Winter 2012

as the institution’s ability to care for it properly. Policies can also guide decisions about exhibitions, reproductions and loans to other institutions. Many universities are now trying to focus acquisition in a few key directions, such as work by regional artists, items that are useful for research or teaching programs and pieces that enhance significant bodies of work already in the collection. The University of Alberta has a collection of 3,000 prints, including work by artists from Japan and Eastern Europe, where there’s a strong tradition of printmaking. The university, which has a respected printmaking program, houses the collection in a special study centre open to visitors two days a week. “It’s a very well-regarded, internationally known print collection, and our focus is international,” says curator Jim Corrigan. “I was recently in Japan talking to a Japanese art university about developing a print centre there after they’d seen ours. So it has a good reputation and it’s almost self-perpetuating in terms of people wanting their work to get into the collection. We’re negotiating with a Japanese print artist on a major donation to the collection.” The Morris and Helen Belkin Gallery at UBC also has strategic collecting interests, including the province’s avant-garde, Vancouver’s post-war history and emerging contemporary artists. The gallery has more than 3,000 works, including 490 by the late Jack Shadbolt, an important regional artist, as well as archival material related to conceptual art, concrete poetry, mail art and performance art. Their collection is distinct in western Canada, like collections in universities across the region, including the focus on contemporary Canadian art and European and North American decorative arts at the University of Victoria, an archive of works and materials associated with the late painter Lionel LeMoine Fitzgerald, at the University of Manitoba, and a special cache of donated paintings by the Regina Five — Ken Lochhead, Art McKay, Ron Bloore, Ted Godwin, and Douglas Morton — at the University of Regina.

BELOW TOP: Mitsuru Hiraki,

Morris and Helen Belkin Art Gallery,

Circumstances of ABC ... (II), wood-

The University of British Columbia;

cut on paper, 1996, 1/20. From the

purchased with the support of

University of Alberta art collection.

the Canada Council for the Arts and

BELOW MIDDLE: Robert Jancovic,

the Morris and Helen Belkin Founda-

Icarus Fall and Shadow, lithograph

tion, 2003.

on paper, 1996, 16/60. From the

RIGHT: Liz Ingram, Ultimate

University of Alberta art collection.

Synthesis: Finite Source VII, etching,


drypoint, photo-digital and chine collé

MacLeod, Wood for the People,

on paper, 2007 - 9, 1/28. From the

2002 concrete. Collection of the

University of Alberta art collection.

HOW TO: DONATING TO A UNIVERSITY ART COLLECTION If you want to donate a painting or sculpture to a university art collection, a good first step is to research what types of work different universities are collecting. As storage space is limited — and some donations are refused — it’s important to find a good fit for your work. Contact the person who manages the collection, often the university gallery’s director or curator. They may ask to see photos or to look at the work in person. If they like what they see and think it belongs in the collection, they may recommend it to the university committee overseeing acquisitions. Such committees require solid evidence about provenance — including where a work has been exhibited and when it was bought. Committee members probably want to know why a work would enhance the university’s collection. Is it an important piece from a regional artist? Does it fill a gap in the collection? Is it of special historical interest? An independent appraisal of fair market value is often needed. Most donated artworks are treated as charitable gifts-in-kind and deductions can be claimed on the donor’s income tax form. In special cases, a work may undergo certification as cultural property. This means the work is deemed to be of outstanding significance and national importance. The process is long and complex, but the designation gives the donor a considerable tax advantage.

Galleries West Fall/Winter 2012 39

40 Galleries West Fall/Winter 2012


BY MARY-BETH LAVIOLETTE Around the globe, Nuit Blanche — or as it’s commonly translated “Sleepless Night” — is a name charged with cultural cachet and brand appeal. Since its inception in 2002 as a one-night/all-night arts festival in Paris, Nuit Blanche is to contemporary art what Twitter is to contemporary culture: short in duration, engaged with a broad eclectic audience and capable of being both meaningful and inane at the same time — it’s the perfect definition of a mass spectacle. In Canada, the most highly touted Nuit Blanche is in Toronto where, since 2006, the sunset-to-sunrise celebration of contemporary art has become the nation’s most well-attended art event. It has Scotiabank sponsorship among others, and an audience last year estimated to be around one million, including more than 120,000 out-of-town visitors. The city turned itself into a de facto art gallery, providing temporary space for art installations, performances, exhibitions and every manner of artistic expression. In 2011, there were 130 projects or destinations. This year, Calgary is joining the Nuit Blanche ritual for the first time on September 15 — a few weeks before Toronto’s gets underway again. Along with Vancouver and Winnipeg, Calgary is the third city in Western Canada to march forward under the Nuit Blanche banner. Though the event has been dismissed as esoteric, the event has given a boost to installation and performance art in all its host cities. For Caitlind Brown, a Calgary-based multidisciplinary artist and curator with an installation planned for the city’s inaugural event, it means only one thing: opportunity. “It’s an ideal way to create public excitement for the arts. Nuit Blanche Toronto blew my mind as an art student, and I’ve never thought the same way about public installations since. Calgary is on the cusp

TOP: Caitlind Brown with Lane


Shordee and Wayne Garrett, Cloud

Bilodeau, Sebastien Giguere, Nicolas

Stage, installation, 2012.

Laverdiere), Carrousel, installation at

OPPOSITE LEFT: Untitled 2006 from

MassMoCA, 2012.

the series Fifteen Restless Nights by

LEFT: Emily Promise Allison,

Derek Michael Besant, thermal ink


on veil scrim fabric.

2012. Galleries West Fall/Winter 2012 41

of a new cultural understanding — I’m hearing it everywhere. The music, theatre and arts communities are maturing, gaining exposure and exploding into visible realms.” Part of the visibility, at least this year, is Nuit Blanche’s unveiling as part of the roster for Calgary 2012 which is tied to the city’s nomination as Cultural Capital of Canada. Curator Wayne Baerwaldt has been working with a board and a small team, looking after the logistics and organization. Currently the Director/Curator of the Illingworth Kerr Gallery at the Alberta College of Art & Design, Baerwaldt is doing double-duty with Nuit Blanche Calgary, which has the support of ACAD, City of Calgary Arts and Culture and Tourism Calgary Baerwaldt already has one Nuit Blanche to his credit. In 2008, he served as curator of 12 projects in Toronto’s Bay Street financial district. For Calgary, organizers have selected five outdoor projects to be clustered around the Stephen Avenue area between the Glenbow Museum and City Hall. A busy pedestrian stroll where civic, business and cultural communities intermingle, food trucks will also be on hand to serve urban fare. Is it time, then, for an all-night party? ACAD instructor Diana Sherlock, who’s had her own previous artful wanderings in Toronto, is not entirely convinced by the extravaganza of onenight spectacle. “Although there were some very good site-specific, commissioned projects ... much of the art was lost in the mass, party environment. The quality of what was shown, because of all of the related, peripheral events, was also very uneven. You have to commission particular work with this context in mind or the art, and the audience’s experience of it, suffers.” Sherlock is on the Nuit Blanche Calgary board, whose members Baerwaldt describes as skeptical “to some degree about how Nuit Blanche has unfolded elsewhere.” That includes the 12-hour, 7 p.m. to 7 a.m. format of the Toronto event. In Calgary, the event is scheduled to run from 7 p.m. to 3 a.m., and the organization is making $5000 available for each of the five projects, with funding for production coming from other sources. Scotiabank Nuit Blanche juried artists’ projects are paid a $1000 honorarium and up to $3500 in production costs. For Caitlind Brown, the funds make possible her own unique Nuit Blanche Calgary installation — an interactive illusion of an electricallycharged cloud activated by audience members pulling on metal strings connected to clusters of light bulbs. Over 1,000 bulbs are involved in the fanciful work, crackling, she expects, with lightning-like effects. The Quebec City-based trio BGL (Jasmin Bilodeau, Sebastien Giguere, and Nicolas Laverdiere), have constructed a carousel out of ubiquitous urban

objects like shopping carts and metal crowd barriers. The Calgary version will have six (shopping cart) seats and revolve faster than the one they made for MASS MoCA’s Oh, Canada exhibition in North Adams, Massachusetts. Propelled by volunteer athletes, Nuit Blanchers will ride Carrousel in the city’s Olympic Plaza, while nearby others light-up Brown’s CLOUD. In all of the projects planned, the intent is to foster social interaction and the experience of art beyond its quiet contemplation in a gallery setting. The art collective called Sophie Farewell has planned a more vocal interchange between individuals. In However you do it…consider the stars, two “town criers” — played by actors — will call out text messages sent by audience members. Each will be positioned on an industrial scissor lift above the audience, and the criers’ performance plays into a concern about the public sphere and the dissemination of information. Or, as collective member Eric Moschopedis puts it, it’s about “who has a voice and who doesn’t.” ACAD art student Emily Promise Allison is preparing an as-yet-untitled performance art event that will travel in and around the Olympic Plaza space. Her work is about the interdisciplinary relationships between visual art, theatre, and audience. As late night events go, The Candahar may end up being an audience favourite. Created by Theo Sims, the monumental work is a detailed replica of a Belfast pub nestled in a large plywood structure the size of a shipping container. It’s all faux but all real at the same time, as bartenders Chris and Connor Roddy from Belfast will go about their usual business — serving and chatting with Nuit Blanche patrons. Nuit Blanche Calgary is still very much a work in progress or taking “baby steps”, as Baerwaldt describes it. For next year, there are hopeful plans to run the event during the annual Sled Island Music and Arts Festival. In the meantime, as the groundwork is laid, other programming ideas for the September 15th date are in the works, including the presentation of Derek Michael Besant’s Fifteen Restless Nights. An installation that’s already toured around the world since 2006, the show’s Alberta debut will feature large-scale images, music and voice displayed across the street from Olympic Plaza at MOCA Calgary. While not quite an all-nighter in Calgary, if the Nuit Blanche concept achieves anything, it’s Baerwaldt’s and the board’s aspiration that it runs counter to how so much of our interaction is mediated today with technology. Instead of staring into iPhones and other devices, people are encouraged to have “real contact with real artists in a very specific place and time.” Baerwaldt hopes to emphasize that “there is a real difference between what people mean by connecting.”

CALGARY: CULTURAL CAPITAL This is Calgary’s year, and the city’s visual arts community is reaping some of the rewards. Celebrating centennials for artistic and public institutions, Calgary is also Canada’s designated Cultural Capital for 2012. “Calgary is defining what a Canadian city is going to look like in the future,” says Karen Ball, executive director of Calgary 2012 — a non-profit formed to manage the designation’s funding and programming. Competing against other Canadian centres, Calgary received the Canadian Heritage designation based on “an ongoing commitment” to arts and culture. For the city’s visual artists, the designation has meant an infusion of grant funding (the total budget for the project is approximately 42 Galleries West Fall/Winter 2012

$4.5 million), as well as local and international recognition. Kai Scholefield is a member of the glassblowing collective Bee Kingdom. Calgary 2012 funding sent Bee Kingdom to Pictoplasma — a Berlin arts festival Scholefield calls “an animator’s dream” — as representatives of Calgary’s glassblowing community. He says that as a result, Bee Kingdom “exported the credibility and legitimacy” of the local scene to Germany. In another Cultural Capital initiative, the AiR (Artist in Residency) program lifts artists from their (typically) solitary art-making spaces and places them in public ones, if not necessarily ones considered bastions of culture.

“The purpose is to expose Calgarians to the creative process where they go naturally,” says Ball. Old Trout Puppet Workshop — the self-professed “motley gang of artists” that has combined visual art with theatre since 1999 — is hosting a residency in the Chinook Centre shopping mall for sculptor and video artist Noel Bégin. Michael Green, Calgary 2012 curator and creative producer, says Old Trout initially applied to host Bégin on its own. Meanwhile, Chinook Centre applied separately as a residency spot. Green says the mall’s desire to participate was so unusual that he needed something “equally bold” to match it, and he joined the two together. The residency takes place in February 2013. — Heather Setka



Leslie Supnet, A Time is a Terrible Thing to Waste, drawing.


Last summer the Maison Rouge museum in Paris celebrated the work of 70 Winnipeg artists, including the Royal Art Lodge, Daniel Barrow, Sarah Anne Johnson, Kent Monkman and others whose pictures tell stories. Many more artists could have been included in this exhibition, but Glen Johnson and Leslie Supnet were passed over, proof of how widespread art-making as storytelling is in this little prairie town. Unusually, neither Supnet nor Johnson were trained as artists. She has a degree in mathematics and he has a degree in classics, and as such, both are outliers in Winnipeg, even if Johnson has shown at Canada’s National Gallery and Supnet has recently won an On The Rise Award from the Winnipeg Arts Council. Johnson is best known as Hugh Briss, the author of the widely read satirical electronic newspaper Persiflage, a lively set of fictional articles by fictional authors — all of whom are Johnson. He is also the creator of the “Artistic License Bureau” which issues identity cards to anybody who wants to be an artist. Supnet has a growing reputation for her animated films and coloured drawings. Their show, and the wider Winnipeg narrative art scene, is a reminder that art happens in cycles, but always with new twists on old themes. In the late 1960s, for example, some conceptual artists including John Baldessari, Mac Adams and David Askevold had become bored with what they called “ABC conceptualism,” even though conceptual art had only been around for a couple of years. They came up with what they called

Galleries West Fall/Winter 2012 43

44 Galleries West Fall/Winter 2012

...AS ADULT CHILDREN CHOOSE TO LIVE AT HOME WITH THEIR TOLERANT BOOMER PARENTS. PERHAPS THE CREATION OF HYBRID CHILD/ADULT STORIES BY THE LIKES OF SUPNET AND JOHNSON IS A SYMPTOM OF THAT TREND, AN ART THAT SUBTLY GEARS ITSELF TO A NEW SOCIAL LIFE “Story Art” in order to expand what had very quickly become, at least within their little genre, a set of boring artistic formulae. Of course, the old conceptualists would not have shared Leslie Supnet and Glen Johnson’s love of the children’s book illustrations of Beatrix Potter, Thornton W. Burgess and Harrison Cady. What the conceptualists called “stories,” after all, were often fractured narratives with barely a storyline. But the conceptualists ignored traditional modernist objections against “illustration” in the art world that were not so long ago ubiquitous, just as Supnet and Johnson and many other artists do today. We’ve come a long way since the 1960s, when a show of any kind of illustration would have been considered to be marginal art. But it’s one thing to suggest a narrative in a painting and another to literally create an illustrated story. Supnet and Johnson like to cite canonical children’s stories that have horrific elements, like the work of Hans Christian Andersen. This is despite the fact that their show includes performative readings of the stories, reassuringly traditional hardcover book versions of the narratives, and an installation meant to recall the comforting lounge areas of libraries and bookstores — possibly luring visitors into thinking that they really are meant for children. Supnet acknowledges affinities with the Leslie Supnet, drawings local Royal Art Lodge, superstars whose OPPOSITE: Angry Little Girl, work has been celebrated everywhere in ABOVE: What Death Looks the 2000s. Winnipeg often thinks of itself Like, (detail).

as the home of narrative contemporary art, but artists here rarely talk about their work as if it were literally “illustration,” even if it is often just that, and Beatrix Potter would also never get props from Winnipeg artists. It’s in the straightforward practice of telling stories that sets Johnson, Supnet and perhaps Daniel Barrow apart from most other so-called narrative-based Winnipeg artists. There has been much talk lately of the lengthening of childhood into the 20s and 30s, as adult children choose to live at home with their tolerant boomer parents. Perhaps the creation of hybrid child/adult stories by the likes of Supnet and Johnson is a symptom of that trend, an art that subtly gears itself to a new social life. Johnson and Supnet’s working methods are fluid. “A story might inspire a drawing that necessitated rewriting the story, or a drawing that inspired a story might have to be changed to fit the new story.” Johnson writes the stories and Supnet illustrates them, but they also work in reverse — Supnet has made sketches that inspire Johnson’s stories. One of their collaborations led to a script for a short animated film — Supnet’s specialty — that is featured in this show. Glen Johnson’s ongoing “Uncle Glennie” persona is important to Storytime. Begun in 2006, this work “replicates the experience of a ‘storytime’ in which children are traditionally read stories by a somewhat avuncular character.” But Johnson’s performances are not geared to little children. In a sense he infantilizes adult stories — witness the title of one of the stories: The Terrible Tale of the Super-Frightening Unbelievably Scary Dangerous Person Who Did Those Awful Awful Things. Similarly, Leslie Supnet’s drawings look as if they may have been made for children but are aimed at adults. According to the artist, they are about “identity, isolation, longing and despair all with a touch of whimsy and the surreal…” She’s interested in using her drawing “as a mechanism to cope with the little tragedies we all face day to day.” Storytime, a joint exhibition project by Leslie Supnet, a visual artist and animator, and Glen Johnson, a performance artist and writer, is on at Gallery 1C03 at the University of Winnipeg September 6 to October 6. Galleries West Fall/Winter 2012 45



MOVEMENT In October, the Art Gallery of Greater Victoria will present the work of 31 ceramic artists from Vancouver Island and the Gulf Islands, made during the 1970s and 1980s. Guest curated by Diane Carr, Back to the Land is the first group exhibition to focus on this unique period in the island communities of the West Coast, an important step in reconstructing the ethos of an era. Until relatively recently, it could be challenging for North American ceramic artists to see their life’s work taken seriously as art. The day-to-day experience of living with ceramics, many of them household objects whose beauty is, by design, inseparable from their utility, fosters a different kind of contemplation than we usually associate with museum environments. Important traditions could be overlooked as ‘mere craft’ as opposed to ‘fine art’, a separation many take for granted without considering the complex social and cultural histories involved. “I see craft as an essential part of any work of art,” says Diane Carr. Recalling her own formative experiences with an art professor who spent time in Japan on a Fulbright Scholarship. Carr says “I was as much inculcated with Asian philosophy, Zen in particular, as with Cézanne.” Concealed in this charming remark is an awareness of the underlying dialogue between East and West that was as vital to France’s Impressionists as it was to North American pioneers of abstraction, including experiments in lifestyle, architecture, philosophy, and, as rejoinder to all of these, ceramics. In the early 1970’s, Carr found herself with the unexpected gift of a small pottery shop that was on the verge of closing. She immediately organized an exhibition of several local potters, and discovered that something was in the air: “we must have had 200 people show up for opening night.” One show led to another, and Carr began looking for ways to support a business. A serendipitous encounter with a pottery-loving bank manager led to a line of credit that allowed Carr to purchase works outright from the potters, so she could choose carefully and acquire the best. Carr’s gallery, The Potter’s Wheel, helped realize a period in which artists — many of them already important influences in the region — could support themselves with their work. Ceramist Mary Fox recalls her youthful beginnings, selling work at swap meets in hope of making enough money to buy more clay; for her, pottery galleries offered the possibility of a market as well as a chance to learn by looking. Eventually, some two dozen full-time ceramists were active in the region, almost half of whom are still producing work today. Ironically, for Carr this meant living with less. “There was no money in running a pottery gallery in the 70s,” she recalls, recounting how a load of pots crammed into her Volkswagen on the ferry from a remote studio on Hornby Island was worth more than the car at the time. Carr sold the business in 1975, but remained devoted to the cause, becoming instrumental in the development of Vancouver’s Cartwright Street Gallery, a publicly-funded initiative that later became the Canadian Craft Museum. “The idea was to get ceramics accepted as worthy of exhibition and serious discourse in public institutions like the Vancouver Art Gallery.” This meant not only presenting work, but researching and writing about its history and development. It was during these years that Carr began curating the kinds of exhibitions that would lead to Back to the Land. The inspiration for an exhibition at the AGGV came after a lecture Carr presented at Victoria’s Abkhazi Garden called Form and Function, focused on key members of the scene and their influences. With the help of Victoria-based textile artist Carole Sabiston, a CD of images was passed on to Gallery Director Jon Tupper, who responded, “you’ve got a show right here.”

