Galleries West Fall/Winter 2015

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PopGoesThePrairieAtGlenbow David Thauberger: Road Trips & Other Diversions OCTOBER 17, 2015 – JANUARY 31, 2016 Downtown Calgary |

Organized and circulated by the Mendel Art Gallery, Saskatoon and the MacKenzie Art Gallery, Regina. This project is funded in part by the Museums Assistance Program at Canadian Heritage. Ce projet est financé en partie dans le cadre du Programme d’aide aux musées de Patrimoine canadien.

David Thauberger, Way Out West (detail), 2004, 60.9 x 91.4 cm, acrylic on panel. Private Collection.

100-2506 Beacon Ave Sidney, BC, V8L 1Y2 250-655-1722

Robert Bateman Carol Evans Philip Buytendorp

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CONTENTS Fall/Winter 2015 Vol. 14 No. 3



Going bananas with Anna Anna Banana’s Victoria retrospective looks at her 40 years in the underground art scene. By Portia Priegert


Take Them Home




It’s complicated! Official Ottawa’s uneasy relationship with artists and the visual arts. By Paul Gessell



Winnipeg’s fast-rising star continues to innovate after her American mid-career survey. By Cliff Eyland


Erica Eyres Frank explorations of egotism and social pretense can hit a nerve in viewers.

32 Feature Previews

Rough Country .........................32 Rosalie Favell ............................ 34 The Artist Herself ......................36

By Sarah Swan


Handmade artists’ books are labours of love. By Steven Ross Smith

Zane Wilcox ..............................20 Julian Forrest ............................20 Helmut Langeder ......................21 Mélanie Rocan ..........................22 Vicky Marshall .........................22 Andrea Padovani ......................23 Kari Duke ..................................23

David Bolduc ............................26 concerning certain events .........26 Irene Bindi and Aston Coles ......27 Jesse Thomas ............................28 Tom Burrows .............................28 Rory Mahony ............................28 Geoffrey James .........................30 Dan Hudson ..............................30

Sarah Anne Johnson

Irresistible allure

First Impressions

News and events; Jeffrey Spalding on Chris Cran




Spring sales reasonable, despite the poor economy

62 Previews




Art’s unsung heroes can reveal mysteries. By Portia Priegert


Gallery Sources

Fine art galleries in the West

81 Directory

Back Room By Portia Priegert


British Columbia .......................62 Alberta ......................................69 Saskatchewan ...........................76 Manitoba ..................................79 Northern Territories ..................80

Gilding the frame

Roy Thomas celebrates Ahnisnabae traditions in New Year at Edmonton’s Bearclaw Gallery.

Sarindar Dhaliwal; Kevin Schmidt; Telling Stories; David Burdeny; Views from the Southbank; Paul Bernhardt; Jeff Mair; Lilian Broca; Wilf Perreault; Don Maynard; Jim Westergard; Sarah Nordean; Celia Perrin Sidarous; Glen Semple; Allan King; Renée Duval; Walter Jule and Wendy McGrath; Skawennati Tricia Fragnito; Ken Christopher; Jeffrey Spalding; Zachari Logan; Jillian McDonald and Peter Morin; Aleksandra Domanovic.


Products and services for artists and collectors.

Galleries West | Fall/Winter 2015 5

Editor Portia Priegert 1-866-415-3282

Reviews Editor Art Director Wendy Pease


Paul Gessell, Cliff Eyland, Bart Gazzola, Doug Maclean, Agnieszka Matejko, Aaron Nelson, Steven Ross Smith, Jeffrey Spalding, Sarah Swan, Helena Waldsley

Publisher & Director Tom Tait of Advertising 403-234-7097 Toll Free 866-697-2002 Subscriptions Published in January, May and September. $35 per year; $60 for 2 years; $75 for 3 years USA add $15 per year; Int’l add $30 per year Online at or, Call 1-844-879-1675 or, Send cheque or money order to: Galleries West Subscriptions PO Box 542 Place D’Armes Station Montreal, QC H2Y 3H3 Mailing address and #301, 690 Princeton Way SW production deliveries Calgary, Alberta, T2P 5J9 403-234-7097 Fax: 403-243-4649 Toll free: 866-697-2002

Prepress Island Digital Services Ltd. Printed in Canada Transcontinental LGM-Coronet Visit our website at: Or send your questions and comments to We acknowledge the support of the Alberta Foundation for the Arts for our publishing program.

SARINDAR DHALIWAL The Radcliffe Line and Other Geographies October 29, 2015–January 3, 2016 OPENING RECEPTION Thursday, October 29 | 7pm

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

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

ARTIST TALK Friday, October 30 | 7pm

FREE ADMISSION 32388 Veterans Way Abbotsford BC V2T 0B3 604.864.8087 | Sarindar Dhaliwal, the cartographer’s mistake: the Radcliffe Line (detail), 2012, Chromira print, 27” x 27”

6 Galleries West | Fall/Winter 2015

On the Cover: Sarah Anne Johnson, Sunbeams II, 2013, scratched chromogenic print, 10” x 6.5”


4HPU :WHJL -PUKPUN (UH Elise Rasmussen September 11 - October 10 / 2015 >HSSLK .HYKLU Steven Cochrane October 23 - November 21 / 2015

7YVQLJ[ >PUKV^ 7LYWL[\HS 0U]LU[VY` Sally Raab August 3 - September 25 / 2015 >YP[PUN /TVL MVY 4VH[PUN ;HRL Christofer Degrér October 1 - November 30

< /HSS *VTT\UP[` :WHJL Upstairs at TRUCK

Now accepting proposals on an ongoing basis

TRUCK Contemporary Art in Calgary 2009 10th Ave, SW

These days, almost everything about print magazines seems an anorexic reflection of the Olympic motto: Shorter, slimmer, smaller. The impact of digital media – and a struggling economy with its declining advertising revenues – has shaken the traditional publishing world. But some niche magazines are taking another path. They know many readers still value the tactility and thoughtfulness of print, and are proving that expanding content can be a viable business decision. Their efforts struck a chord with Galleries West, prompting publisher Tom Tait to swim against the tide of diminution. His first stroke comes in this issue with an extra 16 pages of editorial content. One priority for this space was a news feature that looks at the federal government’s complicated relationship with the visual arts. With the country heading to the polls this fall, the timing seemed ideal. And despite the secrecy that now surrounds access to even routine information, veteran Ottawa journalist Paul Gessell worked doggedly to produce the kind of article you might expect in a national news magazine. As editor, I look for quality feature writing with a sweet spot somewhere between the journalistic and the literary. So I’m excited to include a personal tribute to a wonderful craft – handmade artists’ books – by poet Steven Ross Smith, a former director of literary arts at the Banff Centre. Other highlights include Cliff Eyland’s story on Winnipeg art star Sarah Anne Johnson, whose work shines forth on the magazine's cover; Jeffrey Spalding’s tribute to Calgary artist Chris Cran; Sarah Swan’s take on the edgy art of Winnipeg-raised artist Erica Eyres; and my fun look at Anna Banana, whose 40-year retrospective occupies two Victoria galleries this fall. If you enjoy our expanded coverage and want to see more stories about art and artists in Western Canada, we encourage you to share our enthusiasm. Enjoy your personal copy of Galleries West, but remember, an annual subscription can be a great holiday gift that reminds friends and family you’re thinking of them throughout the year.