46 Galleries West Fall/Winter 2012



OPPOSITE: Mary Fox, Mary Fox, Tribute, c. 1985, collection of the artist. ABOVE: Robin Hopper, Homage to Adolph Gotlieb, 1978, collection of the artist. RIGHT: Ian Steele, potter, 1973.

Galleries es We West stt FFall/Winter alllll/Wi a //Wi /W W nte t r2 te 2012 012 2 47 7

ABOVE: Robin Righton, Jar, c. 1985, private collection. BELOW: Byron Johnstad, Lara’s Theme, Music box, 1974, private collection.

Carr set about finding works for the exhibition, not a simple task since many pieces were more than likely to be found in private homes. In some cases, the artists themselves were tapped for prime pieces, loaning work they had set aside for decades (Carr convinced venerable ceramist Walter Dexter to surrender his teapot to the cause, plucking it right off the kitchen counter.) In the process, Carr divined distinct lineages, “who had been taught by whom,” and in doing so laid bare the roots of the movement. As a trained art historian, Carr acknowledges that the most straightforward historical influence in the exhibition would be that of Bernard Leach and Shoji Hamada. Leach and Hamada met when Leach (an Englishman born in Hong Kong) went to Japan to study art, falling under the spell of both Japanese pottery and the ideals of English Arts and Crafts Movement founder William Morris, who famously stated, “have nothing in your houses that you do not know to be useful, or believe to be beautiful.” Combining Asian traditions with those of England and Germany, Leach and Hamada promoted a synthesis of technique, but also a philosophical perspective. They founded a workshop in St. Ives, Cornwall in 1920, building a Japanese-style, wood-fired kiln in a labour-intensive tradition that would later be taken up by West Coast artists like Wayne Ngan. Leach popularized their ideas in writing in 1940, attracting dozens of apprentices and students from around the world, including British Columbia. An entirely different chapter in the story of form and function could be found in the work of Jan and Helga Grove, German potters born into in a rigorous European tradition descended from the legendary Bauhaus school. Where much West Coast pottery is roughly textured and archaic-looking, the Groves’ work engages in a refined formal play, mixing echoes of primitive and modern sculpture within a disciplined physical continuum. A third influence was Abstract Expressionism, the raw, searching approach that dominated North American painting after the Second World War, producing such spectacular images as Jackson Pollock’s dripped and splattered murals and Jack Shadbolt’s dancing, calligraphic line. The dramatic designs daubed in soft, watery slip clay over the surface of a Walter Dexter vase recall such restless gestures, but their intensity and immediacy is more than a matter of style. Carr cites a fusion of Asian ‘nowness’ and a distinctly North American “cult of the ‘I’, the need to be identified with the piece, to put your name on it, to have a title, to name it art.” And perhaps all of these sources with their rich contradictions — tradition and synthesis, discipline and play, spontaneity and craft — should be considered with respect to the potters’ milieu, and what “back to the land” meant for these artists. Social movements advocating an escape from the city and a return to simplicity and self-sufficiency have long offered provocative alternatives to urban routine; crises like the Great Depression and the Second World War compounded their urgency. For Carr, it meant working as an activist with Voice of Women in Vancouver, helping American men evading the Vietnam War to escape to the Kootenays or the Gulf Islands. Ceramic artist Gary Cherneff remembers how this “influx” affected the nascent artistic community on Salt Spring Island: “It was huge...We all benefitted from their intellectual capacity and moral compass.” Cherneff points out the ways in which a desire for community and the beginnings of the environmental movement resulted in a unique moment of creativity and collaboration, between homesteaders and activists, artists and architects: “It was a very giving time.” Carr is eager to take us back to this shared experience, citing the vocabulary of pottery as relating to our physical common ground, “the language of ceramics is...‘neck’, ‘throat’, ‘shoulder’, ‘foot’, ‘belly’…It’s language is in the body,” quoting Hornby Island potter Wayne Ngan as saying that “the pot is the physical manifestation of the breath.” Carr argues for the importance of contemplative objects in our everyday lives, and points out that her degree is in “history -in-art”, that a communal history — lost lore and local clay — remains in these objects to be examined, enjoyed and considered. Back to the Land: Ceramics from Vancouver Island and the Gulf Islands 1970-1985 is on at The Art Gallery of Greater Victoria from October 5, 2012 to February 3, 2013.

48 Galleries West Fall/Winter 2012



T 403 290 0145 1226A Ninth Avenue SE



Nickle Galleries presents

We Tell Ourselves Stories Opening October 2012 Nickle Galleries now located in the Taylor Family Digital Library University of Calgary online:




Galleries West Fall/Winter 2012 49

SATUR D AY S E P T E M B E R 1 5 SUN D AY S E P T E M B E R 16 11 - 5 rain or shine

Explore Calgary’s diverse visual arts community! Take the galleries and/or some of the many events over the weekend including: t artist demonstrations t Q & A with local artists t hands-on workshops tBSUJTUTUVEJPTPQFOUPUIFQVCMJD


participating galleries / events listings / maps - available at (and check us out on facebook and twitter too!) S p o n so red b y:

50 Galleries West Fall/Winter 2012


STEVE SMITH (DLA’KWAGILA) LATTIMER GALLERY — $500 – $10,000 Vancouver Since 1986, Lattimer Gallery in Vancouver has showcased work by Northwest Coast artists, carrying everything from silver jewelry and woven baskets to bentwood boxes and totem poles. Peter Lattimer, who took over in 2001 from his grandparents, Leona and David, remains committed to First Nations work and recommends Kwakwaka’wakw artist Steve Smith (Dla’kwagila) to clients. Smith started painting as a teenager, learning traditional forms and colours from his father, Harris Smith (Lalkawilas). He soon took his own direction and now primarily uses black, green and red oxide in his paintings and carvings. A prolific artist, Smith has shown his work in New York’s Museum of Arts and Design, the Burke Museum in Seattle and the McMichael gallery in Ontario. His work is also displayed in the Vancouver International Airport. “Within Northwest Coast design there are stringent rules around how forms are created,” says Lattimer. “Smith takes the elements and makes them more abstract, putting a modern spin on a traditional art form. He has really evolved into an artist in his own right, and is always building Untitled, vinyl figure on his work.” (Munny) with acrylic Lattimer suggests new collectors make sure they feel true love — not just an paint, size: 8" X 5". infatuation – for work they buy, as they’ll see it every day.

MARIE-DANIELLE LEBLANC GERRY THOMAS GALLERY — $3,300 - $4,400 Calgary The organic vibrancy of Montreal-based artist Marie-Danielle Leblanc’s impressionistic landscape paintings strikes the eye on entering the Gerry Thomas Gallery in Calgary. Thomas, who opened the gallery in 2007, started carrying Leblanc’s work four years ago after falling for work she created on wood panels using tar, resin and acrylic paint. The artist mixes her own colours, using minerals as well as plants and berries collected in northern Quebec. “I’m interested in the inner functioning of the living,” says Leblanc, who was born in TroisRivières, Que. “That’s why I particularly like to work with tar — an organic matter with unique colour, odor and texture.” Leblanc, who earned a BFA from the Université du Québec à Montréal, was awarded first prize at the Salon 2010 of the Société Nationale des Beaux Arts in Paris. Her art can be found in corporate offices in Montreal and Vancouver and in homes in Europe, Japan and North America. Thomas recommends Leblanc’s work to collectors as it sells conA Splash With Red, sistently and is gaining popularity in the United States and Europe. He acrylic on canvas also encourages new collectors to think about their own style and how 16" X 12". different settings and lighting conditions can affect a painting’s impact.

Galleries West Fall/Winter 2012 51


sculpture by Byungjoo Suh called Heron of Alexandria.

COLLECTOR PROFILE JOAN MCCONNELL Salt Spring Island Joan McConnell bought her first piece of art in 1947, one month after getting married in Australia. The piece, a copy of a luminous landscape by Australian Elioth Gruner, was all the young librarian could afford. Today, McConnell, owns some 80 works of art, from prints and lithographs to oil paintings and sculptures, primarily by Canadian artists. The inspiration to buy that copy of a Gruner — and everything since — was to surround herself with beauty, McConnell, 86, says from her home on Salt Spring Island. Art is what differentiates humans from animals, she says, and is the white in the black of a world beset by war and greed. “Art is the redeemer for humans, in all its forms. And we do need redemption.” Not surprisingly, McConnell calls herself a philosophical collector, one who believes the creative expression found in music, theatre and the visual arts elevates humans. She started buying original art in 1967, after her children left for university, and also added a political science degree to her earlier bachelor’s degree in art. Her first purchase was a lithograph by Newfoundland artist David Blackwood, bought at a fundraiser for the Thomas More Institute, a lifelonglearning centre in Montreal. The artist was starting to garner attention and public acclaim, and McConnell became one of the few in the city to have a coveted Blackwood. “Find a beginning artist, and that means looking around your own community,” McConnell advises new collectors. “Find them and encourage them.” She also recommends watching a documentary on Herbert and Dorothy Vogel, who over decades amassed a 2,000-piece collection that includes some of North America’s most important contemporary artists. The couple used his salary as a New York postal clerk to buy art from emerging artists and paid the bills with her salary as a librarian. “Then you can see art is not beyond you,“ says McConnell, who wishes she’d had the same advice as a young bride in New South Wales. 52 Galleries West Fall/Winter 2012

Green Paint on Musk Burl, acrylic pearl paint, 2012,11" X 13".


Joan McConnell with a stoneware

Regina-based sculptor and installation artist Kyle Herranen credits his parents’ hobbies of woodworking and sewing for his unusual mix of media — cotton fabric and wood. Herranen’s eye-catching work explores various contrasts — between art and craft as well as masculine and feminine — but he says the root of his work is nature. Herranen, who grew up in the midst of Sudbury’s pulp-and-paper industry, often chooses cloth with faux-nature themes such as leaves and birds. In recent work, the printed fabric acts as a patterned background for wood fused between layers of resin and automotive paint. His use of exotic and local woods such as bubinga and maple appeals to both new collectors and seasoned buyers, says Meagan Perreault, owner of the Nouveau Gallery in Regina. “It’s exciting to see people are excited about his work. This is part of my dream — to show young artists, watch them take off and be part of that journey.” Herranen, who received his MFA from the University of Regina in 2008, has had a solo exhibition at the Dunlop Art Gallery in Regina and his work is in the gallery’s permanent collection. As well, he was included in a recent travelling exhibition of Saskatchewan artists organized by the Dunlop in collaboration with the Ottawa Art Gallery.

STEVEN FRIEDMAN STEFFICH FINE ART — $2,200 - $4,400 Salt Spring Island, B.C.

Bay of Fires, (Tasmania) 30" X 42".

Steven Friedman’s photographs of isolated landscapes may appeal to people who consider art a good investment in a recessionary climate, but also want to buy something they like. Matt Steffich, owner of Steffich Fine Art on Salt Spring Island, says he has noticed people are focused on quality, although they still buy art that appeals to them, regardless of medium. So he has no hesitation recommending Friedman, who has placed five years running in the International Photography Awards, one of the world’s largest juried contests for professional and non-professional photographers. Friedman was also a 2012 and 2011 bronze winner in the Prix de la Photographie Paris, another international contest, and a 2009 finalist in the Hasselblad Masters Awards. Friedman, a self-taught artist born in Ottawa, focuses on isolated landscapes, whether boulders by the sea in Tasmania or Ontario birches in spring. Steffich, who is celebrating his 20th anniversary in business, encourages clients to learn about art. “Education is the single biggest factor when learning about the art of collecting art, whether it is historic or contemporary,” he says.

KATHLEEN BLACK PULSE GALLERY — $500 - $4,000 Winnipeg

Lavender Cups, pate-de-verre, 18" X 18" X 10".

Great foot traffic is a plus for Kathleen Black, a Winnipeg artist who sells her work at the Pulse Gallery in The Forks, a public market and entertainment hub at the junction of the Assiniboine and Red rivers that attracts a million visitors a year. Black, who has a BFA from the University of Manitoba, has been working with glass since the late 1990s, twisting established techniques by fusing crushed glass to form striking figures. Her work, inspired by an interest in light and time, seems deceptively fragile at first glance, but in reality is weighty and strong. She often works with pâte de verre, in which a paste of glass is applied to the surface of a mold and then fired. “When I look at her pâte-de-verre sculptures, they look like they could just crumble,” says Lesly Dawyduk, the owner of Pulse Gallery, which sells traditional and contemporary art. “But you pick them up and they are solid, heavy even.” Black also paints in acrylics, and her prairie landscapes and urban vistas. Dawyduk recommends Black to customers because the artist is building a growing clientele, which means her work is also increasing in value.

Galleries West Fall/Winter 2012 53



Spring 2012 Review

SOLD: $13,200

SOLD: $170,000 SOLD: $110,000

David Alexander Colville, Dog with Bone,

circa 1915, oil on plywood, 8 1/8" X 10 7/8".

1961, colour serigraph, 29 1/4" X 21".

The weather was good at the Vancouver and Toronto spring auctions, but overall it was an odd season for art, with surprise highs and lows. Much interest was generated by a small Tom Thomson work bought at a Vancouver garage sale and sold for $110,000 at the Maynards sale in Vancouver on May 16. It was an exciting find and wonderful to examine closely. In my opinion, it seemed to be a Thomson. Maynards provided all the documentation it could, and various experts had a good look, but without a detailed provenance it was a risky buy. Maynards also had some excellent contemporary art, bought by a savvy collector with an iPad on his lap. Other astute buyers made good picks, including a great piece by Molly Lamb Bobak. The catalogue cover at the Heffel auction in Vancouver the following day featured a pretty 1973 painting by Jean Paul Lemieux, La plage americaine. It proved to be the highest sale, at $1.5 million. But the pace didn’t hold for other works by Lemieux. A large early painting, Le mois de juin, struggled to $325,000. Then my top pick, La cravate rouge (1965), a small but excellent image, sold for $45,000. A surprise, as I thought it would fetch $60,000. The sale had a strong West Coast flavor, with works by B.C. Binning and Jack Shadbolt. Gordon Smith was represented with nine works and E.J. Hughes with seven. Other important offerings included Landing (1973) by Newfoundland’s Christopher Pratt, a great painting that went for $170,000. Sales included an Alex Colville and a rare 1942 Borduas work on paper in excellent condition, which sold for $65,000. Roy Kiyooka’s Prairie Sky, a quietly elegant 1957 abstract from his Regina days, sold for just $10,000. Two Oscar Cahén drawings failed to meet estimates of $30,000 to $40,000, even though one was particularly excellent. Collectors tend to be cautious with drawings, especially those with high estimates. Sorel Etrog’s wonderful work, Metamorphosis (1962), was a good buy at just under $41,000. Etrog is one of Canada’s great sculptors and has exhibited abroad, but it seems Canadian collectors are unaware of his reputation. 54 Galleries West Fall/Winter 2012

Christopher Pratt, Landing, oil on board, 30" X 38".

Heffel also featured J.E.H. MacDonald’s Early Autumn, Montreal River, Algoma (1919), which has a clear provenance. A prime period for the Group of Seven, the small and colourful sketch generated strong interest. The hammer came down at $450,000. Still, hesitation was evident in the room. Dealers were quiet and conservative with other bids and collectors saved their interest for certain works. In all, the sale had 22 passes. Yet some prime works drove values up — Emily Carr’s Eagle Totem, circa 1930, fetched $1.4 million, much more than in 2001, when it sold for $390,000 at Heffel. This year’s auction featured 16 resale lots, some of which did poorly. Works of interest included Frederick Varley’s elegant portrait drawings of Erica (1940) and a wonderful large painting by Marc-Aurèle de Foy Suzor-Coté, Young Girl in a Landscape (1913). The latter is a museum-quality work, but did not find a buyer. Works by Lawren Harris, A.Y. Jackson and Arthur Lismer did well. A prime work by Helen McNicoll, Easter Lilies, circa 1907, sold for $240,000. It’s a great piece by one of Canada’s early Impressionist painters. In Toronto, the Sotheby’s preview and sale, held at the Royal Ontario Museum, featured work by William Ronald, Harold Town, Jack Bush and Marcelle Ferron. Previews are excellent for examining art and I enjoyed seeing pieces juxtaposed in new ways. There was a good mix with some excellent works. My favourites included Alex Colville’s Dog with Bone (1961), Study for Six Squares (1966) by Yves Gaucher, and William Kurelek’s A Little Lick (1970). They sold well, as they should. Having more recent Canadian art at auctions is a good development. But quality, condition and estimates must be considered carefully by auction houses and collectors. Sadly, these were factors, as many lots did not sell. Reserve values also seemed an issue, as bidding went up to some estimates, yet works remained unsold. Overall, it was a hesitant night. Still, interest was strong for a Fritz Brandtner piece, Interior. This rare small work was a gem. It sold for $60,000 on the


Thomas (Tom) John Thomson, untitled,

By Douglas MacLean SOLD: $36,000

SOLD: $450,000 UNSOLD

James Edward Hervey (J.E.H.) MacDonald,

Gregory Richard Curnoe, Dessin Animé,

Jean-Paul Lemieux, L’émigré, oil on canvas,

Early Autumn, Montreal River, Algoma, oil on

mixed media on Harumi paper, 77" X 48".

19" X 25 1/2".

board, 8 1/2" X 10 3/8".

auctioneer’s hammer, well over an estimate of $15,000 to $25,000. And a 1920 painting by David Milne, Boston Corners Landscape, sold at $210,000. One of my favourite Lemieux works, L’émigré, failed to sell. It struggled to a realistic $150,000, well below the estimate of $180,000 to $220,000. This somber work, with its wonderfully painted background, is marked by strong strokes of subtle colour. Its buildings remind me of Moscow. Sales were puzzling overall, with frequent ups and downs. Was the mood of caution due to the economy, the art on offer or other factors? Sotheby’s conducted a good event and took some chances with more recent art. It later confirmed some passed works had since found buyers. The final spring sale was Joyner on King Street East. In general, the sale was set up well in new premises and the staff, as usual, managed to find works by less known but solid Canadian artists. An example was Frederick Loveroff, a Russian emigrant who earned a scholarship to the Ontario College of Art. His work was forgotten for many years, but Joyner’s has made headway with values. Winter Landscape, circa late 1920s, sold for $34,000. Other quality works included Mountain Sketch VII by Lawren Harris, sold at $280,000, and a fabulous vintage portfolio, Ten Canadian Prints, by W.J. Phillips. It’s rare to see an intact Phillips folio that has never been framed. A lucky buyer picked it up for $11,000. The prime lot was Lone Lake, a watercolour Franklin Carmichael painted in 1929. This stunning piece is large and rhythmic, with colours as fresh as the day he painted them. Its impeccable provenance includes a 2010 exhibition at the McMichael gallery in Kleinburg, Ont. It sold for $280,000, a record for the artist. The morning sale progressed well. Auctioneer Robert Cowley knocked down lot after lot, and was clear and accurate with his numbers. As with all major auction houses, a contemporary section was included. Works included William Kurelek’s After Church… (1976), which sold for $150,000, and Greg Curnoe’s

Mariposa T.T. from his full-size bicycle serigraph, which set a record at $50,000. Doris McCarthy’s The Tip of the Icebergs, reached $38,000 and David Blackwood’s Ephraim Kelloway’s Red Door hit a record high of $55,000. My favourite contemporary work was Curnoe’s Dessin Animé (1987), a large work on paper. Framed as only Curnoe could, this colourful and wordy piece epitomizes his style. It sold for $36,000 — beyond my reach, which was disappointing. Another work that deserves mention is a small William Ronald oil painting, Reggie Jackson (1978). Loaded with thick paint, this energetic piece is brilliant. It exceeded its estimated price, fetching $14,000 at the hammer. Although the sale was over quickly, Joyner scattered good things throughout and did well. Overall, I have mixed views on the season. We need fresh faces at sales to take advantage of many wonderful opportunities. Collectors can still find under-priced quality art that appeals to them if they’re prepared to invest for the long term. Douglas MacLean of Canadian Art Gallery is an art advisor and private dealer living in Canmore, Alberta.