+15 Project Window (Arts Commons) 205 8th Ave, SE

8 Galleries West Fall/Winter 2014

Sept. 19 - Oct. 3 ,BSFM %PSVZUFS Old Growth New Beginnings

Oct. 10 - 24 .FHIBO )JMEFCSBOE Giants

Oct. 29 - Nov.12 4FBO :FMMBOE Homeless Romantic



NEWS IN THE VISUAL ARTS National Gallery of Canada to show Saskatoon collector’s Pre-Raphaelite drawings

Frederick Sandys, King Pelles’ Daughter Bearing the Vessel of the Sangreal, 1861, pen and black ink on paper, 12.6” x 9.2”

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askatoon dentist Dennis Lanigan was riding the London subway in 1976 when he spotted an advertisement for a major retrospective of 19th-century artist Edward Burne-Jones at the Hayward Gallery. When Lanigan went to the exhibition it was love at first sight. “This was my first introduction to the PreRaphaelites and the first blockbuster exhibition I had ever attended,” says Lanigan, now semi-retired. “If there is such a thing as ‘road to Damascus’ for a collector, then this exhibition surely was mine.” Back in Saskatoon, Lanigan soon began acquiring Pre-Raphaelite art, mainly drawings. His collection is so impressive the National Gallery of Canada is showing 100 of the works, the bulk of the collection, from Oct. 9 to Jan. 3. Twenty pieces are gifts from Lanigan to the gallery; the other 80 are promised gifts. An international tour has been discussed. Sonia Del Re, the curator in charge of Beauty’s Awakening: Drawings by the Pre-Raphaelites and their Contemporaries from the Lanigan Collection, calls the gifts “transformational.” Lanigan, who has collected art since graduating from the University of Saskatchewan, says fate first directed him to the Victorians, then to the Pre-Raphaelites, rebels who favoured dreamy art with a Romantic aesthetic. He left that first show feeling he would “die happy” if he could own even one drawing by BurneJones. He now has a dozen, and says the scholarship involved in identifying the right work is as important to him as placing it on his wall. Lanigan’s collection is unique, says Christopher Newall, a British art historian who wrote an essay for the show’s catalogue: “This is because Dennis has not put the collection together to gather trophy pieces likely to impress people whose knowledge of the period amounts to the names of a handful of central figures, but to construct a fabric of interrelated images, each of which complements and informs the larger entity.” Nevertheless, some trophy names are in the collection: Dante Gabriel Rossetti, Frederic Leighton and, of course, Edward Burne-Jones. – Paul Gessell

FIRST IMPRESSIONS Canada Council will revamp its arts funding programs in 2017

Arts Factory opens in Vancouver warehouse

The Canada Council for the Arts has unveiled a new funding model for grants to artists and arts organizations. Rather than maintaining 147 discipline-specific programs, the council has created six nondisciplinary programs. For instance, Explore and Create will fund artists, collectives and organizations that research and develop work that advances various art forms. Engage and Sustain will support arts organizations that produce and present high-quality arts. Other programs support aboriginal arts, and help disseminate art nationally and abroad. The changes will come into effect in 2017. The council says the new system will offer artists “a simpler, more artist-centred application process” that responds to current trends and maximizes social, creative and economic benefits. The council’s director, Simon Brault, says peer assessment will continue. But how this will work for non-disciplinary programs remains to be seen.

The Arts Factory, a new cultural hub, has opened in Vancouver. Two years of renovations have transformed the city-owned warehouse into a multidisciplinary arts facility. The building provides affordable studio and production space to professional artists and arts groups. It’s geared to serve artists who require industrial fabrication. For information, go to

Museum adds exhibit on Truth and Reconciliation Commission The Canadian Museum for Human Rights in Winnipeg has a new exhibit about the work of Canada’s Truth and Reconciliation Commission. It includes Coast Salish artist Luke Marston’s carved bentwood box, which received offerings at recent hearings across Canada. The exhibit will explain the commission’s role in drawing Coast Salish artist Luke Marston’s carved bentwood box received offerings at hearings by Canada’s Truth and Reconciliation Commission.

Galleries West | Fall/Winter 2015 11

alberta textures


september 25th to october 15th, 2015

bluerock gallery 110 centre avenue west black diamond, alberta exhbition preview: september 25th opening alberta culture days weekend september 26 - 27th featuring family-friendly workshops, demonstrations and prizes!!

become a member since 1931, the alberta society of artists has stimulated growth, inspiration and passion for excellence in the visual arts in alberta. the alberta society of artists is now accepting applications for full, supporting and student memberships.

attention to abuse at residential schools and promoting healing. The museum has also opened a temporary exhibition space that will show the Magna Carta, on loan from Durham Cathedral in Britain, until Sept. 18. Magna Carta – Law, Liberty and Legacy celebrates the 800th anniversary of the document that set the groundwork for concepts that continue to define democracy, including the principle that no one is above the law. The Magna Carta will also be shown at the Legislative Assembly of Alberta Visitor Centre from Nov. 23 to Dec. 29.

Pacart opens a new art storage facility in British Columbia Pacart, which has been in the business of shipping art and antiques for decades, is expanding its Western operations with a specialized art storage facility in B.C.’s Lower Mainland. The move, which will appeal to downsizing boomers and others feeling cramped by Vancouver’s high-priced real estate, will provide secure temperaturecontrolled storage in a Burnaby warehouse. The company already has warehouses in Toronto and Montreal.

Royal Alberta Museum prepares for move to larger building crossroads art centre | #305 - 1235, 26 avenue se calgary, alberta | T2G 1R7 403.265.0012 12 Galleries West | Fall/Winter 2015

The Royal Alberta Museum in Edmonton will close in early December as it prepares to move to a new facility with twice as much

Artist’s rendering of the new Royal Alberta Museum in Edmonton’s arts district.

space in the city’s arts district. The building is expected to be finished in 2016, allowing the museum to undertake the massive job of moving and installing thousands of objects and displays. The new museum will cost some $375 million. That includes $253 million from the Alberta government and $122 million from Ottawa. The existing museum building was built in 1967.

Calgary-born photographer in the running for major prize Calgary-born Owen Kydd is one of four international artists on the short list for this year’s $50,000 Aimia | AGO Photography Prize, Canada’s most significant prize for photography. Kydd, born in Calgary in 1975, studied in Vancouver and Los Angeles, where he now lives. He calls his work “durational photography” as it involves mounting and framing short video loops in a light-box format. The four finalists each receive a six-week artist residency in Canada and will present their work in an exhibition opening Sept. 9 at the Art Gallery of Ontario in Toronto. The winner is chosen by a public vote that begins in September. The other finalists are Dave Jordano, an American, and Germans Annette Kelm and Hito Steyerl.

FIRST IMPRESSIONS Two Western artists under 40 on short list for Sobey Award Winnipeg artist Sarah Anne Johnson and Vancouver-based Raymond Boisjoly, an indigenous artist of Haida and Québécois descent from Chilliwack, B.C., are the two Western Canadian artists on the short list for the Sobey Art Award, which recognizes contemporary artists under 40. The other artists vying for $100,000 in prize money are Lisa Lipton (Atlantic), Jon Rafman (Quebec) and Abbas Akhavan (Ontario). The work of all five artists will be exhibited at the Art Gallery of Nova Scotia starting Sept. 26. The winner will be announced Oct. 28.