Find slideshows of more images from auctions at

FALL AUCTIONS November 7, 2012 Maynards Art & Antiques, Vancouver November 22, 2012 Heffel Fine Art, Toronto November 26, 2012 Joyner’s Canadian Fine Art, Toronto November 27, 2012 Sotheby’s Canada, Toronto Galleries West Fall/Winter 2012 55



Fine art galleries in Western Canada

For our comprehensive guide go to

Elizabeth Russell, Exchanges, August 31 to October 13, Evergreen Cultural Centre, Coquitlam, B.C.

Artist, curator, and instructor Elizabeth Russell placed oil pastels into the hands of a diverse group of Coquitlam workshop participants and asked them to express their concept of home, homeland, community and place. “I told them to think about colour, light and time of day. I accepted their results ‘as is.’ It’s taking a chance but I want the flaws. I want the pieces to be true,” she says. She also included their written stories, which she says enrich the display of pastel images. Participating artists are members of the Immigrant Services Society of B.C., students from Port Moody Secondary School, and senior citizens living at Glen Pine Pavilion in Coquitlam. Immigrant images and stories stood out, she says. “They put a lot of effort into their work. They compare their home countries to Canada, and I’m fascinated by that.” She says some participants have never left Canada, but noticed that those who moved within the country had unique ideas about home as well. The Evergreen show, Exchanges, is true to its title — Russell showcases participants’ work alongside her responses, expressed in installations and mixed media artwork. — Janet Nicol ABOVE: Exchanges, three works on paper by Lanna Coletta, Yulia Yaremenko, Jae Eun Kim, pastel on paper.


dian travelling exhibitions. Tue to Fri 10 am - 5 pm, Thurs till 9 pm, Sat, Sun noon - 5 pm. DUNCAN

Public Gallery THE REACH GALLERY MUSEUM ABBOTSFORD 32388 Veterans Way, Abbotsford, BC V2T 0B3 T. 604-864-8087 F. 604-864-8048 The Reach Gallery Museum Abbotsford is committed to preserving and sharing the stories of our rich and diverse cultural heritage and showcasing the best in visual arts. Exhibitions include local history, local, regional and national visual artists and Cana-

Commercial Gallery E.J. HUGHES GALLERY 28 Station St, Duncan, BC V9L 1M4 T. 250-746-7112 The art of E. J. Hughes is now available at his hometown gallery on Vancouver Island. Hughes is a master. His use of color, moody coastal skies and timeless places keeps connoisseurs coming back for more. Shop the Hughes Gallery online or, in person Mon to Fri 10 am - 5:30 pm, Sat 10 am - 4 pm. Sun by appt.

BRITISH COLUMBIA INDEX Abbotsford ............................................................ 56 Duncan .................................................................. 56 Invermere............................................................... 56 Kelowna................................................................. 56 Penticton ............................................................... 57 Qualicum Bay/Beach ............................................... 57 Salt Spring Island ................................................... 57 Sidney .................................................................... 57 Silver Star Mountain ............................................... 57 Vancouver .............................................................. 57 Vernon................................................................... 59 Victoria .................................................................. 59

Whistler ................................................................. 60 ALBERTA INDEX Banff...................................................................... 60 Black Diamond ....................................................... 61 Bragg Creek ........................................................... 61 Calgary .................................................................. 62 Camrose ................................................................ 65 Canmore ................................................................ 65 Cochrane ............................................................... 66 Drumheller ............................................................. 66 Edmonton.............................................................. 66 Grande Prairie ........................................................ 67 High River ............................................................. 67

56 Galleries West Fall/Winter 2012



Commercial Gallery EFFUSION ART GALLERY 1033 7 Ave, Invermere, BC V0A 1K0 T. 250-341-6877 Describing itself as ’an unrestrained expression of emotion’, the gallery is created on the energy of contemporary art with a collaboration between established and emerging artisans from coast to coast. Friendly staff happily provide advice on installation and design specifics to clients, whether homeowners, interior designers or from the corporate world. Mon to Sat 10 am - 5:30 pm, Sun noon - 4 pm.

Commercial Galleries HAMBLETON GALLERIES 1290 Ellis St, Kelowna, BC V1Y 1Z4 T. 250-860-2498 Established in 1964, the Hambleton has provided a showcase for leading Canadian artists whose works grace many national and international private and corporate collections. At their new location, owners Stewart and Tracy Turcotte offer investment art opportunities to their clientele and have added ceramics, and bronze sculpture to complement the paintings. Tues to Sat 10 am - 5:30 pm.

Jasper .................................................................... 68 Lethbridge ............................................................. 68 Medicine Hat ......................................................... 69 Okotoks ................................................................. 69 Ponoka .................................................................. 69 Red Deer ................................................................ 69 Waterton ............................................................... 69

Prince Albert .......................................................... 70 Regina ................................................................... 70 Rockglen ................................................................ 70 Saskatoon .............................................................. 70 Swift Current.......................................................... 70 Val Marie ............................................................... 70

SASKATCHEWAN INDEX Assiniboia .............................................................. 69 Estevan .................................................................. 69 Melfort .................................................................. 69 Moose Jaw............................................................. 69

SOPA FINE ARTS 2934 South Pandosy St, Kelowna, BC V1Y 1V9

MANITOBA INDEX Brandon................................................................. 70 Gimli...................................................................... 71 Portage La Prairie ................................................... 71 Selkirk .................................................................... 71 Winnipeg ............................................................... 71

TURTLE ISLAND GALLERY 115-1295 Cannery Lane, Kelowna, BC V1Y 9V8 T. 250-717-8235 The gallery has a stunning selection of Northwest Coast wood carvings including ceremonial masks, totem poles, talking sticks, plaques and bentwoodstyle boxes. Also stone carvings, hand-carved gold and silver jewellery, original paintings and limited edition prints both contemporary and traditional. Mon to Sat 10 am - 5:30 pm (Summer only: also Sun 11 am - 4 pm). TUTT STREET GALLERY 9-3045 Tutt St, Kelowna, BC V1Y 2H4 T. 250-861-4992 F. 250-861-4992 Established in 1984, Tutt Street Gallery is a recognized dealer of original fine art — representing regional, national and international artists whose works can be found in private, corporate, and government collections, in Canada and abroad. The gallery extends a warm welcome to art enthusiasts and experienced collectors. Tues to Fri 10 am - 5 pm, Sat 10 am - 4 pm or by appt. Public Gallery KELOWNA ART GALLERY 1315 Water St, Kelowna, BC V1Y 9R3 T. 250-762-2226 F. 250-762-9875 Located in the heart of Kelowna’s Cultural District, the gallery serves the Central Okanagan Valley with regular exhibitions by contemporary Canadian artists, while the permanent collection has a focus on Okanagan and other BC-based artists. The gallery is a unique venue for special events and offers a variety of classes, workshops, etc for people of all ages. Tues to Sat 10 am - 5 pm, Thur till 9 pm, Sun 1 pm - 4 pm. PENTICTON Commercial Galleries SAINT-GERMAIN CAFE-GALLERY 102-449 Main St, Penticton, BC V2A 1V6 T. 250-492-0060 Saint-Germain is a euro-style cafe within a bright, light-filled gallery. The art focus is on contemporary BC artists, both representational and abstract. The cafe offers organic coffee, pastries, baguette sandwiches, salads and soups. Browsing with an espresso in hand encourages lively conversation about the art. Two blocks south of Front St. Mon to Fri 8 am - 5 pm, Sat 10 am - 3 pm. THE LLOYD GALLERY 18 Front St, Penticton, BC V2A 1H1 T. 250-492-4484 New location on colourful Front St. Experience the beauty of the Okanagan through artist’s eyes. Browse through a large viewing gallery hung French salon-style. Original oil, acrylic, watercolour, pastel, mixed media and sculptures depict the many faces of the Okanagan, Canada and Asia. Mon to Sat (Summer) Tues to Sat (Winter) 9:30 am - 5:30 pm. Public Gallery PENTICTON ART GALLERY 199 Marina Way, Penticton, BC V2A 1H3 T. 250-493-2928 F. 250-493-3992 The Penticton Art Gallery (formerly AGSO) presents contemporary art and historical exhibitions of both established and emerging artists in four exhibition spaces. A place of inquiry, interest and enjoyment, the gallery proudly promotes Okanagan as well as provincial and national artists. Admission: Adults $2, students and children free, weekends free. Tues to Fri 10 am - 5 pm, Sat and Sun noon - 5 pm.

QUALICUM BEACH Public Gallery THE OLD SCHOOLHOUSE ARTS CENTRE 122 Fern Road West, Qualicum Beach, BC V9K 1T2 T. 250-752-6133 The arts centre provides rewarding opportunities to enjoy, learn and experience art with three galleries offering a pleasant venue for appreciating and purchasing distinctive works. Artist studios are open to visitors. Creations by artisans are available in the gift shop. Gallery concerts on Sundays. Mon noon - 4:30 pm; Tues - Sat 10 am - 4:30 pm; (Summer only: Sun noon - 4 pm). SALT SPRING ISLAND Commercial Galleries PEGASUS GALLERY OF CANADIAN ART Mouat’s Mall, 1-104 Fulford-Ganges Rd, Salt Spring Island, BC V8K 2S3 T. 250-537-2421 F. 250-537-5590 Established in 1972, Pegasus offers investmentquality historical Canadian art including The Group of Seven, Robert Pilot, WJ Phillips, Sybil Andrews, The Beaver Hall Group and Cornelius Krieghoff. They also represent fine contemporary painters and sculptors as well as rare Northwest Coast Native art and baskets. Summer: Mon to Sat 10 am - 5 pm, Sun noon - 5 pm; Winter: Tues to Sat 10 am - 5 pm, Sun, Mon by appt. STEFFICH FINE ART GALLERY 3105-115 Fulford-Ganges Rd, Salt Spring Island, BC V8K 2S3 T. 250-537-8448 F. 250-537-9233 Toll Free: 1-877-537-8448 Formerly the Thunderbird Gallery, established in 1992. Contemporary, historic, Inuit and Northwest Coast art. Local and national artists. Kids and dogs welcome. Mon to Sat 10 am - 5 pm, Sun 11 am - 4 pm. SIDNEY Commercial Gallery PENINSULA GALLERY 100-2506 Beacon Ave, Landmark Bldg., Sidney, BC V8L 1Y2 T. 250-655-1282 Toll Free: 1-877-787-1896 Since 1986 the gallery has offered original paintings and sculptures as well as a wide range of limited edition prints for sale onsite and through comprehensive website. Mon to Sat 9 am - 5:30 pm.



SILVER STAR MOUNTAIN Commercial Gallery GALLERY ODIN 215 Odin Road, PO Box 3109, Silver Star Mountain, BC V1B 3M1 T. 250-503-0822 F. 250-503-0822 The gallery proudly represents a talented group of Okanagan, British Columbian and Canadian artists, some of them well-established and highly accomplished, others just emerging, but all of them work in a distinctive and original style — oils, acrylics, watercolours, scrimshaw, sculpture, pottery. (Summer) Thur and Sat 2 pm - 6 pm; (Winter) Wed and Sat 1 pm - 6 pm or by appt. GREATER VANCOUVER Commercial Gallery ART EMPORIUM 2928 Granville St, Vancouver, BC V6H 3J7 T. 604-738-3510 F. 604-733-5427 The Art Emporium offers a large inventory of paintings by all members of the Group of Seven and several of their contemporaries, as well as other major Canadian, French and American artists of the 20th Century, for serious collectors and investors. The Estate of Donald Flather. Mon to Sat 10 am - 6 pm. ART WORKS GALLERY 225 Smithe St, Vancouver, BC V6B 4X7 T. 604-688-3301 F. 604-683-4552 Toll Free: 1-800-663-0341

April White, Haida. Thúu Jaad - Canoe Woman.

T. 250-763-5088 Okanagan’s major contemporary art gallery, Sopa Fine Arts prides itself on providing an ever-changing selection of contemporary art from leading international artists, with new exhibitions opening the first Thursday each month. Sopa features high calibre, original and innovative artworks; in the media of painting, sculpture, and assemblage. Tues to Sat 11 am - 5 pm, Sun noon - 4 pm or by appointment.


115 - 1295 Cannery Lane - Kelowna’s Cultural District iœÜ˜>]Ê ÊÊ6£9ʙ6nÊÊUÊÓxä‡Ç£Ç‡nÓÎx

Galleries West Fall/Winter 2012 57

FRAGRANT-WOOD CARVING ART GALLERY 2233 Granville St, Vancouver, BC V6H 4H7 T. 604-558-2889 F. 604-558-2890 The Fragrant-Wood Carving Art Gallery, located on popular South Granville street, was established in 2011. It focuses on wooden sculptures, oil paintings, batik paintings and other artworks created by well-known artists in Southeast Asia. The delicate works reflect the artists’ unique experiences and interpretations. Daily 10 am - 6 pm.

At the end of August, Equinox Gallery will be relocating from Granville St in Vancouver to its ’Project’ space at 525 Great Northern Way. GALLERY JONES 1725 West 3rd Ave, Vancouver, BC V6J 1K7 T. 604-714-2216 The gallery represents established and emerging Canadian and international artists in the mediums of painting, sculpture and photography. Exhibitions change monthly. Tues ñ Fri 11 am ñ 6 pm, Sat noon ñ 5 pm.

Sasha Rogers, Parallels, September 13 to October 9, Jennifer Kostuik Gallery, Vancouver

Sasha Rogers left the prairies when she began painting 20 years ago, but she didn’t lose the influence of the vast landscape. Blue Winds, one of several acrylic paintings in her upcoming exhibition at Jennifer Kostuik Gallery, is an ‘atmospheric’ work, reminiscent of her childhood home. A horizon line shapes an expansive land and sky, rendered in ethereal blue tones among white clouds. Rogers believes horizon lines are illusions in themselves. Parallel lines vibrate against each other between the sky, land and sea in her paintings, pushing and pulling the eye back and forth, simultaneously separating the voids and uniting them. We imagine that we can see the point where the horizon lines ultimately touch, Rogers believes, but in reality, that point doesn’t exist — it’s an invented mark for an ambiguous state. Rogers sees her work as a continual exploration and dialogue with physical and visual concepts of space. “Painting for me is both an intuitive and formal process,” Rogers says. “It’s all about giving poetry a physical presence. I like to look at the outer world with my inner eye, moving between the abstract and the real, the gestural and the descriptive. I create evocative places.” —Janet Nicol ABOVE: Sasha Rogers, Renewal, acrylic on canvas, 71" X 71", 2012. Celebrating 25 years in business, Art Works offers one of the largest selections of art and framing solutions in Western Canada. Providing installation services, custom-framed mirrors and large-scale commissions. Deliver locally and ship worldwide. Art Works is a long-time official sponsor of the Interior Designers Institute of BC. Mon to Fri 9 am - 6 pm, Sat 10 am - 6 pm, Sun noon - 5 pm. BELLEVUE GALLERY 2475 Bellevue Ave, West Vancouver, BC V7V 1E1 T. 604-922-2304 F. 604-922-2305 Devoted to representing contemporary fine art, Bellevue Gallery features artists of local and international appeal. Giving voice to the experimentation of new technologies in printmaking, divergent and individual approaches to drawing, photography and painting, and distinctive sculpture, the gallery serves both private and corporate collectors. Tues to Fri 10 am - 5:30 pm, Sat 11 am - 5 pm and by appointment. BUCKLAND SOUTHERST GALLERY 2460 Marine Drive, West Vancouver, BC V7C 1L1 T. 604-922-1915 An eclectic gallery owned by Chris Boulton. His aim

58 Galleries West Fall/Winter 2012

is to hang quality art without too high a price tag. The gallery represents 18 artists, many with international roots. Mon to Sat 10 am - 5.30 pm, Sun noon to 4 pm. DOUGLAS UDELL GALLERY 1566 W 6 Ave, 2nd floor, Vancouver, BC V6J 1R2 T. 604-736-8900 F. 604-736-8931 In the art business in Edmonton since 1967 and Vancouver since 1986, 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 10 am - 6 pm, Mon by appt. FEDERATION GALLERY 1241 Cartwright St, Vancouver, BC V6H 4B7 T. 604-681-8534 The Federation of Canadian Artists Gallery on Granville Island offers sale, exhibition and gallery rental opportunities to members. New exhibitions are usually scheduled every two weeks throughout the year. Tues to Sun 10 am - 5 pm (mid-May - Aug), 10 am - 4 pm (Sep - mid May).

GRANVILLE FINE ART 2447 Granville St, Vancouver, BC V6H 3G5 T. 604-266-6010 Canadian artworld veterans Linda Lando and Ken Macdonald have reputations of building collections for collectors. They have merged their talents into Granville Fine Art, representing fine contemporary artists and showcasing works by Canadian and international master painters. Northwest corner Broadway and Granville. Tues to Sat 10 am - 6 pm. JENKINS SHOWLER GALLERY 101-15735 Croydon Dr, The Shops at Morgan Crossing, Surrey, BC V3S 2L5 T. 604-535-7445 Toll Free: 1-888-872-3107 NEW LOCATION Established in 1990, and representing the work of over 40 Canadian artists — from emerging local talent to internationally respected painters including Toni Onley, Toller Cranston, and Ken Kirkby — Jenkins Showler Gallery offers a diverse selection of original art. Tues to Sat 10 am - 6 pm, Sun 11 am - 6 pm. LATTIMER GALLERY 1590 W 2nd Ave, Vancouver, BC V6J 1H2 T. 604-732-4556 F. 604-732-0873 Since 1986, clients have enjoyed the unique, warm atmosphere of a Northwest Longhouse while browsing the large selection of original paintings and limited edition prints by many well-known native artists — as well as finely-crafted gold and silver jewellery, argillite carvings, soapstone sculptures, steam bent boxes, masks, totem poles and more. Mon to Sat 10 am - 6 pm, Sun & Hol noon - 5 pm.

Jennifer Abrams and 12Midnite recently opened their edgy SMASH Modern Art and Design gallery at 580 Clark Dr in Vancouver. MARION SCOTT GALLERY 2423 Granville St, Vancouver, BC V6H 3G5 T. 604-685-1934 F. 604-685-1890 Vancouver’s oldest Inuit art gallery (opened in 1975) and one of Canada’s most respected has returned to South Granville. The gallery is committed to presenting the finest in Canadian Inuit art, with a wide range of Inuit sculpture, prints and wallhangings from many different regions of Canada’s North, with special emphasis on rare pieces from the ’50s, ’60s and ’70s. Mon to Sat 10 am - 6 pm, Sun 11 am - 5 pm. MASTERS GALLERY VANCOUVER 2245 Granville St, Vancouver, BC V6H 3G1

T. 778-628-7486 Celebrating 35 years as dealers of top quality Canadian historical and contemporary art from its base in Calgary, Masters Gallery recently opened this second location on trendy South Granville with returning Vancouverite, Peter Ohler Jr as Director. Tues to Sat 10 am - 5 pm. MONNY’S GALLERY 2675 W 4th Ave, Vancouver, BC V6K 1P8 T. 604-733-2082 index.html This gallery of longtime collector Monny, has a permanent collection as well as a rotating schedule of exhibitions by local artists Kerensa Haynes, Ted Hesketh, Sonja Kobrehel, Shu Okamoto, Ruth Lowe and others working in a variety of media. Mon to Sat 10 am - 6 pm. PACIFIC HOME AND ART CENTRE 1560 W 6 Ave, Vancouver, BC V6J 1R2 T. 604-566-9889 The Centre offers a variety of imported, handmade, Murano-style glass art pieces — chandeliers, wall installations, one-of-a-kind decorative pieces and more. Their collection comes with a variety of colourful, elaborated shapes and sizes, styles and designs to complement most personal styles and budgets. Mon & Fri 9:30 am - 6 pm, Tue to Thurs 9 am - 5:30 pm, Sat 9 am - 5 pm. PETLEY JONES GALLERY 1554 W 6 Ave, Vancouver, BC V6J 1R2 T. 604-732-5353 F. 604-732-5669 Established in 1986 by Matt Petley-Jones, nephew of the late Canadian and British artist Llewellyn Petley-Jones, the gallery specializes in 19th - 20th century Canadian, European and American paintings, sculpture and original prints. It also offers a range of fine art services, including framing, restoration and appraisals. Around the corner from former Granville location. Mon to Sat 10 am - 6 pm.