Big Bang partnership between Beakerhead and the Banff Centre Beakerhead, Calgary’s annual festival of culture that has science or engineering at its core, will partner with the Banff Centre to bring more bang to next year’s event. The Banff Centre is organizing a Big Bang Creative Residency that will see a collaborative team premier a new work in September 2016. The call for proposals is open to international artists,

engineers, architects, designers, scientists and others. For information, go to

Haida Gwaii spotlight of show at Vancouver’s Bill Reid Gallery Land Sea People, an exhibition of contemporary art by Northwest Coast artists at Vancouver’s Bill Reid Gallery, aims to raise awareness about the need to protect the pristine beauty of the Gwaii Haanas National Park Reserve. The show, which runs Oct. 15 to March 27, also draws attention to one of the first integrated land-sea-people plans in Canada, developed to provide strategies for the management of natural and cultural resources. Programming around the show includes discussions about the legacy of the 1985 Lyell Island protests, which led to the Gwaii Haanas agreement between the Haida Nation and the Canadian government.

Finalists chosen for inaugural Salt Spring National Art Prize Fifty-two artists from across Canada are finalists for the inaugural Salt Spring National Art Prize. The finalists, who will contend for $25,000 in prize money, were chosen from more than 800 entries. The prize aims to encourage artists whose work demonstrates visual impact and depth of meaning. “We are extremely pleased with the number and quality of works submitted by artists from across the country,” said the prize’s founding director Ronald Crawford.

Spiritual art from Taiwan to show at UBC Museum of Anthropology The ethereal spiritual world of contemporary Taiwan will be the The MacKenzie Art Gallery picked up three Saskatchewan Book Awards for 7: Professsional Native Indian Artists Inc.


love at

irst sight


September 19, 2015 to January 3, 2016 Explore the fascinating collection of Drs. Morris and Jacqui Shumiatcher — trailblazing community builders, social justice advocates, and two of Saskatchewan’s greatest patrons of the arts. Highlights of the exhibition focus on their collection of Inuit, world, and Western Canadian art.

Presented by

Organized by the MacKenzie Art Gallery with the support of the Canada Council for the Arts, the Saskatchewan Arts Board, Sask Culture, the City of Regina, and the University of Regina. Photo: Don Hall.

3475 Albert Street | Regina, SK

Galleries West | Fall/Winter 2015 13


British Columbia landscape painter on the money


rtist Stéphanie Gauvin credits frequent postings of her paintings on Facebook for landing her right on the money – literally: Her painting of Tower Peak in Mount Assiniboine Provincial Park is featured on a new $20 silver coin produced by the Royal Canadian Mint. Gauvin said an old friend, Annie Dubreuil, who now works at the mint as a product manager, saw her paintings on Facebook and invited her to submit her work for a special landscape series of four coins the mint is producing for collectors. The one-ounce coins sell for $100 and New $20 silver coin. are part of a limited mintage of 7,500 coins. Christine Aquino, a spokesperson for the mint, said product managers are always on the lookout for new talent, and often go online to find it. “When we had this series coming up, Annie knew of an artist whose style would fit very well for this series, and that’s how Stéphanie was contacted,” said Aquino. Gauvin, who lives in the small mountain community of Rossland, B.C., grew up in Quebec and studied fine arts at Le Cégep de Sherbrooke before moving west to ski and plant trees some 20 years ago. Aquino said the mint, a Crown corporation, maintains a database of about 200 artists, but is interested in new artists whose work can be translated into engravings, especially those skilled with portraiture or wildlife. Landscape is a common genre for painters, some with much grander careers than Gauvin, who is represented by Hambleton Galleries in Kelowna and is active with the Federation of Canadian Artists. Understandably, Gauvin is thrilled. “I’m really excited that my work is getting such a high profile,” she says. “It’s the best I could ask for to be immortalized on the coins.” The mint’s other recent releases include a coin shaped like a maple leaf and photographer Yousuf Karsh’s portrait of Albert Einstein.

Images: jasna guy, not by chance alone, installation detail, 2015. Cameron Cartiere, For All Is For Yourself, installation, detail, 2015. Photo: Vance Williams.

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focus of a new exhibition at the UBC Museum of Anthropology in Vancouver. (In)visible: The Spiritual World of Taiwan through Contemporary Art, will be displayed Nov. 20 to April 3. It’s organized by the museum’s new curator for Asia, Fuyubi Nakamura, an award-winning sociocultural

anthropologist and author. (In)visible features the work of seven contemporary Taiwanese artists who explore the coexistence of modernity and tradition and who have earned international acclaim for their innovative approach to sharing the history, values and diverse cultures of Taiwan.

FIRST IMPRESSIONS “The spiritual world is very much part of life and a source for creative inspiration in Taiwan,” says Nakamura. “The compelling array of work on display will express and visualize the religious beliefs, myths and legends that are an inherent part of Taiwan’s urban and rural life cycles.”

And the winner is ... Artist Peter von Tiesenhausen, of Demmitt, Alta., has received Alberta’s highest arts recognition, the Lieutenant Governor of Alberta Distinguished Artist Award. He will be showing his work from Nov. 5 to Nov. 24 at the Peter Robertson Gallery in Edmonton. Five Western Canadian artists are among the 15 finalists for the $25,000 RBC Canadian Painting Competition. They are Winnipeg’s Robert Taite and four Vancouver artists, Tristan Unrau, Russell Leng, Megan Hepburn and Simon de Brée. The winner will be announced Nov. 16. Three Saskatchewan Book Awards went to the MacKenzie Art Gallery for a book published in conjunction with a landmark exhibition, 7: Professional Native Indian Artists Inc. It features work by Jackson Beardy, Eddy Cobiness, Alex Janvier, Norval Morrisseau, Daphne Odjig, Walis Labai, Invisible Project: Whispering with Spirits, 2014, video work

Carl Ray and Joseph Sanchez. The exhibition will make its next Western stop at the Art Gallery of Alberta in Edmonton.

People on the move … Sandra Guimarães has been appointed chief curator at the Remai Modern in Saskatoon. She spent 11 years at the Serralves Museum in Portugal, and has collaborated with leading artists and arts organizations. The Remai is slated to open in 2016. Wayne Baerwaldt, director of the Illingworth Kerr Gallery at the Alberta College of Art and Design in Calgary, retired recently. The college has decided the gallery will be curated by a college committee. Lorna Brown has been named associate director and curator of the Morris and Helen Belkin Art Gallery at the University of British Columbia in Vancouver. Peta Rake has been appointed curator of the Walter Phillips Gallery at the Banff Centre. Rake will co-curate the 2017 Alberta Biennial of Contemporary Art in conjunction with the Art Gallery of Alberta in Edmonton. Vancouver gallerist Sherri Kajiwara is the new director and curator at the Nikkei National Museum. Jaimie Isaac is the Winnipeg Art Gallery’s new aboriginal curatorial resident, a two-year position funded by the Canada Council for the Arts.