Vancouver’s Monte Clark Gallery will be relocating from south Granville St to 525 Great Northern Way in early November. RENDEZVOUS ART GALLERY 323 Howe St, Vancouver, BC V6Z 3N2 T. 604-687-7466 F. 604-687-7466 Toll Free: 1-877-787-7466 Located on the bright southwest corner of Howe and Cordova, this vibrant gallery represents more than 40 talented Canadian artists, some of whom are exclusive to Rendezvous. Contemporary and traditional paintings and sculptures are displayed in an atmosphere conducive to viewing fine works of art. Mon to Sat 10 am - 5:30 pm, Sun 11 am - 5 pm. SUN SPIRIT GALLERY 2444 Marine Dr (Dundarave), West Vancouver, BC V7V 1L1 T. 778-279-5052 Sun Spirit Gallery is proud to offer a superior collection of West Coast Native Art from renowned artists and emerging artists alike. The blend of contemporary and traditional work includes fine gold and silver jewellery, unique furniture and home accents, fine art prints, glass work and hand-carved masks and bentwood boxes. Tues to Sat 10 am - 5 pm. TRENCH CONTEMPORARY ART 102-148 Alexander St, Vancouver, BC V6A 1B5 T. 604-681-2577 Toll Free: 1-877-681-2577 The gallery exhibits international and local emerging, mid- and late-career artists working in all media. The gallery’s curatorial interest lies in both conceptual and formal art production but with an emphasis on relationship with the chosen material, rigorous discipline in the resolution of formal art problems and clarity of conceptual approach. In Gastown. Wed to Sat 11 am - 6 pm, or by appt.

WHITE ROCK GALLERY 1247 Johnston Rd, White Rock, BC V3B 3Y9 T. 604-538-4452 F. 604-538-4453 Toll Free: 1-877-974-4278 A destination for art lovers throughout the Lower Mainland since 1989. They feature an extraordinary selection of original fine art, ceramics and sculpture. Their custom framing is a blend of creativity, expert design, and skilled workmanship. Tue to Sat 10 am - 5:30 pm, Sun noon - 5 pm. Closed holiday long weekends. YEATS STUDIO & GALLERY 2402 Marine Dr, West Vancouver, BC V7V 1L1 T. 778-279-8777 Often to be found working in this studio/gallery, Craig started painting watercolours in high school and made many studies of the foreshore areas of West Vancouver. Since then he has refined his technique to heighten the visual impact of his paintings. Recent paintings are created using a knife and are mostly semi-abstractions of the local West Vancouver landscapes, still life, the figure, and nature in general. Tues to Sat 10 am - 5 pm.

Sarah Macaulay has opened Macaulay & Co Fine Art gallery in former Blanket Gallery space upstairs at 560 Seymour in Vancouver. Public Gallery BURNABY ART GALLERY 6344 Deer Lake Ave, Burnaby, BC V5G 2J3 T. 604-297-4422 F. 604-205-7339 Dedicated to collecting, preserving and presenting contemporary and historical visual art programs by local, national and internationally recognized artists. Stewards of the 3rd largest public art museum collection in British Columbia. Exhibitions, art education programs, art rental and sales in historic Ceperley Mansion. Tues to Fri 10 am - 4:30 pm, Sat & Sun noon - 5 pm. MUSEUM OF ANTHROPOLOGY, UNIVERSITY OF BRITISH COLUMBIA 6393 NW Marine Dr,, Vancouver, BC V6T 1Z2 T. 604-822-5087 F. 604-822-2974 MOA is a place of architectural beauty, provocative programming, and exciting exhibitions — including Bill Reid’s iconic ÏThe Raven and the First Men,Î and the new Multiversity Galleries, showcasing 10,000 objects from around the world. CafÊ MOA, an elegant shop, and free tours. Spring/Summer: daily 10 am - 5 pm Tues to 9; Fall/Winter: closed Mon, open Tues 10 am - 9 pm and Wed to Sun 10 am - 5 pm. Closed Dec 25 & 26. RICHMOND ART GALLERY 180-7700 Minoru Gate, Richmond, BC V6Y 1R9 T. 604-247-8300 F. 604-247-8301 The Richmond Art Gallery plays a dynamic role in the growth of visual art in Richmond, and is a vital part of the contemporary art network in BC and Canada. Through excellence in exhibitions and education, the RAG strives to enhance an understanding and enjoyment of contemporary art. Mon to Fri 10 am - 6 pm, Sat and Sun 10 am - 5 pm. VANCOUVER ART GALLERY 750 Hornby St, Vancouver, BC V6Z 2H7 T. 604-662-4700 F. 604-682-1086 The largest art gallery in Western Canada is a focal point of downtown Vancouver. Presenting a full range of contemporary artists and major historical

masters, it is recognized internationally for its superior exhibitions and excellent interactive education programs and houses a permanent collection of almost 7,000 works of art. Tues to Sun & Hols 10 am - 5:30 pm, Thur 10 am - 9 pm. Micah Lexier: Working as a Drawing

VERNON Commercial Gallery ASHPA NAIRA ART GALLERY & STUDIO 9492 Houghton Rd., Vernon, BC V1H 2C9 T. 250-549-4249 F. 250-549-4209 Located in Killiney on the west side of Okanagan Lake, this contemporary art gallery and studio, owned by artist Carolina Sanchez de Bustamante, features original art in a home and garden setting. Discover a diverse group of emerging and established Okanagan and Canadian artists in painting, textiles, sculpture and ceramics. Open May 1 to October 15. Fri to Sun 10 am - 6 pm or by appt. Public Gallery VERNON PUBLIC ART GALLERY 3228 31 Ave, Vernon, BC V1T 2H3 T. 250-545-3173 F. 250-545-9096 The Vernon Public Art Gallery presents exhibitions of emerging and established artists working in a variety of media, including paintings sculpture, video, and installation art. The Vernon Public Art Gallery is the largest public gallery in the North Okanagan, and provides exhibition opportunities to local artists and artisans. Mon to Fri 10 am - 5 pm, Sat 11 am - 4 pm.

Sept 7 - Nov 11, 2012 Micah Lexier, excerpt from Working as a Drawing, 2012. Photo courtesy of the artist.

Terrance Houle: National Indian Leg Wrestling League of North America Nov 23, 2012 - Jan 27, 2013 Terrance Houle as “The Blackfooter�. Photo courtesy of the artist.

604-297-4422 6344 Deer Lake Avenue

VICTORIA Artist-run Gallery OPEN SPACE 510 Fort Street, 2nd floor, Victoria, BC V8W 1E6 T. 250-383-8833 F. 250-383-8841 Founded in September 1972 as a non-profit artistrun centre, Open Space supports professional artists — notably young and emerging — who utilize hybrid and experimental approaches to media, art, music and performance. It reflects the wide diversity of contemporary art practices in Victoria, across Canada and beyond. Tues to Sat noon - 5 pm. Commercial Galleries AVENUE GALLERY 2184 Oak Bay Ave, Victoria, BC V8R 1G3 T. 250-598-2184 F. 250-598-2185 Especially noted for finding and establishing new talent, the gallery considers itself a showcase for contemporary British Columbia, Canadian and international art, serving both corporate and private collectors — those new to the contemporary art scene as well as knowledgeable collectors. Mon to Sat 10 am - 5 pm, Sun noon - 4 pm. ECLECTIC GALLERY 2170 Oak Bay Ave, Victoria, BC V8R 1E9 T. 250-590-8095 Specializing in original contemporary fine art paintings, sculpture, photography and jewellery, this welcoming light-filled gallery is known for its vibrant selection of local and regional art. It offers rotating art exhibitions of excellent quality at its easily-accessible location in the heart of Oak Bay Village. Mon to Sat 10 am - 5:30 pm. MADRONA GALLERY 606 View St, Victoria, BC V8W 1J4 T. 250-380-4660 Open June 2010, Madrona Gallery represents emerging, mid-career and established Canadian artists. The gallery offers a welcoming environment to all visitors and Michael Warren’s expertise in Canadian art history and the contemporary art market facilitates the discovery of new artists and rare pieces from Canadian masters. Tues to Sat 10 am - 6 pm, Sun 11 - 6 pm. OUT OF THE MIST GALLERY 740 Douglas St, Victoria, BC V8W 3M6 T. 250-480-4930 Dealers in classic and contemporary Northwest coast native art — including traditional potlatch masks, basketry, shamanic devices, button blankets, totem poles, artefacts and more. There is also

TRIBAL SPIRIT GALLERY 107-2080 Hartley Ave, Coquitlam, BC V3K 6V5 Toll Free: 1-888-834-8757 Tribal Spirit Gallery represents fine First Nations art and artists of the Northwest Coast of British Columbia. The entire collection of art and gifts can be purchased online, and within the gallery area of the artist studio. Located just behind the Boulevard Casino and Red Robinson Show Theatre. Tue to Sat noon - 6 pm.

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Silver Dance Crown, Vivian and Jaime LiĂŠbana Collection, Lima - Peru

Galleries West Fall/Winter 2012 59

tion, including a large contemporary First Nations print collection. Hours of operation coincide with McPherson Library. Call for current hours. WHISTLER Commercial Galleries BLACK TUSK GALLERY 108-4293 Mountain Square, Whistler, BC V0N 1B4 The Black Tusk Gallery creates unique acquisition opportunities for collectors with a variety of works by both established and up-and-coming First Nations artists whose work reflects the ancient histories and traditions of the coastal people. Located on the lobby level of the Hilton Hotel, next to Skiers Plaza. Open daily.

Lisa Steele and Kim Tomczak, The Long Time, September 6 to 29, On Main Gallery, Vancouver

Lisa Steele and Kim Tomczak have been collaborating on video, performance and photographic work since 1983. With The Long Time, the artistic pair bring together work created over the past ten years. They say their goal is to “engage the viewer and ask questions.” Becoming is a major video installation that captures the evolution of the urban environments of Toronto, Vancouver and Berlin. “It’s an observation of the continuing urban architecture,” Tomczak says. “We look at old buildings against new towers.” Steele adds that they wanted to “create a dialogue between the old and the new.” A second video installation, Before I Wake, turns the camera on the artists. “We’re hypnotized as part of the study,” Steele says of the self-portraits. The final piece is called The Miniatures, a series of videos installed in small frames. Images of nature are juxtaposed with the text of protest slogans. A new photo-text series, ….bump in the night, will also be on public display at the Broadway and Cambie Skytrain station in Vancouver. The artists asked young people on the verge of leaving school at Vancouver’s Native Education College, “what are you afraid of?” — rather than the more frequently asked question, “what are you looking forward to?” Asking the right question led to intriguing results. — Janet Nicol ABOVE: Lisa Steele and Kim Tomczak, The Long Time, installation, 2012. a selection of plains beadwork and artefacts and other North American, Oceanic, and African tribal art. Mon to Sat 10 am - 5 pm, Sun noon - 3 pm. RED ART GALLERY 2033 Oak Bay Ave, Victoria, BC V8R 1E5 T. 250-881-0462 A small gem in the heart of Oak Bay Village, the gallery is dynamic, welcoming and above all, dedicated to the love of art. Along with regular new paintings by award-winning painter Marion Evamy, other artists also showcase artwork that is contemporary, confident and affordable. Relax on the red couch and enjoy art described (by critic Robert Amos) as ìa blast of joyî. Tues to Sat noon - 4 pm. SOOKE HARBOUR HOUSE GALLERY 1528 Whiffen Spit Rd, Sooke, BC V9Z 0T4 T. 250-642-3421 F. 250-642-6988 Displayed throughout this award-winning inn, with its internationally-renowned dining room, the unconventional gallery was created in 1998 with carefully selected works by local artists on Vancouver Island. The art, in a variety of media, generally reflects themes of edible gardens, the ocean and the surrounding forest. Daily guided Garden Tours with art display in the Edible Gardens. Gallery open daily for self-guided tour. THE GALLERY IN OAK BAY VILLAGE 2223A Oak Bay Ave, Victoria, BC V8R 1G4 T. 250-598-9890 F. 250-592-5528 Just a short distance from downtown in the picturesque Oak Bay Village, the gallery shows a variety of works by mostly local artists including Kathryn Amisson, Sid and Jesi Baron, Andres Bohaker, Bryony Wynne Boutillier, Tom Dickson, Robert Genn, Caren Heine, Harry Heine, Shawn A. Jackson, Brian R. Johnson, David Ladmore, Jack Livesey, Dorothy McKay, Bill McKibben, Ernst Marza, Hal Moldstad,

60 Galleries West Fall/Winter 2012

Ron Parker, Natasha Perks. Mon to Fri 10 am - 5 pm, Sat 10 am - 3 pm. VIEW ART GALLERY 104-860 View St, Victoria, BC V8W 3Z8 T. 250-213-1162 Located in the Harris Green/New Town neighbourhood of downtown Victoria just a short stroll from the major hotels and downtown shops. The focus of the gallery is contemporary modern art works by a talented group of young and mid-career artists from Canada and the US. Wed to Sat 11 am - 5 pm or by appointment.

In Victoria, POLYCHROME FINE ART has lost the ’s’ in its name and has movedt wo blocks west to 977-A Fort St. WEST END GALLERY 1203 Broad Street, Victoria, BC V8W 2A4 T. 250-388-0009 First established in Edmonton in 1975, Dan and Lana Hudon opened a second Gallery located in the heart of downtown Victoria in 1994. Visitors are encouraged to explore and select from a wide range of styles and prices, from emerging to established artists and to purchase with confidence. Mon to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm, Sun/Holidays noon - 4 pm. WINCHESTER GALLERIES 2260 Oak Bay Ave, Victoria, BC V8R 1G7 T. 250-595-2777 F. 250-595-2310 Exclusive fine art dealers handling Canadian historical and contemporary art. Opened in 1974, the gal-

lery has been under the ownership of Gunter H.J. Heinrich and Anthony R.H. Sam since 1994 and in 2003 has moved to its own building in Oak Bay Village. They regularly run major exhibitions of two to three weeks both here and in two other downtown galleries. Tues to Sat 10 am - 5:30 pm. Public Galleries ART GALLERY OF GREATER VICTORIA 1040 Moss Street, Victoria, BC V8V 4P1 T. 250-384-4171 F. 250-361-3995 Engaging, challenging and inspiring! Victoria’s public art museum presents a variety of visual art experiences, media and cultures through historical to contemporary art from Asia, Europe and Canada — including the work of BC’s premiere landscape artist, Emily Carr, portrayed through paintings, writings and photographs. Tues to Sat 10 am - 5 pm, Thurs till 9 pm; Sun noon - 5 pm. LEGACY ART GALLERY 630 Yates St, Victoria, BC V8W 1K9 T. 250-381-7645 F. 250-381-7609 The Legacy Art Gallery features works from the University of Victoria Art Collections, including paintings, drawings and sculptures by some of the bestknown artists in the Pacific Northwest, bequeathed to the University of Victoria by Dr. Michael C. Williams. Two gallery spaces feature a variety of rotating exhibits. Phone, or visit website for hours. MALTWOOD PRINTS AND DRAWINGS GALLERY AT THE MCPHERSON LIBRARY Box 3025 Stn CSC, McPherson Library, Room 027 Finnerty Road, Victoria, BC V8W 3P2 T. 250-381-7645 F. 250-381-7609 The Maltwood Prints and Drawings Gallery, located on the lower level of the McPherson Library, exhibits prints, drawings, paintings and photographs from the University of Victoria’s permanent art collec-

MOUNTAIN GALLERIES AT THE FAIRMONT Fairmont Chateau Whistler, 4599 Chateau Blvd, Whistler, BC V0N 1B4 T. 604-935-1862 Toll Free: 1-888-310-9726 Located in The Fairmont Chateau Whistler, Mountain Galleries is a favourite stop for collectors of Canadian art, featuring museum-quality paintings, sculpture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/ studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 10 am - 10 pm.

ALBERTA GALLERIES BANFF Commercial Galleries CANADA HOUSE GALLERY PO Box 1570 201 Bear St, Banff, AB T1L 1B5 T. 403-762-3757 F. 403-762-8052 Toll Free: 1-800-419-1298 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 Fairmont Banff Springs, 405 Spray Ave, Banff, AB T. 403-760-2382 Toll Free: 1-800-310-9726 Located in The Fairmont Banff Springs, Mountain Galleries is a favourite stop for collectors of Canadian art, featuring museum-quality paintings, sculpture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 10 am - 10 pm.

Willock & Sax Gallery has moved across the street to 210 Bear St in Banff. WILLOCK & SAX GALLERY Box 2469, 210 Bear St, Banff, AB T1L 1C2 T. 403-762-2214 Toll Free: 1-866-859-2220 Art reflects the spiritual and physical reliance of humanity on the natural world. The Willock & Sax Gallery is innovative and eclectic, rooted in the idea that art is about people, place, and community. They carry work by mainly Western Canadian contemporary and historic artists, who enjoy international, national, and regional reputations. Daily 10 am ñ 6 pm. Public Gallery WHYTE MUSEUM OF THE CANADIAN ROCKIES PO Box 160 111 Bear St, Banff, AB T1L 1A3

T. 403-762-2291 F. 403-762-8919 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 BLUEROCK GALLERY 110 Centre Ave, Box 1290, Black Diamond, AB T0L 0H0 T. 403-933-5047 F. 403-933-5050 Bluerock Gallery is a go-to place for one-of-a-kind

fine art and craft, jewellery, cards and inspiring books. New art arrives regularly and the impressive collection by more than 100 artists is constantly being expanded and rotated. Wed to Mon 11 am - 5 pm; Dec 1 - 24 daily 11 am - 7 pm. BRAGG CREEK SUNCATCHER’S DESIGN STUDIO 3-1 White Ave, Trading Post Mall, PO Box 840, Bragg Creek, AB T0L 0K0 T. 403-949-4332 F. 403-278-6299 Suncatcher’s has been providing Calgary and area with custom and pre-made stained glass since 1979. The gallery boutique offers an eclectic mix of original art, antiques and jewellery. Paintings are by local artists Lauchie and Elaine Fleming, Karin Taylor, and the season’s feature artist Bob Treacy ñalong with a selection from Bob and Grace Treacy’s

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T H E A L I C AT G A L L E R Y Representing Western Canadian artists since 1987

25th Annual Fall Exhibition & Sale Featuring new works by: Merv Brandel, Curtis Golomb, Rachelle Brady, Fraser Hine and new to the Alicat, Neil Swanson!

Sara Robichaud, Double Life, September 14 to November 3, Nanaimo Art Gallery

Sara Robichaud looks for a balance between “awkwardness and beauty” when she creates large-scale abstract expressionist paintings. “An infusion of my day-to-day life and caring for a 17-month-old baby also find their way in” says the Nanaimo-based painter. As her Nanaimo Art Gallery exhibition’s title indicates, she balances her creative work with her role as wife and mother. Robichaud began painting with oils in 1989, and later moved to acrylics. She likes to innovate with tools such as a wide scraper and gels, which give the paint a reflective quality. “I’ve even walked on the canvas,” she says. Looking down at her painting, Robichaud gains another perspective to approach her work. Each piece takes one to two months to complete. The work is finished “when there isn’t anything left to do with it,” she says. “It’s like a musician riffing with his instrument. I’m responding to colours, surfaces and emotions.” Robichaud says she’s always discovering the unknown as she paints. “I’m always thinking the best painting is still to come. There’s a thrill about what could happen.” — Janet Nicol ABOVE: Sara Robichaud, Ossien, acrylic on canvas, 2012.

Preview Wednesday - Friday, October 17 - 19, 2012, 11am to 5pm. Gala reception and sale, Friday, October 19, 7:30pm.