Towards Evening acrylic on paper 22 x 30 inches

LESLIE POOLE October 17 - November 7, 2015

Grassland Vitae acrylic on canvas 37 x 25 inches

KELLY KRUEGER November 14 - December 5, 2015

scott gallery

10411 - 124 Street Edmonton AB T5N 3Z5 780.488.3619

Galleries West | Fall/Winter 2015 15


IN MY OPINION Chris Cran love-fest: Major retrospective for Calgary artist


enior Calgary artist Chris Cran has achieved a remarkable and unique career milestone. If somehow you managed not to know his work before, you most certainly will now. The National Gallery of Canada and the Art Gallery of Alberta have come together to organize a 40-year survey of his art for display in Edmonton and Ottawa. Completing the trifecta is the Southern Alberta Art Gallery in Lethbridge, which will concurrently mount an exhibition of his new works. Inclusions in commercial gallery and other thematic shows will further flesh out this extraordinary Cran love-fest. These are welcome and most deserving honours for an artist of long-standing achievement, a man organizers describe as “influential” and “one of the country’s most notable painters of the last few decades.” Observers in Calgary are thoroughly cognizant of Cran’s impact upon the city’s cultural ecology. Born in the remote coastal community of Ocean Falls, B.C., Cran studied at the Kootenay

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School of the Arts in Nelson, B.C., and graduated in 1979 from the Alberta College of Art and Design in Calgary. He served as a respected teacher at that institution from 1990 to 1993 and again from 1998 to the present. Mentor, impresario, talent scout, ambassador-at-large and arts booster, his insightful guidance and generous encouragement have helped propel the careers of countless emerging artists. Gregarious and affable, Cran is a ubiquitous presence at visual and performing arts events. Since 1989, he has served on the board of Stride, one of the city’s artist-run centres, and has acted as a juror and guest curator. As a consequence, Cran is a go-to guy who has his hand in myriad cultural machinations. One might remark that it’s customary protocol for artists and curators visiting the “Calgary territory” to pay obligatory courtesy calls on this local godfather. Cran’s self-portrait series from the 1980s sported his image as the central character in charming and engagingly playful narratives. Little wonder then that his highly recognizable visage prepared him to portray the role of an arts celebrity narcissist in Loved By Millions, a video collaboration with John Will and Dennis Hrubizna. What emerges is the possibility of a delightful constructed portrait of the artist as an impish prankster, quick to smile and embrace self-deprecating buffoonery. Thank heavens. In our current sanctimonious artistic environment, it’s a blessing someone can offer to laugh, jest and spar. The irrepressible wit, humour and jocular mischievousness of these self-portraits are more than enough to warrant Cran’s inclusion in anyone’s art historical bucket list. The titles alone enchant us: Double Self-portrait Wanting To Know What I’m Doing Home So Late; Self-portrait Accepting A Cheque For The Commission Of This Painting; Self-portrait With The Combat Nymphos Of Saigon. Calgary has been home to a number of phenomenal representational painters. Even within this distinguished company, Cran’s consummate skill stands out. The works are masterfully crafted and exquisitely painted. Could that be a problem? It would seem the artist senses it as a potential liability. For decades, he has invented endless ways to confound, obstruct, interfere and disrupt our admiration and identification with his mimetic mastery and jester persona. He has engaged in a four-decade foray of mixing narration, figuration and abstraction. Visitors to the retrospective will learn about the mesmerizing interplay of wide-ranging interests in his complex and intriguing career, as well as the private, introspective and serious side to this very public personality. Offered as an admiring observation, viewers could be excused for thinking they are attending a group exhibition. Cran has managed to conflate seemingly disparate aesthetic traditions, embracing them all and making of the encounter something totally his own: Henri Fantin-Latour meets Roy Lichtenstein meets Gerhard Richter and Sigmar Polke.


By Jeffrey Spalding

FIRST IMPRESSIONS OPPOSITE: Chris Cran, Double Self-portrait Wanting To Know What I’m Doing Home So Late, 1987, oil on canvas, 96.8” x 66.5” LEFT: One Word New Door, 2009, oil on canvas, 40” x 30” BELOW: Modernistic (Sublime Sales Series), 2004, oil and acrylic on canvas, 48” x 60” BOTTOM: Orange Woman (Chorus Series 13.5), 2013, acrylic on board, 16” diameter

Cran’s stunning and inventive abstract paintings contribute to this long and noble legacy whilst straddling polar opposites of organic free-form gestural brushwork underpinned by hard-edged geometry and strident, radiant colour. Cran is a patriot of art and of painting. Each of his works reaffirms his confidence in the efficacy of engaging with art’s inspiring qualities. We have delighted in each of his twists and turns, particularly in Calgary, where we have witnessed his every musing. This is the classic pathway that leads inexorably towards the pinnacle survey exhibition, a community reflectively celebrating a lifetime of collective engagement with an artist. It is just like Cran; he even turns this expectation on its head. This most commendable enterprise is not the product of his hometown base. Instead, it is the admirable initiative of national and provincial authorities. The project will not be presented in Calgary. True enough, Calgary has had ample exposure to thoroughly witness Cran’s development. Nor is his work a stranger to art aficionados across the country. Nevertheless, it’s notable that this most exhaustive compilation will be hosted in communities generally less familiar with his work. It’s as if the retrospective format is conflated with an expository exhibition, akin to having one’s first belated exposure to the music of the Rolling Stones via a greatest-hits album. Cran’s greatest hits, indeed, will all be there, so we need to offer thanks for this outstanding outcome. Let’s hope it creates a groundswell of committed interest across the country and beyond. How will Cran contend with all this lavish, exemplary attention? Artists have both loved and hated the survey moment. A painting by renowned California artist Ed Ruscha emphatically exclaimed: “I Don’t Want No Retrospective.” The retrospective signals recognition of lifetime achievement, which, in Cran’s case, is more than amply warranted. However, it’s often assumed to be both a

summation and a reflection upon a laudable past. Cran won’t stand for that. He reports that his daily painting routine was disrupted by the exorbitant time needed to gather, repair, prepare and reflect upon his history to support the project. He’s already moving on, pushing forward. His exhibition of new work in Lethbridge emphatically declares that his most comprehensive survey to date is not a retrospective wrap-up, but simply a new beginning. Jeffrey Spalding, recently appointed as senior curator at the Beaverbrook Art Gallery in Fredericton, is an artist and a member of the Order of Canada. He has worked as a museum director

Galleries West | Fall/Winter 2015 17

Line Up!, Acrylic on Plexiglass, 2015, 64” x42”

Edward Becenko

200-62 Albert Street, Winnipeg, MB 204.488.0662 Ã> iÃJ}ÕÀiÛ V w i>ÀÌ°V


C H R I S C R A N I S C O - C U R AT E D BY C AT H E R I N E C R OW S TO N ( AG A E X E C U T I V E D I R E C TO R / C H I E F C U R ATO R ) A N D J O S É E D R O U I N - B R I S E B O I S ( S E N I O R C U R ATO R O F C O N T E M P O R A R Y A R T, N AT I O N A L G A L L E R Y O F C A N A DA ) A N D C O - O R G A N I Z E D BY T H E A R T G A L L E R Y O F A L B E R TA A N D T H E N AT I O N A L G A L L E R Y O F C A N A DA A S PA R T O F T H E N G C @ AG A E X H I B I T I O N S E R I E S .

Chris Cran, Red Man / Black Cartoon, 1990. Oil and enamel on plywood, 152.4 x 121.92 cm. Courtesy of the Artist.

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Fall 2015


OCTOBER IAIN BAXTER&: “....Only Photography Is Up to The Task”

OCTOBER 23–26 Art Toronto Main Fair - Booth C24 - Evan Penny and Christian Eckart SOLO - Booth S7 - DaveandJenn Ron Moppett: SCULPTUR(AL) Nickle Galleries September 24 - December 19, 2015 Chris Cran: Sincerely Yours Art Gallery of Alberta September 12, 2015 - January 3, 2016 In co-operation with the National Gallery of Canada Ron Moppett BOX, 1999/2012 Mixed media, wood shelf in acrylic case 46.4 cm x 21.6 cm x 15.9 cm

#105 999 - 8 Street S.W.

Calgary, Alberta, Canada, T 403.244.2066

Tuesday - Saturday

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

T2R 1J5 E

1953 Sunset, Acrylic on Canvas, 41.5 x 60 in., 2015

WILF PERREAULT September 19th - October 3rd


Representing Wilf Perreault for 36 Years 10332-124 St. Edmonton, AB T5N 1R2 T. 780 488 4445 W:

Galleries West | Fall/Winter 2015 19


Zane Wilcox, Cirque 2, 2013, reductionfired stoneware, 9” x 12” x 9”

20 Galleries West | Fall/Winter 2015

ZANE WILCOX Zane Wilcox thinks of his work more as sculpture than ceramics. Looking at his stripped down, almost industrial clay pieces with their flat planes and sharp edges, it’s easy to see why. “What I’m interested in is really distilling elements of visual perception to amp up those aspects, like form and space,” he says. “A vessel is valuable to me in terms of its spatial aspect. Light and shadow are very important in my work. I’m really trying to distil those elements and bring them to the forefront, rather than any kind of messaging or communication.” Simplicity is one of his big strategies. “I try to pare away information,” says Wilcox, who spent his early life on a farm near Stalwart, Sask., and went on to earn an MFA from the University of Regina. He is influenced by Minimalism, but also draws distinctions. “Certainly, I’m taking some of the vocabulary of the Minimalists, but I’m after a much richer, less perfect, materiality – something that’s a little more grounded in the reality of our world.”

Wilcox, who has worked with clay for more than a decade, is one of five nominees this year for the RBC Emerging Artist People’s Choice Award at the Gardiner Museum in Toronto. His upcoming show, Stripes and Grids, at Regina’s Mata Gallery, includes pieces that explore surface and pattern as organizing principles. In some, surface and form work together cohesively. But in others he creates an illusory object where shape and surface are at odds. Zane Wilcox is represented by the Mata Gallery in Regina. His show, Stripes and Grids, runs from Sept. 16 to Oct. 17. His work sells for $300 to $2,000.

JULIAN FORREST Looking at Julian Forrest’s work is like flipping through a collection of short stories. His paintings feel like magic realism, surreal tableaus frozen in ambiguous time and opaque settings. It’s easy to yearn for a unifying narrative. Why is the Lone Ranger standing in the driveway of a suburban house in When You Were Here Before? What’s with the dead buffalo? And why is the vintage pink Chevie on fire?

“My work has become more and more narrative,” Forrest says. “Those narratives are much more contained within the images. They draw from reality, but are in their own world. I mine the Internet for images, from now, from the past, that will become characters in this ongoing story that I am telling.” Forrest grew up in Quebec but now teaches at the University of Alberta’s Augustana campus in Camrose. In recent years he has watched as throngs of men move to Alberta to work in the oil patch, prompting his interest in themes of migration and exodus as well as masculinity and costuming. It’s a potent brew, fuelled in part by his continuing fascination with classic dystopian novels like William Golding’s Lord of the Flies and Joseph Conrad’s Heart of Darkness as well as the contemporary stories of Israeli writer Etgar Keret. Forrest recently won the fourth annual Eldon and Anne Foote Edmonton Visual Arts Prize. He was nominated for his painting, Perceptual Disorders (after Keret), a diptych that explores contemporary diversions. Julian Forrest is represented by Edmonton’s Peter Robertson Gallery, where his next show, Perceptual Disorders, runs Sept. 3 to Sept. 22. His work sells for $1,400 to $20,000.

HELMUT LANGEDER Montreal artist Helmut Langeder was born in Austria, and came to Canada with his family when he was 13. He started painting as a teenager, then worked for 40 years as a commercial artist and illustrator, producing everything from posters and billboards to packaging and magazine ads. While his commercial work won industry awards and paid the bills, he kept painting for his own pleasure. When Langeder retired at 60, he started painting seriously again, heading into the countryside to make quick works outdoors. That was 12 years ago and he shows no signs of slowing down. “I probably work more now than I did at the office,” he jokes. He generally goes for drives, stopping when something catches his eye. “It’s just something that happens to hit me,” he says. His paintings are fairly true to reality, though he admits to moving the odd telephone pole or tree to improve the composition. At its best, Langeder’s work shines with an honesty that seems echoed by his humble attitude. “I do not make fairy tale scenes,” he says. Still, he’s able to capture the quality of light and atmospheric effects, as in Layers of Fog, which so effectively evokes a wintry day, or Chemin privé, which pegs the hues of a rutted country lane and the bare trees among the pines on a distant hill. Helmut Langeder is represented by Gainsborough Galleries in Calgary. He will be part of a group show there that runs Sept. 26 to Oct. 9. His work sells for $350 to $3,000.

TOP: Julian Forrest, When You Were Here Before, 2013, oil on canvas, 60” x 60” ABOVE: Helmut Langeder, Layers of Fog, 2013, oil on canvas, 16” x 20”

Galleries West | Fall/Winter 2015 21

lery in Winnipeg. Her exhibition, Beaux Désastres, runs Sept. 4 to Oct. 31. Her work sells for $900 to $8,000.

VICKY MARSHALL With their expansive energy and expressive brushwork, Vicky Marshall’s paintings are raw and delicious. It’s a style that made her part of the influential Young Romantics show in 1985 at the Vancouver Art Gallery, which helped launch her and seven other artists, including Richard Attila Lukacs and Angela Grossman. While Marshall’s subject matter has shifted from the hookers and street people she painted in those days – she now favours objects such as light bulbs and tangled rope – her painterly style has remained constant. “I’ve always walked the line between abstraction and representation,” says Marshall, who was born in England and graduated from what is now Emily Carr University in 1979. “I still continue to do that, but in the past my work was more about ABOVE: Mélanie Rocan, Table pleine de peinture / Table Full of Paint, 2015, oil on canvas, 14” x 18” RIGHT: Vicky Marshall, Lightbulb, 2014, oil on canvas, 56” x 66”