Merv Brandel, Twisted Limbs, oil on board, 18”x 24” Neil Swanson, Searching For Assiniboine, acrylic on canvas, 48”x 36” 403-949-3777

Located about 30 minutes west of Calgary in beautiful À>}}Ê ÀiiŽ]ʏLiÀÌ>ÊUÊ"«i˜ÊÇÊ`>ÞÃÊ>ÊÜiiŽ]Ê££Ê>“Ê̜ÊxÊ«“°

Galleries West Fall/Winter 2012 61

State of Mind: New California Art Circa 1970, September 28 to December 9, Morris and Helen Belkin Gallery, University of British Columbia, Vancouver

This show at the Morris and Helen Belkin Gallery captures, more than anything else, the state of freedom that inspired artists in California in the late 1960s and early 70s. It was a place for experimentation in conceptual art, and an escape from the critical oversight of the New York art press and commercial gallery system. “The artists who came to California at this time were, like many other transplants, attracted by its beauty, climate and relative ease of living,” says the gallery’s statement. “More importantly, the state was emerging as an incubator for social change and youth-oriented counterculture.” Curated by Constance Lewallen and Karen Moss, the show is co-organized by the Orange County Museum of Art, the University of California, Berkeley Art Museum, and Pacific Film Archive, and circulated by Independent Curators International. Divided into central themes, the 150 works include pieces by art stars including John Baldessari, Ed Ruscha and Bruce Nauman, and lesser-known artists of that time and place. The collection is made up of video, film, photography, performance documentation, installation, artist’s books, drawings and paintings. — Jill Sawyer LEFT: Robert Kinmont, 8 Natural Handstands (detail), nine silver gelatin prints, 1969 /2009, 8.5" X 8.5" each.

THE ALICAT GALLERY 1 Bragg Creek Village Centre, Box 463, Bragg Creek, AB T0L 0K0 T. 403-949-3777 F. 403-949-3777 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. Ceramics, carvings, sculpture and ironwork of the finest quality are also shown. Daily 11 am - 5 pm. CALGARY Artist-run Galleries THE NEW GALLERY 212-100 7 Ave SW (Art Central), Calgary, AB T2P 0W4 T. 403-233-2399 F. 403-290-1714 From its new location on the second level of Art Central, 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 CONTEMPORARY ART IN CALGARY 815 1 St SW, lower level, Calgary, AB T2P 1N3 T. 403-261-7702 F. 403-264-7737 TRUCK is a non-profit, artist-run centre dedicated to the presentation of contemporary art. Their goal is to incite dialogue locally, which contributes to the global critical discourse on contemporary art. TRUCK presents dynamic programming, fosters innovative artistic practices, encourages experimentation, and promotes a dialogue between artists and the public. Free admission. Tues to Fri 11 am - 5 pm, Sat noon - 5 pm. Commercial Galleries ART CENTRAL 100 7 Ave SW, Art Central, Calgary, AB T2P 0W4 On Facebook at Art Central YYC 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 inquiries visit website. ATLANTIS FINE FRAMING STUDIO & GALLERY 4515 Manhattan Rd SE, Calgary, AB T2G 4B3 T. 403-258-0075 F. 403-259-4211

62 Galleries West Fall/Winter 2012

Established in 1994, Atlantis has relocated to a larger facility with gallery space dedicated to promoting and exhibiting works from local and regional artists. Atlantis supports emerging to established artists, and features contemporary to traditional artwork. The commercial framing studio also includes art supplies, art classes and workshops. Mon to Fri 9 am - 6 pm, Sat 10 am - 5 pm. AXIS CONTEMPORARY ART 203-100 7 Ave SW, Calgary, AB T2P 0W4 T. 403-262-3356 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 10:30 am - 5:30 pm, First Thurs till 9 pm, Sat 11 am - 5 pm. CIRCA 1226A 9 Ave SE, Calgary, AB T2G 0T1 T. 403-290-0145 Toll Free: 1-877-290-0145 Circa is a one-of-a-kind gallery specializing in midcentury modern art glass from around the world. All items are hand blown works of art from the 1940-1960s. The focus is on European art glass from the best known studios and furnaces. Circa brings world-class vintage art glass to Calgary from centres across Europe. A visual spectacle of color, form and modernism. Daily 10 am - 5 pm. CKG / CHRISTINE KLASSEN GALLERY 1021 6 St SW (corner 11 Ave), Calgary, AB T2R 1R2 T. 403-262-1880 CKG / Christine Klassen Gallery, an evolution of The Weiss Gallery, represents a dynamic group of artists united by their craft-intensive approach to artmaking. CKG endeavours to stimulate gallery visitors through innovative projects and exhibitions of painting, drawing, photography and sculpture. Tues - Sat 10 am - 5 pm or by appointment. DADE ART AND DESIGN LAB 1327 9 Ave SE, Calgary, AB T2G 0T2 T. 403-454-0243 F. 403-454-0282 With a distinctive product mix and presentation philosophy DaDe ART & DESIGN LAB offers a complete product range for modern living — including original art and sculpture by local artists, and exclusive furniture from around the world. Tues to Sun 11 am - 6 pm; Thurs till 8 pm. DIANA PAUL GALLERIES 737 2 ST SW, Calgary, AB T2P 3J1

T. 403-262-9947 F. 403-262-9911 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.

Toll Free: 1-866-425-5373 Extensive collection of fine artists including Tinyan, Raftery, Wood, Desrosiers, Lyon, Hedrick, Min Ma, Simard, Brandel, Schlademan, Bond, Cameron, Crump and Charlesworth. Calgary’s largest collection of bronze — by Stewart, Cheek, Lansing, Taylor, Danyluk and Arthur. Gemstone carvings by Lyle Sopel. Mon to Fri 10 am - 5:30 pm, Sat till 5 pm.

ENDEAVOR ARTS 200-1209 1 St SW, Calgary, AB T2R 0V3 T. 403-532-7800 Endeavor Arts represents local artists who create art in new ways, focusing on mixed media and other types of innovative artwork and avoiding more traditional media and methods. Recognizing that art is being consumed differently, there is also a digital gallery, with 5 monitors, showing rotating artwork and videos or photos of the process of how some artists make a specific piece. Tues to Sat 11 am - 5 pm.

GALLERIA - INGLEWOOD 907 9 Ave SE, Calgary, AB T2G 0S5 T. 403-270-3612 Galleria Inglewood represents more than 25 emerging and established artists. Their contemporary works include oils, watercolour, acrylics and mixed media. In 3 separate galleries they also show functional, decorative and sculptural pottery by local clay artists and fine handcrafts by Canadian artisans. Minutes from downtown in historic Inglewood. Free parking. Mon to Sat 10 am - 5 pm, Sun noon - 5 pm.

The Weiss Gallery in Calgary has become CKG / Christine Klassen Gallery, with longtime director Christine Klassen as an owning partner. FORTUNE FINE ART 3-215 39 Ave NE, Calgary, AB T2E 7E3 T. 403-277-7252 F. 403-277-7364 This Canadiana gallery offers an extensive collection of fine realism paintings depicting scenes from across Canada. Works by more than 240 artists including such well-known names as Norman Brown, “Duncan” MacKinnon Crockford, W.R. deGarth, N. de Grandmaison, Roland Gissing, George Horvath, Georgia Jarvis, Glenn Olson, Torquil Reed, Colin Williams and Marguerite Zwicker. For sale or lease. Browsers welcome. Please call for hours. FRAMED ON FIFTH 1207 5 Ave NW, Calgary, AB T2N 0S1 T. 403-244-3688 A framing shop? Yes, but also a charming gallery presenting local artists in monthly shows. Owner Hannah White offers a unique experience for artists and collectors alike. Located in eclectic Kensington with ample on-street parking. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm. GAINSBOROUGH GALLERIES 441 5 Ave SW, Calgary, AB T2P 2V1 T. 403-262-3715 F. 403-262-3743

GERRY THOMAS GALLERY 100-602 11 Ave SW - lower level, Calgary, AB T2R 1J8 T. 403-265-1630 F. 403-265-1634 This contemporary, New York-style gallery boasts an impressive 4600 sq ft of original art ranging from abstract oil paintings, glass sculpture and photography to historic works by Roland Gissing. The stylish Gallery includes an art deco bar, modern lounge furniture and catering facilities perfect for corporate and private events. Open Wed to Sat 10 am - 6 pm. GIBSON FINE ART LTD 628 11 Ave SW, Calgary, AB T2R 0E2 T. 403-244-2000 Now located in the Design District, the gallery showcases contemporary art in a wide variety of styles and media and of significant regional and national scope — from emerging and established artists of the highest quality. Tues to Sat 10 am 5 pm. HERRINGER KISS GALLERY 709 A 11 Ave SW, Calgary, AB T2R 0E3 T. 403-228-4889 F. 403-228-4809 A member of the Art Dealers Association of Canada, the gallery represents over 25 artists working in a range of mediums including painting, photography, printmaking, sculpture and mixed media works. Gallery artists include Angela Leach, Toni Hafkenscheid, Akiko Taniguchi, Bill Laing, Marjan Eggermont, Tivadar Boté, Ken Webb, Harry Kiyooka, Reinhard Skoracki, Glen Semple, Elizabeth


private art collection. Daily 11 am to 5 pm, Tuesdays by chance or appointment.

Barnes, David Burdeny, Dennis Ekstedt, Renée Duval, Ben Van Netten, Siobhan Humston, Bratsa Bonifacho, Eve Leader, Jude Griebel, Stefanja Dumanowski, Marianne Lovink and Eszter Burghardt. Tues to Fri 10 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 Specializing in Canadian contemporary art jewellery, the gallery represents over 40 of Canada’s most talented jewellery artists with work ranging from subtle objects for everyday wear to extravagant and sculptural artworks — rings, pendants, necklaces, brooches, bracelets and earrings. Also offer custom design services. Tues to Sat 11 am - 5 pm. INGLEWOOD FINE ARTS 1223B 9 Ave SE, Calgary, AB T2G 0S9 T. 403-262-5011 Recently relocated from Montreal, owner/director Michel Arseneau is featuring the works of internationally-recognized artist Charles Carson in permanent exhibition at his new Inglewood Fine Arts gallery. He also represents several emerging artists from South America who will be introduced over the next several months. Tues to Sat 10:30 am - 5 pm, Thurs till 9 pm, Sun noon - 4 pm. JARVIS HALL FINE ART 617 11 Ave SW, Calgary, AB T2R 0E1 T. 403-206-9942 F. 403-206-1399 Exhibiting contemporary Canadian art in painting,

drawing, printmaking and sculpture. Currently representing Mark Dicey, Elena Evanoff, Dean Turner and Carl White. Works of art on consignment are also available throughout the year by historical and contemporary Canadian and international artists. Submissions for representation or questions relating to consigning works of art for sale can be made via email. LATITUDE ART GALLERY 150-625 11 Ave SW, Calgary, AB T2R 0E1 T. 403-262-9598 Located in the Design District on 11 Ave SW, Latitude Art Gallery showcases a variety of Canadian and international artists. They specialize in contemporary style art including landscapes, still life’s, abstract, and figurative. Tues to Fri 10 am - 5:30 am, Sat 11 am - 5 pm, and by appointment. LOCH GALLERY 1516 4 St SW, Calgary, AB T2R 1H5 T. 403-209-8542 Toll Free: 1-866-202-0888 Established in 1972 in Winnipeg, the Loch Gallery specializes in building collections of quality Canadian, American, British and European paintings and sculpture. It represents original 19th and 20th century artwork of collectable and historic interest, as well as a select group of gifted professional artists from across Canada including Ivan Eyre, Leo Mol, Ron Bolt, Peter Sawatzky, Anna Wiechec, Philip Craig and Carol Stewart. Also located in Winnipeg and Toronto. Tues to Sat 10 am - 6 pm. MASTERS GALLERY 2115 4 St SW, Calgary, AB T2S 1W8

Annette Kelm, September 7 to October 14, Presentation House, North Vancouver

The photographs of German artist Annette Kelm are complex meditations on the nature of photography and image making. “Vancouver has a long track record of photo-conceptualism,” curator Reid Shier says, listing Jeff Wall, Ian Wallace and Stan Douglas, as examples. Kelm is considered an important young photographer on the international scene, and her first exhibition in Canada features 40 colour photographs. Her subjects are landscape, portraiture and still life. “She has an uncanny clarity,” Shier says. “Her photographs are evocative.” Kelm works traditionally — her colour photographs are taken with an analog medium- and large-format camera, and are individually handmade in a darkroom. She produces both single images and serial works, often using a detailed studio-shot format reminiscent of advertising photography. Her subtle, deadpan images become increasingly mysterious through examination. They initially appear as objective documents, yet the factual and temporal confusions of her pictures reinforce the uncertainties of perception. One critic says of her work, “they are undercut with a strangeness that questions not only the purpose of the objects, but also the nature of their representation.” — Janet Nicol LEFT: Annette Kelm, Caps, photograph, 2008.

Galleries West Fall/Winter 2012 63

sculptures in traditional and contemporary genres. Ongoing solo and group exhibitions welcome everyone from browsers to experienced collectors. Personalized corporate and residential consulting. Mon to Sat 10 am - 5 pm. (Free Sat parking) NEW Second location at West Market Square. SWIRL FINE ART & DESIGN 104-100 7 Ave SW, Art Central, Calgary, AB T2P 0W4 T. 403-266-5337 Swirl Fine Art and Design showcases fine art originals from local and regional artists. The gallery focuses on art to beautify the home with a wide selection of paintings and sculptures from aspiring and well-established artists. New shows on the first Thursday of every month, coincide with Art Central’s First Thursday festivities. Encaustic workshops twice monthly. Tues to Fri 10 am ñ 5 pm, Sat 11 am - 5 pm.

Jaynus O’Donnell, Pioneers, November 16 to December 15, The New Gallery, Calgary

Jaynus O’Donnell’s odd landscapes are devised of a mix of collage and painting, bringing up a sense of sci fi nostalgia layered with imagination. She begins with vintage and contemporary depictions of discovery, culled from science texts, magazines, nature guides, technical manuals, and encyclopedias, and creates surreal, pseudo-scientific worlds around them. They’re mythic, modern, and portray an industriousness and trust in the future typical of mid-century scientific literature. The twist to O’Donnell’s series is in the found drawings layered into the work — scribblings left behind by previous readers, tracing individual ideas into the images. The gallery refers to these drawings as “interruptions”, representing “highly personal and autonomous forms of discovery.” O’Donnell studied in Vancouver before getting her MA at Concordia in Montreal, where she now lives and works. She’s had previous solo shows at galleries including the Fifty-Fifty Arts Collective in Victoria, and the Bob Prittie Library at the Burnaby Art Gallery. — Jill Sawyer ABOVE: Jaynus O’Donnell, Northern Lights, collage, watercolour, acrylic on paper. T. 403-245-2064 F. 403-244-1636 Celebrating more than 35 years of quality Canadian historical and contemporary art. Tues to Sat 10 am - 5:30 pm. MOONSTONE CREATION NATIVE GALLERY 1416 9 Ave SE, Calgary, AB T2G 0T5 T. 403-261-2650 F. 403-261-2654 Along with showcasing the traditional artwork of owner Yvonne Jobin, the gallery represents many First Nations and Metis artists. Fine art, pottery, carvings, turquoise and Westcoast jewellery, beadwork, leatherwork and authentic, locally-made gifts can be found in this unique gallery. Tues to Sat 10:30 am - 6 pm, Sun 11 am - 4 pm. NEWZONES 730 - 11 Ave SW, Calgary, AB T2R 0E4 T. 403-266-1972 F. 403-266-1987 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. PAUL KUHN GALLERY 724 11 Ave SW, Calgary, AB T2R 0E4 T. 403-263-1162 F. 403-262-9426 Focuses on national and regional contemporary Ca-

64 Galleries West Fall/Winter 2012

nadian paintings, drawings, prints and sculpture; also shows contemporary American prints. Exhibitions change monthly featuring established and emerging artists along with themed group shows. Tues to Sat 10 am - 5:30 pm. RUBERTO OSTBERG GALLERY 2108 18 St NW, Calgary, AB T2M 3T3 T. 403-289-3388 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 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 Established since 1979, the gallery features an extensive portfolio of distinguished Canadian artists offering fine original paintings, glass, ceramics and

THE COLLECTORS’ GALLERY OF ART 1332 9 Ave SE, Calgary, AB T2G 0T3 T. 403-245-8300 F. 403-245-8315 Specializing in important Canadian art from the 19th to the 21st century including early topographical paintings, Canadian impressionists and Group of Seven. The Collectors’ Gallery represents over 30 prominent Canadian contemporary artists. Tues to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm. TRÉPANIERBAER 105, 999 8 St SW, Calgary, AB T2R 1J5 T. 403-244-2066 F. 403-244-2094 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. WALLACE GALLERIES LTD 500 5 Ave SW, Calgary, AB T2P 3L5 T. 403-262-8050 F. 403-264-7112 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.

The Nickle Arts Museum re-opens this fall as University of Calgary Nickle Galleries on main floor of new Taylor Family Digital Library. WEBSTER GALLERIES 812 - 11 Ave SW, Calgary, AB T2R 0E5 T. 403-263-6500 F. 403-263-6501 Established in 1979, the gallery exhibits an extensive collection of original oil and acrylic paintings, bronze, ceramic, stone sculptures and Inuit art in a 10,000 square foot space. Webster Galleries Inc also houses a complete frame design and workshop facility. Free parking at the rear of the gallery for customer convenience. Tues to Sat 10 am ñ 6 pm. Cooperative Galleries ALBERTA SOCIETY OF ARTISTS GALLERY AT LOUGHEED HOUSE 703 13 Ave SW, Calgary, AB T2R 0K8 T. 403-244-6333 Representing members of the society’s juried professional contemporary Alberta artists, the gallery strives to increase public awareness and appreciation of the visual arts through exhibition and education. Located in the lower level ballroom of historic Lougheed House. Wed to Fri 11 am - 4 pm, Sat and Sun 10 am - 4 pm. ARTPOINT GALLERY AND STUDIOS 1139 - 11 St SE, Calgary, AB T2G 3G1

T. 403-265-6867 F. 403-265-6867 Two galleries and 23 onsite-artist studios. The 50+ artist members and invited artists show and sell their works in monthly changing exhibitions —from painting to sculpture; photography to textiles. Located next to the CPR tracks in Ramsay. Turn E from 8 St onto 11 Ave SE and follow the gravel road. Thurs & Fri 1 pm - 5 pm, Sat 11 am to 5 pm, or by appointment. Public Galleries ESKER FOUNDATION GALLERY 444-101 9 Ave SE, Calgary, AB T2G 0H7 T. 403-930-2490 Opened in June 2012, the Esker Foundation, an initiative of Calgary philanthropists and art patrons Jim and Susan Hill, is the largest privately-funded, non-commercial gallery in Calgary. Featuring over 15,000 square feet of environmentally-controlled, purpose-built exhibition space, it’s a cultural platform for innovative and exceptional contemporary art exhibitions and educational events. Tues to Sat 10 am - 5 pm, Thurs & Fri till 8 pm, Sun noon 5 pm. GLENBOW MUSEUM 130 - 9 Ave SE, Calgary, AB T2G 0P3 T. 403-268-4100 F. 403-262-4045 Located in the heart of downtown Calgary - visitors experience Glenbow Museum’s diverse exhibits, special programs and vast collections including Asian, Contemporary, Modernist and Historical Art. Daily 9 am ñ 5 pm, Sun noon - 5 pm. Adult $14, Sen $10, Stu $9, Family $28.00; Members and under 6 free. Glenbow Shop open daily 10 am ñ 5:30 pm. LEIGHTON ART CENTRE Box 9, Site 31, R.R. 8 Site 31, Comp. #9., RR 8 By Millarville, 16 km south of Calgary off Hwy 22 west, Calgary, AB T2J 2T9 T. 403-931-3633 F. 403-931-3673 The Leighton Art Centre is situated on 80 acres of spectacular landscape in the Alberta foothills, 15 minutes southwest of Calgary. This Alberta Historic Resource houses the former home of landscape painter A.C. Leighton. They offer changing exhibitions, art sales, art workshops and children’s programming. Check website for full visitor’s information. Tues to Sat 10 am - 4 pm. MUSEUM OF CONTEMPORARY ART - CALGARY 104-800 Macleod Tr SE, Calgary, AB T2G 2M3 T. 403-262-1737 F. 403-262-1764 www.mocacalgary,org 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: adults - $4; senior/students - $2; family - $8; members - free; free general admission on Thurs. Tues to Fri 11 am - 5 pm, Sat noon - 4 pm. THE LEDGE GALLERY 205 8 Ave SE, EPCOR CENTRE, Calgary, AB T2P 0K9 T. 403-294-7455 This unique exhibition space in the EPCOR CENTRE for the Performing Arts +15 pedway system overlooks Centre Court from the second floor of the Centre. The glass-walled space is most conducive to sculpture and installation. Exhibitions are selected through calls for submissions and curatorial practice and run for three month intervals. UNIVERSITY OF CALGARY - NICKLE GALLERIES Taylor Family Digital Library, Main Floor 2500 University Dr NW Calgary, AB T2N 1N4 T. 403-220-7234 Now located on the main floor of the innovative Taylor Family Digital Library, the Nickle Galleries offer a changing schedule of contemporary art programs with a focus on western Canadian art. The new galleries also showcase beautiful and intriguing examples of numismatics, rugs, rare books,

manuscripts, photos and other materials drawn from the library’s impressive collections. CAMROSE Commercial Gallery CANDLER ART GALLERY 5002 50 St, Camrose, AB T4V 1R2 T. 780-672-8401 F. 780-679-4121 Toll Free: 1-888-672-8401 Fresh, vibrant and alive describe both the artwork and the experience when you visit this recently restored gallery. You will discover a diverse group of both emerging and established artists including J. Brager, B. Cheng, R. Chow, H. deJager, K. Duke, J. Kamikura, E. Lower Pidgeon, J. Peters, A. Pfannmuller, K. Ritcher, D. Zasadny — all well priced. Mon to Fri 9 am - 5:30 pm, Sat 9:30 am - 5 pm. Or by appt. CANMORE CARTER-RYAN GALLERY AND LIVE ART VENUE 705 Main St, Canmore, AB T1W 2B2 T. 403-621-1000 Carter-Ryan Gallery is home to one of Canada’s most prolific contemporary Aboriginal artists, Jason Carter. Both a painter and soapstone carver, Carter illustrated “WHO IS BOO: The Curious Tales of One Trickster Rabbit”. And 21 of his 66 illustrations, on 30” x 40” canvases are now on display. Musical and theatrical acts change weekly in the back half of this 1700 sq ft gallery. Tues to Sat 10 am - 5:30 pm, Sun noon - 4 pm.

THE AVENS GALLERY 104-709 Main St, Canmore, AB T1W 2B2 T. 403-678-4471 Established in 1980, the Avens Gallery features original works by both established and up-andcoming artists from the local area and across the West. The gallery prides itself on highlighting outstanding, and frequently changing, displays of paintings, glass sculpture, clay, wood, metal and bronze. Open daily 11 am - 5 pm with extended summer and Christmas hours. THE EDGE GALLERY 612 Spring Creek Drive, Canmore, AB T1W 0C7 T. 403-675-8300 In the gallery: ongoing exhibitions of historical paintings and prints to contemporary, abstract works. In the frame shop: experienced staff with 25 years experience offers a wide selection of frames for mirrors, objects, needlework, paintings and prints, specializing in the handling and care of original artwork. Tues to Sat 10 am -5:30 pm or by appointment. Public Gallery CANMORE LIBRARY GALLERY 950 8 Ave, Canmore, AB T1W 2T1 This gallery, run by the Canmore Art Guild, has been in existence since 1980. There are seven CAG member shows, seven private shows and several community and local schools shows per year. All media are represented in the gallery including fine arts, photography, textiles and sculpture. Mon to Thu 11 am - 8 pm, Fri to Sun 11 am - 5 pm.

September 14 - October 6, 2012

Roger Farfan (Cusco, Peru)

October 12 - November 3, 2012

BEE KINGDOM November 16 - December 22, 2012

Anna Ostberg


Barbara Amos, October 18 to 31, Gibson Fine Art, Calgary

Barbara Amos keeps a studio in the Crowsnest Pass, where she thrives on a daily connection to nature, swimming, kayaking, and creating art. She describes the act of painting as an extension of thought. In this new work, The Shoreline Series, abstract layers of colour in oil paint and wax are built up and scraped off. The paintings vary in size and are grouped in a suite to build meaning in relation to each other. The horizon line, high in the picture plane, suggests an emphasis on the journey in the water over the destination on shore. While painting this series, Amos says her thoughts kept returning to Ulysses by Tennyson, which was written while the poet grieved a friend. Amos graduated from The University of Waterloo in 1988, and is an established artist in oil and photography, and is known for her public art murals. She’s built her practice through experimentation with new media, including video, steel and glass. This exhibition at Gibson Fine Art also includes work in a digital sketchbook. — Margaret Bessai ABOVE: Barbara Amos, Shore Line, oil on canvas, 2012.

Playing Outside, Oil, 12” x 16”

Fortune Fine Art

Art Sales and Rentals Featuring Historical and Contemporary Canadian Art With over 1,500 original works available #3, 215 – 39th Avenue N.E., Calgary, Alberta T2E 7E3 For hours, please call 403-277-7252

Galleries West Fall/Winter 2012 65

CHRISTL BERGSTROM’S RED GALLERY 9621 Whyte (82) Ave , Edmonton, AB T6C 0Z9 T. 780-439-8210 F. 780-435-0429 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. DAFFODIL GALLERY 10412 124 St, Edmonton, AB T5N 1R5 T. 780-760-1278 “From England, with love” is the theme of Daffodil Gallery, fulfilling a dream of Karen Bishop and partner Rick Rogers to create an unpretentious gallery, welcoming to both experienced and new art collectors. It features established and emerging Canadian artists, representing a wide range of artistic styles — from traditional to contemporary. Tues to Sat 10:30 am - 5 pm. DOUGLAS UDELL GALLERY 10332 124 St, Edmonton, AB T5N 1R2 T. 780-488-4445 F. 780-488-8335 In the art business in Edmonton since 1967 and Vancouver since 1986, 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.

Catherine McAvity, October 27 to November 9, Agnes Bugera Gallery, Edmonton

You can trace Catherine McAvity’s travels around western Canada through her canvases, from coastal British Columbia to lakes and rivers in Saskatchewan. Each one finds a natural landscape, hinted at in light impressions. The Vancouver Island-based painter is originally from Vancouver, and has been painting for 30 years, and her work is in permanent collections including those of the Art Gallery of Alberta, B.C. Lottery Corporation, and the Alberta Foundation for the Arts. After graduating from the University of Calgary, she concentrated her work on the vistas of southern Alberta, gradually migrating toward the West Coast. “The landscape of southern Alberta was my first inspiration for painting from nature, and my first real connection to myself as an aspiring artist,” McAvity says in her artist’s statement. “Working with landscape is a potentially hackneyed subject fraught with pitfalls and cliché. It is also one of profound and endless possibility.” In her recent work, including pieces in the upcoming show at Agnes Bugera Gallery, McAvity seems to be drawn to water — views across expanses of ocean bays, lakes, and rivers. — Jill Sawyer ABOVE: Catherine McAvity, Amber Lake, acrylic on panel, 12" X 16". COCHRANE Commercial Gallery JUST IMAJAN ART GALLERY/STUDIO 3-320 1 St West,, Cochrane, AB T4C 1X8 T. 403-932-7040 This gallery features the work of Alberta artist Janet B. Armstrong and other local artisans. Visitors also enjoy the ambience of a cherrywood bar, fireplace and vintage memorabilia. Commissions and special events welcome. Tues 1:30 pm - 5 pm; Wed to Fri 11 am - 5 pm; Sat 10 am - 5 pm; Sun noon - 4 pm. DRUMHELLER Commercial Galleries ATELIERO VERDA Box 1708, 40 3 Ave W, Drumheller, AB T0J 0Y0 T. 403-823-2455 The resident artist, Jacqueline Sveda is originally from Magog, Quebec, but has lived in Western Canada for the last 30 years. Her work is inspired by her surroundings, in which imagination plays a big role. She works in acrylic and mixed media flat art, as well as stone and wood carving. Guest artists participate in periodic exhibitions. Thurs to Sun 1:30 pm - 5 pm. FINE PHOTOGRAPHY GALLERY Box 338, 20 3 Ave West, Drumheller, AB T0J 0Y0 T. 403-823-3686 Toll Free: 1-866-823-3686 Owned and operated by Michael Todor, the gallery features pottery, watercolours, pen and ink

66 Galleries West Fall/Winter 2012

sketches, pencil sketches and ammolite fine jewellery by Alberta artists — along with a permanent rotating display of Todor photographs. New shows with guest artists open on the second Saturday of each month. 10 am - 5:30 pm (May to Sep: Daily) (Sep to May: Mon to Sat). GREATER EDMONTON Artist-run Galleries HARCOURT HOUSE GALLERY 10215 112 St - 3rd Flr, Edmonton, AB T5K 1M7 T. 780-426-4180 F. 780-425-5523 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. SNAP GALLERY 10123 121 St, Edmonton, AB T5N 3W9 T. 780-423-1492 F. 780-424-9117 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 Agnes Bugera has been in the art gallery business since 1975, and is pleased to continue representing 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 Located in the Arts and Heritage District of St. Albert, this is a family-owned business. New owner, Brigitte Strand continues to specialize 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 Specializing in Canadian First Nations and Inuit art since 1975 from artists including Daphne Odjig, Norval Morrisseau, Roy Thomas, Maxine Noel, Jim Logan, George Littlechild, Jane Ash Poitras, Alex Janvier and Aaron Paquette. A wide variety of paintings, jade and Inuit soapstone carvings, and Navajo and Northwest coast jewellery. Mon to Sat 10 am - 5:30 pm.

GALERIE PAVA 9524 87 ST, Edmonton, AB T6C 3J1 T. 780-461-3234 F. 780-461-4053 Created in 2011 by the Société francophone des arts visuels de l’Alberta, PAVA is committed to the promotion of contemporary art by emerging and established artists from the local, provincial and national art scenes. Artists are encouraged to research projects reflecting cultural and social diversity. Juried themed exhibitions change monthly. Tues to Sat 10 am - 4 pm or by appointment at 780-461-3427. LANDO GALLERY 11130 - 105 Ave NW, Edmonton, AB T5H 0L5 T. 780-990-1161 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.

Canmore Art Guild (former Canmore Artists and Artisans Guild) moves to separate gallery space at Elevation Place, 700 Railway Ave in November. PETER ROBERTSON GALLERY 12304 Jasper Ave, Edmonton, AB T5N 3K5 T. 780-455-7479 Representing a roster of over 40 emerging, mid-career, and senior Canadian artists, this contemporary gallery space features a wide range of media and subject matter. Whether working with established collectors, or with those looking to purchase their first piece, Peter Robertson Gallery strives to inform, challenge, and retain relevance within the broader art community. Tues to Sat 11 am - 5 pm. PICTURE THIS! 959 Ordze Road, Sherwood Park, AB T8A 4L7 T. 780-467-3038 F. 780-464-1493 Toll Free: 1-800-528-4278 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.

the visual arts in Western Canada, expressing the creative spirit of Alberta and connecting people, art and ideas. Tues to Fri 11 am - 7 pm, Sat & Sun 10 am - 5 pm.

ROWLES & COMPANY LTD 108 LeMarchand Mansion, 11523 100 Ave, Edmonton, AB T5K 0J8 T. 780-426-4035 F. 780-429-2787 Relocated to LeMarchand Mansion. Features over 100 western Canadian artists in original paintings, bronze, blown glass, metal, moose antler, marble and soapstone. Specializing in supplying the corporate marketplace, the gallery offers consultation for Service Award Programs, and complete fulfillment for a wide variety of corporate projects. Open to the public. Mon to Fri 9 am - 5 pm, Sat - by appt.

ART GALLERY OF ST ALBERT 19 Perron St, St Albert, AB T8N 1E5 T. 780-460-4310 F. 780-460-9537 Located in the historic Banque d’Hochelaga in St. Albert, the gallery features contemporary art, usually by Alberta artists, who show their painting, sculpture, video, quilts, glass and ceramics at both the provincial and national level. Monthly exhibitions, adult lectures and workshops, “Looking at Art” school tours, art rental and sales plus a gallery gift shop. Tues to Sat 10 am - 5 pm, Thurs till 8 pm.

RR GALLERY 10219 106 St, Edmonton, AB T5J 1H5 T. 780-757-3463 F. 780-757-3463 RR Gallery offers original paintings, pastels and photography by such artists as Anna Bereza-Piorkowska, Jonathan Havelock and, from Brazil, Litza Cohen. Partners Richard Lajczak and Robert Thomas also have more than twenty years experience in museum-grade printing, limited edition prints, drymounting and laminating, canvas stretching and custom picture framing. Mon to Fri 9 am - 5:30 pm, Thurs till 7 pm and Sat 10 am - 5 pm.

CENTRE D’ARTS VISUELS D’ALBERTA (CAVA) 9103 95 Ave, Edmonton, AB T6C 1Z4 T. 780-461-3427 F. 780-461-4053 The Centre is an eclectic mix of fine art and craft from the Société’s 165 members. These Albertabased artists work in a variety of media including painting, sculpture, woodworking and other fine crafts including pottery, jewellery, woven and quilted fabric and much more. The ’galerie’ exhibitions change twice monthly. Mon to Fri 10 am - 6 pm, Sat 10 am - 5 pm.

Rachel Beairsto is the new owner/ manager of the Front Gallery on Jasper Ave, Edmonton in the 124 St Gallery Walk area. SCOTT GALLERY 10411 124 St, Edmonton, AB T5N 3Z5 T. 780-488-3619 F. 780-488-4826 Established in 1986, the Scott Gallery features Canadian contemporary art representing over thirty established and emerging Canadian artists. Exhibits include paintings, works on paper including handpulled prints and photography, ceramics and sculpture. Tues to Sat 10 am - 5 pm. THE FRONT GALLERY 12312 Jasper Ave, Edmonton, AB T5N 3K5 T. 780-488-2952 F. 780-452-6240 Located in Edmonton’s gallery walk district. Since opening in 1979 the gallery has specialized in exhibiting fine art and craft by Alberta artists, with exhibitions changing every three weeks. Tues to Fri 11 am - 5 pm, Sat 10 am - 5 pm. WEST END GALLERY 12308 Jasper Ave, Edmonton, AB T5N 3K5 T. 780-488-4892 F. 780-488-4893 Established in 1975, this fine art gallery is known for representing leading artists from across Canada — paintings, sculpture and glass art in traditional and contemporary styles. Exhibitions via e-mail available by request. Second location in Victoria since 1994. Tues to Sat 10 am - 5 pm. Public Galleries ALBERTA CRAFT COUNCIL GALLERY 10186-106 St, Edmonton, AB T5J 1H4 T. 780-488-5900 F. 780-488-8855 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 2 Winston Churchill Square, Edmonton, AB T5J 2C1 T. 780-422-6223 F. 780-426-3105 Founded in 1924, the Art Gallery of Alberta is an 85,000 square foot premier presentation venue for international and Canadian art, education and scholarship. The AGA is a centre of excellence for

STRATHCONA COUNTY ART GALLERY @ 501 120-501 Festival Ave, Sherwood Park, AB T8A 4X3 T. 780-410-8585 F. 780-410-8580 Strathcona County opened the doors on March 10, 2011 to Gallery @ 501 located in the Community Centre in Sherwood Park, AB. The gallery will be exhibiting contemporary artwork from regional, provincial, national and international artists and is currently accepting exhibition proposals from artists and curators. Mon to Fri 10 am - 6 pm, Tues and Thurs 10 am - 8 pm, Sat 10 am - 4 pm, Sun noon - 4 pm. UNIVERSITY OF ALBERTA MUSEUMS Ring House 1, University of Alberta, Edmonton, AB T6G 2E1 T. 780-492-5834 The University of Alberta Museums is a unique network of 29 diverse museums and collections totaling more than 17 million objects located throughout campus. Facilities include museums, galleries and exhibition spaces; collections in classrooms and laboratories; works of art featured in University buildings and on the grounds. Accessible during public hours, pre-booked visits and annual public programs. VAAA GALLERY 10215 112 St, 3rd Flr, Edmonton, AB T5K 1M7 T. 780-421-1731 F. 780-421-1857 Toll Free: 1-866-421-1731 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. Wed to Fri 10 am - 4 pm, Sat noon - 4 pm. GRANDE PRAIRIE Public Gallery ART GALLERY OF GRANDE PRAIRIE 103-9839 103 Ave, Grande Prairie, AB T8V 6M7 T. 780-532-8111 F. 780-539-9522 The Prairie Art Gallery has been renamed the Art Gallery of Grande Prairie in celebration of its major expansion into the restored 1929 Grande Prairie High School building. It is a public, non-commercial environment dedicated to assisting in the enjoyment of visual arts. It maintains the largest public art collection in the Peace Region. Mon to Thurs 10 am - 9 pm, Fri 10 am - 6 pm, Sat 10 am - 5 pm, Sun 1 pm - 5 pm. HIGH RIVER Commercial Gallery PIKE STUDIOS AND GALLERY 70 9 Ave SE, High River, AB T1V 1L4

Featuring Parkland Prairie Artists 5002 - 50 Street Camrose, AB T4V 1R2 1-888-672-8401 Elaine Tweedy, Lacy Iris, Acrylic, 20” x 24”

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

Spyder Yardley-Jones I am Amazed we Made it out of the Swamp September 14 – October 28, 2012 Curated by Brenda Barry Byrne

gallery 501 #120, 501 Festival Avenue Sherwood Park, Alberta 780-410-8585 “Alberduh’s Oil”, pen, ink and watercolour on panel, 24” x 20”

The Art Gallery of Grande Prairie (formerly the Prairie Art Gallery)

is pleased to announce that its new facility is now open.

Galleries West Fall/Winter 2012 67



Hand Wave Gallery

Meacham, SK 306 376 2221

Jack Sures Ceramics now available.

Saskatchewan Art That Is As Unique As You

Traditions H a n d

C r a f t

G a l l e r y

2714 13th Ave. Regina, SK S4T 1N3 306.569.0199

estevan art gallery & museum

September 13 - October 26, 2012

Art Auction: Saturday, October 20, 2012 Tickets: $75/person All proceeds to go to the maintenance, development and promotion of our Andrew King collection, the largest public collection of his works in Canada.