22 Galleries West | Fall/Winter 2015

MELANIE ROCAN Much contemporary life is lived with anxiety, or worse, a looming sense of impending disaster. Whether it’s global cataclysm, or Western Canada’s own summer of fire and drought, disaster can create emotional cycles of despair and denial. Little wonder, then, that so many artists are exploring the theme. But Franco-Manitoban artist Mélanie Rocan, with her show this fall, Beaux Désastres, or beautiful disasters, seeks balance. She creates shimmering light amidst even her darkest works, typically richly textured and intensely busy surfaces that mix figuration and abstraction to explore fragility and the subconscious. “There’s devastation,” she says. “Yet it still looks so beautiful.” Rocan has been painting seriously for the decade or so since she graduated with a Master’s degree in fine arts from Concordia University in Montreal. She’s had notable success with exhibitions, showing internationally and in prominent Canadian galleries, including the Power Plant in Toronto and the Contemporary Art Gallery in Vancouver. She talks like someone who’s had a lifelong love affair: “I’ve been around paint so much, it’s a part of me.” And her affection for lush impasto seems boundless. “I’m so attracted by the look of the paint itself and how it oozes. So some of these newer works are going along thicker.” Indeed, of her recent paintings, Table pleine de peinture, or Table Full of Paint, shows a figure, presumably the artist, sitting at a table, hidden beneath a tablecloth that’s laden with paint. It’s a beautiful metaphor – art as a singular feast at a private banquet, and painting as the fabric of life. Mélanie Rocan is represented by the Actual Gal-

the object, whereas now, in the new paintings, I’ve moved away from the narrative. I’ve chosen objects purely for the way I can use them to define space.” Marshall’s last solo show was five years ago. “I’ve never been wildly prolific,” she says. “I’ll get on a roll, but there might be big spaces between. Once I get into something, I’m gone.” And, of course, life has a way of interfering with studio time. She and her husband, David Walker, also a painter, built a home in Pender Harbour, north of Vancouver, and also have been coping with the usual mid-life issues, including aging parents. People often find metaphors for the human condition in Marshall’s emotionally suggestive imagery. “I don’t mind that,” she says. “And maybe in some deep recesses … that’s what’s coming out in my work. But it’s not intentional.” Vicky Marshall is represented by Winchester Galleries in Victoria and the Marion Scott Gallery in Vancouver, where her show, New Works, runs from Sept. 10 to Oct. 10. Her work is priced at $2,000 to $10,000.

ANDREA PADOVANI Old-world charm permeates Andrea Padovani’s paintings. Perhaps that’s not surprising for he was born in 1961 in Verona, the Italian city best known for Shakespeare’s star-crossed lovers Romeo Montague and Juliet Capulet. Padovani’s interior scenes often feature airy rooms with high ceilings, ornate chandeliers and large, inviting tables bathed in slanting sunshine. It’s no surprise that he admires the work of French painter Pierre Bonnard. While Padovani’s rich tonalities evoke the warmth of the Mediterranean lifestyle, his paintings are largely devoid of human presence. Padovani, who describes himself as a contemplative, says he finds people distracting when he is absorbed by beauty, whether he’s painting a vase of flowers or enjoying a scenic vista while hiking. He prefers to create a sense of spaciousness and possibility. Padovani studied political science at the University of Bologna, and then worked as an accountant, a profession he disliked, before turning to art. With young children to support, failure was not an option. He moved to Canada 19 years ago, choosing Vancouver strategically for its proximity to the American art market. Since the 2008 economic downturn, he has been selling more in Europe, particularly the Netherlands, where he recently had his 11th show. While Padovani’s work may seem out of step with contemporary art trends, he wants viewers to enjoy an unmediated experience, without the explanations often required by more conceptual art. “I think you have to have a direct connection with art,” he says. “When you’re in front of a large painting, you feel the vibration going through you.” Andrea Padovani is represented by West Vancouver’s Buckland Southerst Gallery, where he has a solo show that runs Nov. 5 to Nov. 14. His work sells for $1,500 to $22,000.

KARI DUKE For the last 15 years, Kari Duke has focused on back alleys in the post-war neighborhoods around her Edmonton home, fascinated by the passage of time and the play of light. She portrays the leaning poles, sagging fences and run-down garages, as well as the rutted gravel lanes and puddles her collectors remember splashing through as children. Duke grew up in Edmonton after moving there to start elementary school, but left as a young woman to live in Hope, B.C., when she married a doctor. Although she never went to art school, she continued to paint as a hobby while raising her family. In 2000, she moved to a little house in Edmonton’s McKernan neighbourhood, and began to paint in earnest. “I absolutely fell in love with alleys,” she says, recalling the day she was out walking her dog and realized she had found a subject to sustain her interest. Duke hasn’t looked back, painting six hours

most days with water soluble oils. “Surprisingly enough, people took to them and are still taking to them,” says Duke, who now has three galleries in Western Canada representing her work. Her paintings offer a link to “a gentler, safer time” when parents felt it was safe to send their youngsters out to play all day, she says. But as the pace of urban change picked up in recent years, she began to see her work as documenting a vanishing material history as well. “I am a little sad about the infill, and the quality of the work that a lot of contractors do, without any regard to trying to keep any charm in the neighbourhood.” Kari Duke is represented by Gibson Fine Art in Calgary, the Avens Gallery in Canmore, and the Front Gallery in Edmonton, where she is part of a two-person show with Tom Gale from Nov. 6 to Nov. 23. Her work sells for $600 to $12,000.

TOP: Andrea Padovani, Opera in the Courtyard, 2015, oil on canvas, 24” x 36” ABOVE: Kari Duke, Late Afternoon, 2012, oil on canvas, 48” x 72”

Galleries West | Fall/Winter 2015 23

Buckland Southerst A






A Chairy Tale (detail), Oil on Canvas, 79” x 59”


Andrea Padovani ART AT LARGE NOVEMBER 5 – 14, 2015 2460 Marine Drive, West Vancouver, BC. V7V 1L1 • 604 922 1915 •

24 Galleries West | Fall/Winter 2015


Ron Moppett, DAWNLIGHTNINGFIELD, 2014, mixed media. Image courtesy of TrépanierBaer Gallery, Calgary.

John Chalke, Three Leaning Bottles, 2008 – 2012 (detail). Image courtesy of Barbara Tipton.



24 September – 19 December 2015

15 October – 19 December 2015

Opening Reception: Thursday 24 September, 5:00 – 8:00 pm Artist’s Exhibition Tour: Thursday 1 October, 12:00 pm

Opening Reception: Thursday 15 October, 5:00 – 8:00 pm Exhibition Tour: Thursday 22 October, 12:00 pm

Organized by Nickle Galleries, curated by Christine Sowiak with catalogue essay by Victoria Baster. Also in Calgary, Ron Moppett: CONSTELLATION(S) will be on view at TrépanierBaer Gallery 28 August through 3 October.

Organized by Nickle Galleries, curated by Michele Hardy with catalogue essay by Amy Gogarty.

Taylor Family Digital Library, University of Calgary 410 University Court NW, Calgary AB, T2N 1N4 Contact MUSEO at (403) 210–6201 for more information

40 Years of Celebrating First Nations Art janvier - odjig - morrisseau - beardy - ray - cobiness - sanchez - kakegamic poitras - beam - tookoome - logan - noel - thomas - robinson - paquette - barnabus carter - woods - goulet - iqaluq - among others

Bearclaw Gallery 10403-124 Street Edmonton, Alberta Canada T5N 3Z5


Tel: 1+(780) 482-1204 Fax: 1+(780) 488-0928 Galleries West | Fall/Winter 2015 25


David Bolduc, Jasmin, 1974, acrylic on canvas, 76” x 65”