118 - 4th street, Estevan, SK │(P) 306 634 7644│ 68 Galleries West Fall/Winter 2012

Bill Burns, Bird Radio and the Eames Chair Lounge, September 28 to January 6, Mendel Art Gallery, Saskatoon

This fall, Bill Burns, artist and CEO of “Safety Gear for Small Animals”, invites gallery visitors to create and broadcast Bird Radio, the sounds of 17 birds endemic to the regions of Afghanistan, Iran and Iraq, and Canada. Listeners can enjoy the sounds of the cuckoo, jay, starling, nightingale, song thrush and more by taking a seat in the Eames Chair Lounge, or tuning in outside the gallery space. The installation helpfully includes a 52-page guidebook in English and German, with instructions on the proper use of the birdcall devices, a video demonstrating birdcalls and bird information gathered by Toronto schoolchildren, and schematic blueprints depicting sonograms. The modernist iconography gives shape to an essentially invisible medium, hinting at the ongoing history of radio in war and democracy. Burns is a Toronto based artist who grew up in Regina. His work has been shown and collected internationally, including at the Tate Britain in London, MoMA in New York, Regina’s MacKenzie Art Gallery and the Getty Center in Los Angeles. His sculpture, photographs, multiples and bookworks, invitingly playful, sincere yet humorous, open questions on current social issues. — Margaret Bessai ABOVE: Bill Burns, Bird Radio and the Eames Chair Lounge, installation. T. 403-652-5255 From their studios Bob and Connie Pike produce a wide range of art and fine craft. Bob works in metal, making gates, art boxes, tables and assorted architectural accents. Connie makes high temperature, reduction-fired porcelain — from one-of-akind pieces to an extensive selection of functional pottery for everyday use. Studio tours available by appointment. JASPER MOUNTAIN GALLERIES AT THE FAIRMONT Fairmont Jasper Park Lodge, #1 Old Lodge Rd, Jasper, AB T0E 1E0 T. 780-852-5378 F. 780-852-7292 Toll Free: 1-888-310-9726 Located in The Fairmont Jasper Park Lodge, Mountain Galleries is a favourite stop for collectors of Canadian art, featuring museum-quality paintings, sculpture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/

studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 8 am - 10 pm. LETHBRIDGE Commercial Gallery TRIANON GALLERY 104 5 St S - Upstairs, Lethbridge, AB T1J 2B2 T. 403-380-2787 F. 403-329-1654 Toll Free: 1-866-380-2787 Formerly the Trianon Ballroom (1930s-1960s), the gallery is an informal mix between a gallery and an architectural office. Its open space and philosophy allows for creative community responses. Exhibitions range from nationally-renowned artists to aspiring students. A second exhibition space, Le Petit Trianon is now open downstairs. Public Galleries GALT MUSEUM & ARCHIVES 502 1 St S ( 5 Ave S & Scenic Dr), Lethbridge, AB T1J 0P6 T. 403-320-3898 F. 403-329-4958 Toll Free: 1-866-320-3898 A vibrant gathering place meeting historical, cultural and educational needs, the Galt engages and educates its communities in the human history of southwestern Alberta by preserving and sharing collections, stories and memories that define collective identity and guide the future. Award-winning exhibits, events, programs. (May 15 - Aug 31) Mon to Sat 10 am - 6 pm; (Sep 1 - May 14) Mon to Sat 10 am - 4:30 pm; (year-round) Thurs till 9 pm, Sun 1 - 4:30 pm. Admission charge. SOUTHERN ALBERTA ART GALLERY 601 3 Ave S, Lethbridge, AB T1J 0H4 T. 403-327-8770 F. 403-328-3913 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 The gallery serves the campus community and general public with a permanent collection of more than 13,000 works; by presenting local and touring exhibitions; and by supporting research at all levels through publications and an on-line database. Main Gallery Mon to Fri 10 am - 4:30 pm, Thur till 8:30 pm. Helen Christou Gallery - Level 9 LINC, Daily 8 am - 9 pm. Special activities on website. MEDICINE HAT Public Gallery ESPLANADE ART GALLERY 401 First St SE, Medicine Hat, AB T1A 8W2 T. 403-502-8580 F. 403-502-8589 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; Sat, Sun and Hol noon - 5 pm. MEDALTA IN THE HISTORIC CLAY DISTRICT 713 Medalta Ave SE, Medicine Hat, AB T1A 3K9 T. 403-529-1070 Medalta is a century-old factory which has been converted into an industrial museum, working pottery and contemporary ceramic arts centre. The Yuill Family Gallery features contemporary artwork from the Medalta International Artists in Residence program and travelling art exhibitions. (Summer) Victoria Day to Labour Day - Daily 9:30 am – 5 pm; (Winter) Tues to Sat 10 am – 4 pm. OKOTOKS Public Gallery OKOTOKS ART GALLERY | AT THE STATION PO Box 20, 53 North Railway St, Okotoks, AB T1S 1K1 T. 403-938-3204 F. 403-938-8963 The OAG reflects the creativity and dynamic energy of both the Town of Okotoks and the Foothills region. It presents an ongoing series of contemporary and historical art exhibitions. Recent exhibits include “Alberta and the Group of Seven”, Lou Lynn’s “Retro-active”, and “Celebrity Icons” which featured six works by Andy Warhol. (Summer) Mon to Sat 10 am - 5 pm; Sun and hols noon - 5 pm; (Fall & Winter) Tues to Sat 10 am - 5 pm. (closed statutory holidays) PONOKA Commercial Gallery SIDING 14 GALLERY 5214 50 St, PO Box 4403, Ponoka, AB T4J 1S1 T. 403-790-5387

Siding 14 Gallery takes its name from early CPR days when Ponoka was a waterstop on the EdmontonCalgary mainline. Today it features artwork from Western Canada, across the country and beyond. At its core is the studio of Mary MacArthur and Danny Lineham (“Those Great Little Books”) who are proud to showcase not only their own work in the ’ancient book arts’, but that of other fine artists and artisans. Mon 10 am - 5:30 pm, and by appointment. RED DEER Public Gallery RED DEER MUSEUM + ART GALLERY 4525 47A Ave, Red Deer, AB T4N 6Z6 T. 403-309-8405 F. 403-342-6644 The MAG combines elements of a museum and art gallery to inspire a passion for history and art while creating memorable experiences for visitors of all ages. The rotating exhibit schedule presents a glimpse of Red Deer’s historical and contemporary life, and brings world-class exhibitions to the city. In March 2013 the MAG will launch a permanent history exhibition “The Place Between: Stories from the Heart of the Parkland”. Mon to Fri 10 am 4:30 pm, wknd noon - 4:30 pm. WATERTON Commercial Gallery GUST GALLERY 112A Waterton Ave, Waterton Lakes, AB T0K 2M0 T. 403-859-2535 The Gust Gallery embraces the art and landscapes of Southern Alberta reflected by the extraordinary talents of artists working in 2 and 3 dimensional mediums. Open daily mid-May to end-September.

SASKATCHEWAN GALLERIES ASSINIBOIA Public Gallery SHURNIAK ART GALLERY 122 3 Ave W, PO Box 1178, Assiniboia, SK S0H 0B0 T. 306-642-5292 F. 306-642-4541 The gallery features its founder’s private collection of paintings, sculptures, and artifacts from around the world. Rotating exhibitions by invited artists. New Beginnings TeaRoom on premises. Admission free. Tues to Sat 10 am - 4:30 pm, Sun (Apr - Dec) 1 pm - 5 pm, closed public holidays and holiday weekends unless otherwise posted. ESTEVAN Public Gallery ESTEVAN ART GALLERY & MUSEUM 118 4 St, Estevan, SK S4A 0T4 T. 306-634-7644 F. 306-634-2940 This public gallery offers a free exchange of ideas and perspectives to reflect the rapidly expanding social and cultural diversity. With the collaboration of provincial and national institutions, the gallery seeks to make contemporary art accessible, meaningful, and vital to diverse audiences of all ages. Tues to Fri 8:30 am - 6 pm, Sat 1 pm - 4 pm. MELFORT Public Gallery SHERVEN-SMITH ART GALLERY 206 Bemister Ave East, Box 310, Melfort, SK S0E 1A0 T. 306-752-4177 F. 306-752-5556 Located 2 hours north of Saskatoon, the gallery is dedicated to the presentation and promotion of emerging local and provincial artists. Since opening in 2010, the gallery has held an eclectic mix of exhibits. With new exhibits each month, the gallery is always looking for artists interested in showcasing their work. Admission free. Mon to Fri 9 am - 5:30 pm.

Organized by the National Gallery of Canada

At the MacKenzie Art Gallery September 1 to November 18, 2012 @AtTheMAG 3475 Albert St | Regina, SK

Carl Beam, Contain that Force, 1978. Ojibwe Cultural Foundation, M’Chigeeng, Ontario. Photo © Harquail Photography, Courtesy of the Ojibwe Cultural Foundation

SEPTEMBER 28, 2012 TO JANUARY 6, 2013

Beneath a Petroliferous Moon The names of things: Terry Billings, Zachari Logan, Stacia Verigin Bill Burns: Bird Radio and the Eames Chair Lounge Organized by the Doris McCarthy Gallery.

MOOSE JAW Commercial Gallery YVETTE MOORE FINE ART GALLERY 76 Fairford St W, Moose Jaw, SK S6H 1V1

Saskatoon, SK Galleries West Fall/Winter 2012 69

TRADITIONS HANDCRAFT GALLERY 2714 13 Ave, Regina, SK S4T 1N3 T. 306-569-0199 Traditions exhibits the work of professional craft artisans who have successfully completed the exacting jury process of the Saskatchewan Craft Council. The gallery carries a full range of fine craft media, including ceramics, wood, fibre, metal, glass, and jewellery. Mon to Sat 10 am - 5:30 pm. Public Galleries ART GALLERY OF REGINA Neil Balkwill Civic Arts Centre, 2420 Elphinstone St, Regina, SK S4T 3N9 T. 306-522-5940 F. 306-522-5944 Features contemporary art with an emphasis on Saskatchewan artists. Exhibitions change frequently. Access via 15 Ave and McTavish St. Mon to Thur 1 pm - 5 pm and 6:30 pm - 9 pm. Fri to Sun 1 pm - 5 pm.

Bill Lobchuk, Picks from the Rabbit Hole, September 7 to 29, Gurevich Fine Art, Winnipeg

The Rabbit Hole is the name of Bill Lobchuk’s current studio, a second-floor attic-style space in North Winnipeg, very near the site of his first apartment in the back of a grocery store on Selkirk. Lobchuk, a member of the Royal Canadian Academy of Arts, is known well as a printmaker, the legendary founder of the Grand Western Canadian Screen Shop where artists as diverse as Joe Fafard, Daphne Odjig and General Idea came to create work. This exhibition, Picks from the Rabbit Hole at Gurevich Fine Art Gallery, will feature his newest work in oil and selected works from his past. “There are times when I’ve made something, and I need to keep it in the studio. I’ve put a few of those ‘golden oldies’ into this show, and a few drawings from the 80’s as well.” Lobchuk is inspired by colour. His drawings are layered with watercolour and soft pastel to build vibrancy, and his expressionistic oil paintings have a deliberately loose, organic line and a wet-on-wet spontaneous feeling. Lobchuk often works from photographs taken during his annual travels to the B.C. coast, and recent paintings of the urban landscape carry a very personal connection to place. — Margaret Bessai ABOVE: Bill Lobchuk, 863 Selkirk Ave, oil on canvas, 33" X 38". T. 306-693-7600 F. 306-693-7602 Showcasing the award-winning works of Yvette Moore, her gallery features her original artwork, limited edition prints, framed artcards and art plaques along with the works of other artisans, shown amid the copper grandeur of the former 1910 Land Titles Office. Food service. Corner Fairford and 1 Ave. Mon to Sat 10 am - 5 pm. PRINCE ALBERT Public Gallery THE MANN ART GALLERY 142 12 St W, Prince Albert, SK S6V 3B8 T. 306-763-7080 F. 306-953-4814 The Mann Art Gallery features a varied exhibition schedule promoting local, provincial and national artists, as well as curated exhibitions, lectures and workshops. It also houses a permanent collection of over 600 individual works from well-known provincial artists. Their education and professional development initiatives encourage public awareness and appreciation of the visual arts. Mon to Sat noon - 5 pm.

experimental processes and supports inclusion and diversity. Tues to Sat 11 am - 5 pm and designated evening performances, openings, screenings. Commercial Galleries ASSINIBOIA GALLERY 2266 Smith St, Regina, SK S4P 2P4 T. 306-522-0997 F. 306-522-5624 Opened in the late 1970s with the goal of establishing a gallery with a strong representation of regionally and nationally recognized artists reflecting a variety of style, subject and medium. The main focus is professional Canadian artists including Allen Sapp, Ted Godwin, W. H. Webb, Brent Laycock, Louise Cook and many more. Tues to Sat 9:30 am 5:30 pm.


MYSTERIA GALLERY 2706 13 Ave, Regina, SK S4T 1N3 T. 306-522-0080 F. 306-522-5410 Mysteria Gallery is an artist-owned venue for established and emerging local artists. Explore diverse media in a modern context. Experience fine art and fine jewelry in a fresh atmosphere. Mon to Sat noon - 5:30 pm or by appt.

Artist-run Gallery NEUTRAL GROUND 203-1856 Scarth St, Regina, SK S4P 2G3 T. 306-522-7166 F. 306-522-5075 Neutral Ground supports contemporary art practices through both presentation and production activities. Its curatorial vision is responsive to its regional milieu in a translocal context. Programming emphasizes the contribution to new and

NOUVEAU GALLERY 2146 Albert St, Regina, SK S4P 2T9 T. 306-569-9279 At Nouveau Gallery, formerly the Susan Whitney Gallery, look forward to works by many of Saskatchewan’s most recognized artists, the continuation of the Whitney Gallery’s vision plus a few surprises as Meagan Perreault puts her personal stamp on the new gallery. Tues to Sat 10 am - 5 pm, and by appt.

70 Galleries West Fall/Winter 2012

MACKENZIE ART GALLERY T C Douglas Building, 3475 Albert St, Regina, SK S4S 6X6 T. 306-584-4250 F. 306-569-8191 Excellent collection of art from historical to contemporary works by Canadian, American and international artists. Major touring exhibits. Gallery Shop, 175-seat Theatre, Learning Centre and Resource Centre. Corner of Albert St and 23rd Ave, SW corner of Wascana Centre. Mon to Fri 10 am - 5:30 pm, Fri till 9 pm; Sun and hol noon - 5:30 pm. ROCKGLEN Commercial Gallery NEIL JONES STUDIO GALLERY 1006 4 St N, PO Box 382, Rockglen, SK S0H 3R0 T. 306-535-9079 Self-taught wildlife artist, Neil Jones opens his studio gallery to the public to view his own work and that of other Saskatchewan artists. Painting in oils, his finely-painted images are rich with colour and action, capturing his passion for his subjects. His works have been featured by Ducks Unlimited and are held in both public and private collections throughout North America. Commissions welcome. Wed to Sun noon - 5 pm (Summer) or by appointment. SASKATOON ART PLACEMENT INC 228 3 Ave S, Saskatoon, SK S7K 1L9 T. 306-664-3385 F. 306-933-2521 Established in 1978, the gallery’s primary emphasis is on senior and mid-career Saskatchewan artists while also representing several established western Canadian painters and overseeing a number of artist estates. Presents a year round exhibition schedule alternating solo and group exhibitions. Centrally located downtown in the Traveller’s Block Annex. Tues to Sat 10:30 am - 5:30 pm.

Darrell Bell Gallery has moved to 405-105 21 St E in Saskatoon with new retail gift shop ’Lifestyles by Darrell Bell Gallery’ on main level. COLLECTOR’S CHOICE ART GALLERY 625D 1 Ave N, Saskatoon, SK S7K 1X7 T. 306-665-8300 F. 306-664-4094 Represents Saskatchewan and Canadian artists including Lou Chrones, Malaika Z Charbonneau, Julie Gutek, Cecelia Jurgens, Paul Jacoby, Valerie Munch, Jon Einnersen, Don Hefner, Reg Parsons, Bill Schwarz. The gallery offers a variety of contemporary paintings in watercolour, acrylic, oil, and mixed media and sculpture in bronze, stone and metal plus a collection of estate art. Tues - Fri 9:30 am - 5:30 pm, Sat 9:30 ñ 5 pm. DARRELL BELL GALLERY 405-105 21 St E, Saskatoon, SK S7K 0B3 T. 306-955-5701 Exhibiting contemporary Canadian art with an em-

phasis on professional Saskatchewan artists, including David Alexander, Darrell Bell, Lee Brady, Megan Courtney Broner, Inger deCoursey, Kaija Sanelma Harris, Hans Herold, Ian Rawlinson and various Inuit artists. Media include painting, sculpture, textiles, jewellery, glass and ceramics. Rotating solo and group shows year-round. Tues to Sat noon - 4 pm or by appointment.

After brief hiatus following sale of their building, Pacific Gallery in Saskatoon has re-opened in the north end at 204-2750 Faithfull Ave. ROUGE GALLERY 200-245 3 Ave S, Saskatoon, SK S7K 1M4 T. 306-955-8882 Now located in the Glengarry Building in the heart of downtown. Rouge Gallery is dedicated to the presentation and promotion of emerging as well as established Canadian artists. Tues to Fri 10 am - 5 pm, Sat noon - 5 pm. Public Galleries MENDEL ART GALLERY 950 Spadina Cres E, Saskatoon, SK S7N 5A8 T. 306-975-7610 F. 306-975-7670 The gallery is charged with collecting, exhibiting, and maintaining works of art and the development of public understanding and appreciation of art. Exhibitions of contemporary and historical art by local, national and international artists include those organised by Mendel curators and curatorial consortium members, as well as major touring exhibitions from other Canadian galleries. Daily 9 am - 9 pm. Admission free. SWIFT CURRENT ART GALLERY OF SWIFT CURRENT 411 Herbert St E, Swift Current, SK S9H 1M5 T. 306-778-2736 F. 306-773-8769 AGSC is a public art gallery featuring exhibitions of regional, provincial, and national works of visual art. Contact the gallery to arrange guided tours. See something to think about — visit your public art gallery. Mon to Wed 1 - 5 pm and 7 - 9 pm, Thurs to Sun 1 - 5 pm. Closed between exhibitions, statutory holidays, and Sundays in Jul and Aug. Admission free. VAL MARIE Commercial Galleries GRASSLANDS GALLERY Centre St and 1 Ave N, PO Box 145, Val Marie, SK S0N 2T0 T. 306-298-7782 Located at the gateway to Grasslands National Park in a land of rolling hills, rugged coulees and steep ravines centred on the Frenchman River Valley, Grasslands Gallery shows original art and craft by some of Saskatchewan’s finest artists, inspired by the Grasslands experience. May to Sept: Tues to Thurs 11 am - 5 pm, Fri - Sat noon - 5 pm; see website or call for seasonal hours.

MANITOBA GALLERIES BRANDON Public Gallery ART GALLERY OF SOUTHWESTERN MANITOBA 710 Rosser Ave, Suite 2, Brandon, MB R7A 0K9 T. 204-727-1036 F. 204-726-8139 Tracing its roots back to 1890, the gallery’s mission is to lead in visual art production, presentation, promotion and education in western Manitoba. Its focus is on contemporary art while respecting local heritage and culture. Mon to Sat 10 am - 6 pm, Thurs till 9 pm.