David Bolduc, Five Decades, Paul Kuhn Gallery, Calgary, April 18 to May 16, 2015

Recently, there have been numerous attempts to resuscitate interest in the flagging reputation of painting. Most often it can be credited to the efforts of proponents of ‘provisional’ painting. Certainly, we should be grateful for small blessings. However, to my mind, this tendency often equates with lukewarm, tentative testing of the waters: ‘dedication without commitment’. If you prefer such ironic quotations of art’s glories to bring a smile to your face and a devilish twinkle to your eye, then don’t bother visiting the Paul Kuhn Gallery. Season after season, it continues to deliver impressive exhibitions of stalwart patriots of the medium, notably Mark Mullin, Ashleigh Bartlett, Geoffrey Hunter and the magisterial Otto Rogers. They demonstrate that affectionate attention to the material properties of paint is the lifeblood that pumps vitality into the body of the venerable practice of abstraction. Even 26 Galleries West | Fall/Winter 2015

within this distinguished roster of achievements, the gallery’s five-decade survey of David Bolduc is an utter triumph. Bolduc (1945-2010) was a leading maker of poetic, lyrical colour abstract paintings within the legacy of Jack Bush and Gershon Iskowitz. Bolduc’s art of the early 1970s tended towards reductivist all-over monochromes. Jasmin and Untitled #1 (both of 1974) re-assert strong figure-ground relationships. A hovering central motif articulated in bold impasto polychromatic acrylic squeezed and drawn directly from the tube contrasts with a monochromatic and often subdued stained, aqueous background. Untitled #1 extends the modernist dialogue with a tip of the hat to lessons from Bush, Robert Motherwell and the edge-painted accents of Jules Olitski. Jasmin pulls out in Bolduc’s own signature direction, inspired by his admiration of the aesthetics of diverse world cultures. Damper Cyhowk (2006) nods toward characteristic devices associated with Hans Hofmann and Russian Suprematism. These later works rely on his mastery of sumptuous layers of exquisitely delicate tints and tones of oil paint; tactility takes precedence over composition. Their symphonic counterbalancing of loud and soft-spoken is reminiscent of Tom Thomson’s oil sketches. As this exhibition demonstrates, Bolduc extracted incredible diversity out of a fairly consistent approach toward abstraction. In later life, the forms in his works and their titles alluded to vestiges of natural appearance: trees, florals and landscapeinspired motifs. They conjoin with the legacy of Paterson Ewen, the Group of Seven and Van Gogh’s Starry Night. I’m sorry, there is nothing provisional, conditional or half-hearted about that form of devoted dedication, and it shows. – Jeffrey Spalding Tammi Campbell and Kara Uzelman, concerning certain events, Mendel Art Gallery, Saskatoon, Jan. 17 to March 22, 2015

Considering these two starkly different practices – Kara Uzelman’s clustered ready-mades, Tammi Campbell’s meticulous play on absence and minimalism – ideas overlap and mesh effectively. Uzelman’s works illustrate Saskatchewan psychologist Duncan Blewett’s groundbreaking 1950s research on the therapeutic use of LSD: all objects assembled in The Frontiers of Being (The Pump) are based on first-person accounts from his experiments. The suspended hammer, the passel of remote controls and even the polished stones,

tray and tinfoil are specific experiences. The repeating slides in The Frontiers of Being (The Furnace) are the same, looping viewers into a hypnotic, receptive space. The exhibition also invokes previous archeological works by Uzelman that invest seemingly random found objects with specific relevance. There’s a utopic discourse at play here that fits with the sentiment that LSD, associated with various social-activist movements of the 1960s, expands one’s consciousness and encourages empathy. And when contemplating utopic idealism on the Prairies, the legacy of Prairie Modernism, Emma Lake and socialist history must also be considered. This is where the narratives in Uzelman’s assemblages meet Campbell’s equally investigative, yet broader, sentiments. The three works presented by Campbell are Pre Post-Painterly (After Stella, Notched-V series #01-14), Dear Agnes (September 2014: #01-28) and 4’33” Emma Lake (the last a cheeky response to John Cage, who led a 1965 workshop at Emma Lake). Of late, Campbell is known for works like Stella that mimic masking tape (necessary to any hard-edge painter) as a trompe l’oeil fastidiously rendered in paint. This, to cite Mendel curator Sandra Fraser, is a “confrontational homage to modernism.” Like the LSD trope, the modernist epoch Campbell engages is often mythologized and misrepresented, and is still being argued (appropriately, the debate whether the Regina Five explored abstraction due to the drug that was Barnett Newman, or LSD, is touched upon.) Fraser notes that the exhibition questions the idea of expert knowledge. After all, Campbell’s work is perhaps a visual essay on modernist histories. Uzelman’s use of archeological methods and tropes is here more an engaging snapshot – both ridiculous and funny – of an oft-ignored or misconstrued period in regional history. As Fraser notes, these two Saskatchewan artists take their cues from a particular history. Where they go is different, but also similar. – Bart Gazzola

made a ‘film’ without any film apparatus, relying instead on time, light, rhythm, colour and form. In Coles’ installation, Maltese, a spotlight is directed towards a ceiling fan, which casts a large swirling shadow into a corner. On the other side of the wall is a second installation, Shark Purse Area. Under the baseboards, a band of light wavers, as if hesitating, before spilling out across the floor. Meant to echo the movement of waves on a beach, the light advances and retreats ad infinitum. Coles’ pieces can certainly be read as a composite and delightfully ad hoc description of the infinite (the contraptions that power each installation are made of a jumble of wire, fishing line and cinema foil). Coles’ simple pairing of light and shadow is beautiful. The endlessly spinning shadow is hypnotic, boring and then depressing. But the hesitant band of light creates a sense of subtle anticipation each and every time. For her part of the show, Bindi recorded interior and exterior corners of their house on 16mm film. Choosing subjects for their unremarkable qualities – the plumbing under the kitchen sink (16-6), a heap of clothes (16-5), a pile of books (16-4) – she then translated them into paper collages. In her seven abstract works, each resembling an enlarged frame of film, form and surface have been broken down and pieced back together with hundreds of paper cuttings. As the translation is not literal, some colours have been augmented. In abutting tone against tone, Bindi often makes choices with little representational sense that serve instead to obfuscate the subject. As she tells curator Collin Zipp: “The subject is available, but it has fallen away.” All the colours of winter light are here, blues, greys and the particular shade of lilac that snow

BELOW: Kara Uzelman, The Frontiers of Being (The Pump), 2015, mixed media, installation view BOTTOM: Irene Bindi, 16-6, 2015, paper collage, 22” x 17”


Irene Bindi and Aston Coles, At the Corner, Platform Centre for Photographic and Digital Arts, Winnipeg, Jan. 30 to March 14, 2015

The ancient Greek mathematicians Ptolemy and Euclid believed that light was a sensitive substance that shoots from the eyes, reaching into space to illuminate objects. For Aston Coles, that idea is a beautiful one, and an apt metaphor for film, cinema and the act of observing art. He and partner Irene Bindi, multidisciplinary artists based in Winnipeg, both explore the idea of projection. But for this show, the pair averts their gaze from obvious focal points. For them, the corner represents a drift from the centre, compositionally speaking, and a place to see new things. In essence, they have

Galleries West | Fall/Winter 2015 27

This bright, ordinary winter day in Edmonton contrasts sharply with the painting’s shadowy interior. Brilliant reds, reminiscent of Titian’s vermilions, punctuate the darkness. Foreboding and murky waterfalls occupy the foreground. Above is a ribbon of figures. One – the artist himself – is digging, or perhaps raking, a painting by Francis Bacon. It sits in muddy ground as rising smoke forms spectres of the powerful CEOs of financial empires Goldman

RIGHT: Jesse Thomas, Stanley Falls, 2014, oil on canvas, 65” x 53”

Rory Mahony, Loop, Esplanade Arts and Heritage Centre, Medicine Hat, Alta., Aug. 23 to Oct. 4, 2014

In the short time viewers spend in Rory Mahony’s immersive exhibition, they are offered a glimpse of what portraiture’s future may or may not be. It may not be static, it may not be entirely visual, and it may not be easy to define. What Mahony has done is open a door, inviting visitors on his journey to the edge of a definition. Much like the ravens that make several appearances in the work, we are collectively and purposefully going somewhere. We just don’t know where. And, thankfully, as we move toward this unknown, the destination becomes irrelevant. – Aaron Nelson Find full reviews and more images at Rory Mahony, Thursday’s Child, 2014, video still from five-channel video installation, 12:18 min.