Commercial Gallery MERMAID’S KISS GALLERY PO Box 509, 85 Fourth Ave, Gimli, MB R0C 1B0 T. 204-642-7453 Just an hour’s scenic drive north from Winnipeg the gallery presents an eclectic mix of original art in painting, pottery, photography, raku, fibre and jewellery. Established and emerging artists take their inspiration from the lake and surrounding areas. Also offering archival giclée printing, photo restoration, certified custom conservation framing. Mon, Thur to Sat 10 am - 5 pm, Sun noon - 4 pm. PORTAGE LA PRAIRIE Public Gallery PORTAGE & DISTRICT ARTS CENTRE GALLERY & GIFT SHOP 11 2 St NE, Portage la Prairie, MB R1N 1R8 T. 204-239-6029 The gallery features a schedule of diverse exhibitions showcasing the works of local, regional and national artists. The gift shop offers art supplies as well as a mix of original art including pottery, stained glass, photography, wood turning, books and paintings by local and regional artists. Located within the William Glesby Centre. Tues to Sat 11 am - 5 pm. SELKIRK Cooperative Gallery GWEN FOX GALLERY 101-250 Manitoba Ave, Selkirk, MB R1A 0Y5 T. 204-482-4359 Built in 1907 and twice rescued from demolition, the ’old Post Office’ is now the Selkirk Community Arts Centre and home to the Gwen Fox Gallery witn over 100 members. The gallery exibits the works of individual members monthly through the year with June and September reserved for member group shows. Tues to Sat 11 am - 4 pm. WINNIPEG Commercial Galleries BIRCHWOOD ART GALLERY 6-1170 Taylor Ave, Grant Park Festival, Winnipeg, MB R3M 3Z4 T. 204-888-5840 F. 204-888-5604 Toll Free: 1-800-822-5840 Specializing in originals, prints, sculptures and bronzes, featuring a large selection of Manitoba and international artists. They also provide conservation custom framing, art restoration and cleaning, and home and office art consultation. Original commissions available on request. Mon to Thurs 10 am - 6 pm, Fri 10 am - 5 pm, Sat 10 am - 4 pm or by appointment. CRE8ERY GALLERY & STUDIO 2-125 Adelaide St (cor William), Winnipeg, MB R3A 0W4 T. 204-944-0809 Nestled in the heart of Winnipeg’s Arts District, cre8ery gallery is committed to the celebration of emerging as well as established artists. cre8ery takes pride in uncovering artistic gems of all media and genres and invites patrons of the arts to come discover their next art treasure. Tues & Thurs noon - 8 pm; Wed & Fri Noon - 6 pm; Sat noon - 4 pm. May change for special events. GUREVICH FINE ART 200-62 Albert St, Winnipeg, MB R3B 1E9 T. 204-488-0662 Toll Free: 1-888-488-0662 Gurevich Fine Art represents contemporary painting, photography, prints and sculpture. They provide art consulting and framing services. Mon to Sat 11 am - 5 pm, Thurs, Fri till 6 pm or by appointment. LOCH GALLERY 306 St. Mary’s Road, Winnipeg, MB R2H 1J8 T. 204-235-1033 F. 204-235-1036 Established in 1972, the Loch Gallery specializes in building collections of quality Canadian, American,

British and European paintings and sculpture. It represents original 19th and 20th century artwork of collectable and historic interest, as well as a select group of gifted professional artists from across Canada including Ivan Eyre, Leo Mol, Peter Sawatzky, Anna Wiechec, Philip Craig and Carol Stewart. Mon to Fri 9 am - 5:30 pm, Sat 9 am - 5 pm. MAYBERRY FINE ART 212 McDermot Ave, Winnipeg, MB R3B 0S3 T. 204-255-5690 Located in Winnipeg’s historic Exchange District, the gallery represents a select group of gifted Canadian artists including Joe Fafard, Wanda Koop, John MacDonald and Robert Genn. With over 30 years experience, they also specialize in historic Canadian and European works of collectible interest. Regular exhibitions feature important early Canadian art as well as gallery artists. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm. PULSE GALLERY 25 Forks Market Rd (Johnston Terminal), Winnipeg, MB R3C 4S8 T. 204-957-7140 Located in the historic Johnston Terminal at the Forks Development in the heart of Winnipeg, Pulse Gallery showcases the diversity of Manitoba’s talented artists — with a modern twist. Colour is the star in this gallery. Art can stimulate; art can inspire; art can ignite. Daily 11 am - 6 pm.

Peter McFarlane

WAREHOUSE ARTWORKS 222 McDermot Ave, Winnipeg, MB R3B 0S3 T. 204-943-1681 F. 204-942-2847 A Winnipeg fixture for more than 25 years, the gallery presents original art, in a variety of media, mainly from Manitoba artists. They also offer limited edition prints and reproductions along with a major framing facility. Mon to Thur 9 am - 5:30 pm, Sat to 5 pm. WAYNE ARTHUR GALLERY 186 Provencher Blvd, Winnipeg, MB R2H 0G3 T. 204-477-5249 Artist Wayne Arthur and wife Bev Morton opened the Wayne Arthur Sculpture & Craft Gallery in 1995. After Wayne passed away, Bev moved the gallery to Winnipeg and together with new husband, Robert MacLellan, has run the Wayne Arthur Gallery since 2002. Some of Wayne’s drawings are available for purchase as well as the creations of more than 60 Manitoba artists, working in painting, print-making, mixed media, sculpture, pottery, jewellery, glass and photography. Tues to Sat 11 am - 5 pm. WOODLANDS GALLERY 535 Academy Road, Winnipeg, MB R3N 0E2 T. 204-947-0700 Located among the boutiques and restaurants of Academy Road, Woodlands Gallery represents an engaging selection of contemporary works by emerging and established Canadian artists. In addition to original paintings, the gallery offers handmade jewellery, ceramics, blown glass and monoprints as well as professional custom framing. Tues to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm.

Clear Culture Series #9 (Lawn Mower) Blade Bonnet

GIMLI Represented by Pegasus Gallery of Canadian Art and Mayberry Fine Art

Cooperative Gallery MEDEA GALLERY 132 Osborne St in The Village, Winnipeg, MB R3L 1Y3 T. 204-453-1115 This artist-run cooperative was established in 1976, and features traditional and contemporary original fine art by Manitoba artists, including oils, watercolors, acrylics, pastels, mixed media, intaglio and serigraph prints, ceramics, sculpture and photography. Rental plan and gift certificates available. Open Mon to Sat 10:30 am - 5 pm, Sun 1 pm - 4pm. Public Gallery WINNIPEG ART GALLERY 300 Memorial Blvd, Winnipeg, MB R3C 1V1 T. 204-786-6641 Manitoba’s premiere public gallery founded in 1912, has nine galleries of contemporary and historical art with an emphasis on work by Manitoba artists. Rooftop restaurant, gift shop. Tues to Sun 11 am - 5 pm, Thurs til 9 pm.

Galleries West Fall/Winter 2012 71

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72 Galleries West Fall/Winter 2012


JIMMY WRIGHT: ART WITH AN ATTITUDE Victoria, BC T. 250-642-5747 The Estate of Jimmy Wright is pleased to launch a new online art gallery featuring a limited time release of selected artworks by the late Jimmy Wright. Well known for his wry wit and his iconic polar bears, Jimmy’s abstracts and other animals are also represented here. KAMILA & NEL ART GALLERY 768 Menawood Pl, Victoria, BC V8Y 2Z6 T. 250-294-5711 Interested in commissioning an experienced and internationally-recognized artist to create an ageless fine art gift? Portraits, architecture, animals, landscapes and any other subject of interest to you could be captured and transformed in a creative way. Paintings can be done from photos or a session arranged at the studio. LORRAINE THORARINSON BETTS Victoria, BC T. 250-391-9590 An abstract artist, Lorraine works in mixed media/monotype and painting on paper and canvas from her studio in Metchosin, on the west shore of Victoria, BC. Whether figurative or abstract, her unique imagery carries a sense of story through texture, line and a celebration of colour. Studio visits are always welcome — please call ahead. PETER MCFARLANE - ARTIST Salt Spring Island, BC West coast artist Peter McFarlane uses re-contextualized non-traditional materials, incredibly long hours and serendipity to create vivid, memorable and interesting images. He is represented by Pegasus Gallery of Canadian Art on Salt Spring Island and Mayberry Fine Art in Winnipeg and Toronto.


SIDNEY FINE ART SHOW OCTOBER 12 - 14, 2012 Mary Winspear Centre, Sidney, BC T. 250-656-7412 The 8th annual Sidney Fine Art Show takes place October 12 - 14, 2012 in beautiful Sidney by the Sea. This juried show offers an exhibition that is always fresh, exciting and diverse. Since work is available for sale, this is a must for collectors. Visit website for details.


HODGINS ART AUCTIONS LTD 5240 1A St SE, Calgary, AB T2H 1J1 T. 403-252-4362 F. 403-259-3682 Hodgins is one of western Canada’s largest and longest running auction companies dedicated to quality fine art. They hold catalogued auctions of Canadian and international fine art every May and November. In addition, appraisal services are offered for estate settlement, insurance, matrimonial division and other purposes. Individual and corporate consignments of artworks for sale are always welcome.

LANDO ART AUCTIONS 11130 105 Ave NW, Edmonton, AB T5H 0L5 T. 780-990-1161 F. 780-990-1153 They hold a minimum of three catalogued auctions a year of Canadian and international fine art. Individual and corporate consignments welcome. Appraisals for insurance, donation, estate settlement, family division and other purposes. Call or email for a confidential appointment. Mon to Fri 10 am 5:30 pm, Sat 10 am - 4:30 pm, or by appt. MAYNARDS FINE ART AND ANTIQUES 1837 Main St, Vancouver, BC V5T 3B8 T. 604-675-2228 F. 604-876-1323 Toll Free: 1-800-461-0788 Maynards has offered fine art and antique auction and appraisal services in Western Canada for more than a century. At their new location they have added contemporary art auctions to their specialties. As well as sales by auction, they can provide private sales between parties, sales to and from public museums and galleries, together with appraisal services. Mon to Sat 9 am - 5 pm.


VEVEX CORPORATION 955 East Hastings St, Vancouver, BC V6A 1R9 T. 604-254-1002 F. 866-883-3899 Vevex produces made-to-order crates for shipping and storing fine art. Computer-generated estimates and engineered manufacturing ensure fast quotes and prompt delivery. A range of designs offers choice for commercial, collector and institutional needs. Certified for worldwide export. Supplier of museum-quality crates to the Vancouver Art Gallery.


ATLANTIS FINE FRAMING STUDIO & GALLERY 4515 Manhattan Rd SE, Calgary, AB T2G 4B3 T. 403-258-0075 F. 403-259-4211 At Atlantis, artwork, textiles and collectibles receive the skilful design choices they deserve. Top quality products are offered in a large selection of custom frames and ready-mades. The gallery space shows work from local and regional artists and the new, larger location also includes art supplies, art classes and workshops. Mon to Fri 9 am - 6 pm, Sat 10 am - 5 pm. FRAMED ON FIFTH 1207 5 Ave NW, Calgary, AB T2N 0S1 T. 403-244-3688 Owner Hannah White is an experienced custom picture framer — and an artist in her own right. Her specialized frame shop offers original art framing at reasonable prices for artists, collectors and the general public. Located in eclectic Kensington with ample on-street parking. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm. JARVIS HALL FINE FRAMES 617 11 Ave SW, Calgary, AB T2R 0E1 T. 403-206-9942 Jarvis Hall Fine Frames is a full service frame shop offering all levels of custom framing from conservation to museum grade. Frames can be chosen from a wide variety of manufacturers or can be designed, carved and gilded by hand. They also offer a variety of gallery frames for artists. Tues to Sat 10 am - 5 pm and by appointment. THE PETERS GALLERY AND FINE ART FRAMING 1225 18 Ave NW, Calgary, AB T2M 0W3 T. 403-269-3475 Clients can feel comfortable with a 20-year veteran in the art and framing industry. Peters offers inspirational framing designs, quality workmanship and on-site consultations. Fine art leasing is also available with art suitable to individual office decor and budget, presented by a knowledgeable, results-oriented consultant who can work with the designated space and budget. Wed and Thurs 10 am - 5 pm, Sat 9 am - 1 pm.


ART IN CANADA ,T. 403-336-1313 For artists who know they need a website, but don’t know where to start, Art In Canada — a professional web consulting and design company — has been marketing artists and art galleries online since 1999. Websites are designed for easy self-administration by artists themselves. Call Lynda Baxter to learn more and get started.


ON THE LEVEL ART INSTALLATIONS , T. 403-263-7226 A fully insured, full service fine arts handling company with 24 years experience providing consulting, design and installation service throughout western Canada.


ART-MASTERS.NET DIGITAL ART INC 1608 29 Ave SW, Calgary, AB T2T 1M5 T. 403-229-2953 Specializing in professional, archival, custom giclée printing for more than 15 years with complete inhouse service, they cater to over 400 discriminating artists, galleries, and art publishers locally and around the world. Expertise in colour correction creates the rich colours, textures and high definition of original artwork, and printing is done with special UV inhibiting inks (200 years) and varnishes.


ARMSTRONG FINE ART SERVICES LTD. 630 Secretariat Court, Mississauga, ON L5S 2A5 T. 905-670-3600 F. 905-670-0764 Toll Free: 1-866-670-3600 Armstrong Fine Art Services Ltd. is part of the Armstrong Group of Companies, with over 40 years of professional experience in packing, crating, storing and shipping fine art, antiques and antiquities across Canada and around the world. They have the people, services and facilities to assure the handling of a single piece of art, or an entire collection. Email for details about their cross-country and inter-USA shuttles.


LEVIS FINE ART AUCTIONS, APPRAISALS & ART STORAGE 1739 10 Ave SW, Calgary, AB T3C 0K1 T. 403-541-9099 From a single item to a complete collection, Levis can safely store artwork. The company offers professional and knowledgeable staff, a safe and confidential environment, a thorough security system, controlled temperature and constant on-site presence. Costs are based on a rate of $10.00 per cubic foot per month. For larger collections volume rates are available.


ARTISTS EMPORIUM 1610 St James St, Winnipeg, MB R3H 0L2 T. 204-772-2421 A Canadian based company supplying highest quality products since 1977 with over 100,000 items offered in a 12,000 square feet retail space. The fun-friendly atmosphere extends from the free Saturday morning art classes, through the extensive art library and spinning the roulette wheel at their annual Artists Open House. They are committed to maintaining a high level of inventory at competitive prices while continually expanding product lines. Mon to Thur 9 am - 6 pm, Fri til 9 pm, Sat 9 am - 6 pm, Sun noon - 4 pm. CLASSIC GALLERY FRAMING INC 3376 Sexsmith Road, Kelowna, BC V1X 7S5

T. 250-765-6116 F. 250-765-6117 Toll Free: 1-800-892-8855 High quality mouldings, liners and liner profiles are produced by utilizing the most efficient manufacturing processes combined with the care and detail that comes with creating handcrafted products. All steps of production are done inside their factory. The full range of products may be previewed online and are available through most fine art dealers and framers. INGLEWOOD ART SUPPLIES 1006 9 Ave SE, Calgary, AB T2G 0S7 T. 403-265-8961 Store claims best selection and prices in Calgary on pre-stretched canvas and canvas on the roll. Golden Acrylics and Mediums with everyday prices below retail. Volume discounts on the complete selection of Stevenson Oils, Acrylics and Mediums. Other name-brand materials, brushes, drawing supplies, easels, an extensive selection of paper and more. Mon to Fri 9 am - 6 pm, Sat 10 am - 5 pm, Sun noon - 5 pm.

Auction - Nov. 26 & 27

KENSINGTON ART SUPPLY 130 10 St NW, Calgary, AB T2N 1V3 T. 403-283-2288 Now in a new, bigger space featuring an expanded selection of quality fine art supplies including more paints, brushes, easels, paper and canvas. Also carry over 500 titles of art instruction books, encaustic paints, and an enhanced airbrush section. Friendly, knowledgeable staff. Art classes next door. Discounts available. Mon to Thurs 10 am - 8 pm, Fri, Sat 10 am - 6 pm, Sun & Hol 11 am - 5 pm. MONA LISA ARTISTS’ MATERIALS 1518 7 St SW, Calgary, AB T2R 1A7 T. 403-228-3618 Welcome to one of Western Canada’s largest fine art supply retailers. Established in 1959, Mona Lisa provides excellent customer service combined with a broad spectrum of products and technical knowledge. Clients from beginner to professional, find everything they need to achieve their artistic goals. Volume discounts and full-time student and senior discounts available. Mon - Fri 8 am - 5:30 pm, Sat 9 am - 5 pm.

Joe Fafard ROSA; 1989 patinated bronze; ed. #1/5, 20.75 x 25 x 9 in.

OPUS FRAMING & ART SUPPLIES T. 604-435-9991 F. 604-435-9941 Toll Free: 1-800-663-6953 Opus has stores in Vancouver, Victoria, Kelowna, North Vancouver, and Langley, plus online shopping and mail order service. They offer an extensive selection of fine art materials and quality framing supplies. Check them out online, or drop by for some inspiration. They also produce an e-newsletter full of sales, art news and articles, and provide ëhow to’ handouts and artist demos. Western Canada’s favourite artists’ resource. SKETCH ARTIST SUPPLIES (FORMERLY STUDIO TODOROVIC) 1713 - 2 St NW, Calgary, AB T2M 2W4 T. 403-450-1917 Sketch offers framing and carries Copic sketch markers (full selection), sketchbooks, J. Herbin calligraphy inks, Brause nibs, Faber-Castell products, Moleskine, Rhodia, Golden acrylics & mediums, M. Graham oils & watercolours, Gotrick canvas and more. Student and senior discounts. Just north of TransCanada in Mount Pleasant opposite Balmoral School. Free parking. Mon to Fri 10 am - 6 pm, Sat 11 am - 6 pm. THE GALLERY/ART PLACEMENT INC. 228 3 Ave S (back lane entrance), Saskatoon, SK S7K 1L9 T. 306-664-3931 Professional artists, University art students, art educators and weekend artists rely on The Gallery/Art Placement’s art supply store for fine quality materials and equipment at reasonable prices. A constantly expanding range of materials from acrylics, oils and watercolours, to canvas, brushes, specialty paper, soapstone and accessories. Tues to Sat 10:30 am - 5:30 pm.

James McLaren (Jim) Nicoll THE FIRST SNOW oil on canvas, 24 x 28.25 in.

Quality Consignments Always Welcome Ongoing Auctions, Live and Online. Enquire about our gallery referral program.

5240 1A St. SE Calgary AB T2H 1J1 ℡ 403 252 4362 Galleries West Fall/Winter 2012 73


RICHARD HALLIDAY (1939 – 2011)

Richard Halliday, Constellation Series #12, oil stick and acrylic on canvas, 2010,

The expressionist paintings of Richard Halliday are as much about the physical act of creating art as they are about the physical appearance. His Constellation Series, in white on black or black on white, is made up of large-scale canvases swirled with moving lines. As the viewer, there’s an instant impression of the artist at work, leaning into the canvas and freely delineating creative movement. “I think of the drawn line as the kinetic means to extend my sense of perception and touch to the making of the work,” Halliday wrote. “The initial line trajectories are lightly applied so that they take an immediate recessive position to those that come over and above. The initial drawing of the line originates with an unconscious magnified scribbling technique used originally by the surrealists and later by many abstract expressionist artists.” It’s interesting to see the way Halliday seemed to consider the line motivating the shape of the work, as if it had a conscious influence on him as an artist. Originally from Vancouver, Halliday made his life as both an artist and an educator. After training at the Vancouver School of Art (now Emily Carr University) with fellow artists Jack Shadbolt, Ron Thom and Roy Kiyooka, Halliday travelled south, then across Canada, where he began teaching at the Brandon Allied Art Centre in Manitoba before moving on to Montreal and grad studies at Sir George Williams University (now Concordia). There, he 74 Galleries West Fall/Winter 2012

became director of the Montreal Museum School of Art and Design, where he spent ten years. He is most fully identified now by his many years as a guiding light at the Alberta College of Art and Design, where he joined the teaching faculty in 1978. In 1982, he became head of the Art College, and spearheaded a successful effort to make it an independent, self-governed institution, one of the most respected art schools in Canada. But Halliday never stopped painting, moving from bright abstracts to the duotones of the Constellation Series. Seen together, the canvases appear to cover a continuous conversation of line and ground, moving quickly from one view to the next. His work is represented by Trepanier Baer Gallery in Calgary, which held an exhibition of the Constellation work earlier this year. Halliday himself captured the physical and imaginative process behind the series, which he began in the early part of the last decade and continued until shortly before his death last year. In his artist’s statement, he wrote “The organic calligraphy that is in all the work, is an autobiographical statement of a particular drawing process as I make the motions that make the marks, that determine the abstract space which is the formal content in all the work. The paintings are metaphysically felt, automatic impulse becomes gesture and then visual sign for entry into an imagined genesis and universe outside and beyond myself.” — Jill Sawyer


4.4' X 4.5'.

SPECIALIZING IN WORKS OF HISTORICAL SIGNIFICANCE FOR 40 YEARS Calgary Toronto Winnipeg Selling your historical works of significance? If so, you may wish to consult with us for an appraisal. - out right purchase - confidential - no hidden fees

Tuesday to Saturday, 10:00 A.M. to 5:30 P.M. 1516 - 4th Street S.W., Calgary, Alberta T2R 0Y4 403 209 8542

Landon Mackenzie, Moon and Stair (Berlin), 2007, Watercolour, ink, gesso on acid free paper, 48 cm x 64 cm Photo: Scott Massey


NERVOUS CENTRE SEPTEMBER � – JANUARY � | 444, 1011 – 9th Avenue S.E. Calgary, AB, Canada T2G 0H7 |

Galleries West Fall/Winter 2012  
Galleries West Fall/Winter 2012  

Vol 11 No 3 Your link to the visual arts in Western Canada