28 Galleries West | Fall/Winter 2015

turns in the early evening. As a counterbalance to Cole’s movement-based works, the collages convey something about the otherworldly stillness of cold weather, existing in a kind of half-world between the flatness of abstract painting and the dimensionality of film. – Sarah Swan Jesse Thomas, Songs From the Labyrinth, Fine Arts Building Gallery, University of Alberta, Edmonton, Jan. 20 to Feb. 14, 2015

If we could record our thoughts and then play them back, most people would be declared barely on the edge of sanity. Endless circles, random associations and meanderings of the mind almost miraculously come together to make up character and personality. Such thoughts arise as I view collage-like paintings and drawings by American-born artist Jesse Thomas, a recent addition to the University of Alberta faculty. These works, created over the last year, include a dizzying array of imagery from history and current events as well as cultural allusions and autobiographical moments. Such complexity imbues the show with I Spy fascination. Each time I look, another reference is revealed. For example, Tintoretto’s Susanna and the Elders is set against a backdrop of a modern-day rock musician. Some allusions are clear: former Chilean president Salvador Allende floats next to Henry Kissinger and Pablo Neruda. But hidden within these works are subtler references to sarcophagi, Roman ruins, cultural icons and more. In the earlier works, this cornucopia descends into a well-composed and carefully rendered pandemonium – it’s like scanning the Internet. If the show was a few months earlier, it might have been a curious yet headache-inducing experience. But something happens in the most recent works. Thomas has worked through his stream-of-consciousness associations and memories to arrive at a culminating moment: the many become a cohesive whole. In these latest paintings, Thomas – an artist well versed in art history – draws on masterly precedents. For example, Renaissance artists often placed biblical imagery in the Tuscan landscape. Thomas’ compositions are also firmly anchored in the present moment: the university campus. In fact, as I gaze at the landscape depicted in Stanley Falls, I see the window of gallery in which I am standing.

Sachs and JPMorgan Chase. The poetic, dream-like logic of this scene blends autobiographical moments, world events and the distant recesses of history. The result is eclectic yet seamless. It’s as if Thomas turned the telescope around to gaze not at distant stars but inward. These paintings explore the daily workings of the mind: the thoughts, impressions and experiences that compose the self. It’s an ambitious project that stretches the boundaries of painting, and a few works succeed admirably. – Agnieszka Matejko Tom Burrows, Morris and Helen Belkin Art Gallery, UBC, Vancouver, Jan. 9 to April 12, 2015

Tom Burrows, at 75, is a busy man. With his Vancouver retrospective underway, he was off to Marseilles for an exhibition of photographs, a series he shot from his East Vancouver studio of a street bench in constant use, which is also included in his retrospective at the University of British Columbia. Called No Sleep, the work documents changes that occurred when dividers were placed on the bench to dissuade people from sleeping there. While Burrows’ work is often spoken about in relation to Russian Constructivism, which emphasized art as social practice, favouring industrial materials and geometric shapes, No Sleep has a more direct reference to social issues, in this case surveillance and homelessness, than the polymer resin works for which he has become known. The polymer pieces are indeed aligned with the Constructivist aesthetic, but Burrows says he now thinks more about capitalism and the inflated value of art, a change from when he started working with polymer in the late ’60s while squatting on


ABOVE: Tom Burrows, Blanket Statement #10, 1992-1993, polymer resin


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“Art for War and Peace: How A Great Art Project Helped Canada Discover Itself uncovers an important chapter in the adolescent years of Canadian identity, detailing how these landscapes—mostly of the Canadian Shield and painted mainly by Toronto urbanites— came to be imprinted on our national DNA. In gorgeous, full-colour reproduction and stuffed with supplementary material such as sales catalogues, pages about framing options, and decals with care instructions (“Should the surface become soiled it may readily be cleaned by sponging with soap and water�), the book is an expertly collected document of the early efforts made by a young, spirited country desperate to define itself.�

–Toronto Star, Chris Hampton

A collection of Sampson Matthews prints will be travelling to various locations in Canada over the next few months. Contact Pegasus Gallery for details of when the collection will be in, or near, your community. ¡ Barracks to Banks: Canadian Silkscreens for War and Peace – September 18, 2015 to January 2016, Founders’ Gallery, Military Museums, Calgary ¡ Author available for book signing at opening ¡ Art for War and Peace: The Prints and Paintings of Sampson Matthews – November 5 to 14, 2015, Masters Gallery, Calgary ¡ Author available for book signing at opening

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ABOVE: Geoffrey James, The Dome from above, 2013, archival ink jet print

Dan Hudson, Theories of Entanglement, Whyte Museum of the Canadian Rockies in Banff, Alta., Oct. 24, 2014 to Jan. 25, 2015

Artists harbour degrees of obsessiveness, overt or submerged, in their personalities. Without it, good art would likely not be made. Dan Hudson’s exhibition provides evidence for this. The 17 works, in many media, comprise a survey of Hudson’s production between 1984 and 2013, ably demonstrating his acknowledged obsessions. Featured are nine paintings in oil or acrylic, a four-part diorama suite, two big-screen time-lapse videos, one lenticular photo piece, and a landscape-based video. – Steven Ross Smith Find full reviews and more images at Dan Hudson, Raven, 1990, oil on canvas, 82” x 98”

the North Vancouver shoreline, a lifestyle that drove much of his work at the time. An early work in polymer, 1-2-3 (originally from 1965, it was rebuilt in 2005 because the original had dissolved) is a deep blue three-tiered structure; Burrows’ aim was to make a three-dimensional form that appeared flat. He first installed it in the tidal area by his home. Mud Ring (circa 1960s) was made from a metal ring that once held the slats of a large wooden barrel and was also installed nearby. These pieces show his opposing interests in found eroded materials and synthetic resin. The exhibition includes sculptures that incorporate wordplay, like The Story of Oh (1983), a concrete life preserver, or Organ Transplant (1987), a heart-like form in iron with the words “Man’s Laughter” repeated around its girth. Blanket Statement and Milky Way are polymer wall pieces that also play with puns; the former refers to Hudson’s Bay blankets and colonialism, the latter to his father’s lactose intolerance. One room contains only flat wall pieces in polymer or clay. For six years, Burrows has travelled to a Chinese ceramic workshop where he sprays large flat works with layers of glazes, resulting in eloquent surfaces. As with the polymer surfaces, these appear liquid and luminous. The polymer pieces, because they protrude from the wall by a couple of inches, allow light to filter through from behind, and the uneven pigment distribution creates a softly pulsing surface. This surface tension and the interaction of soft gradations of colour makes the works seem alive and harmonious; stripped down to essentials, they are more meditative than about promoting a social cause. – Helena Wadsley Geoffrey James, Inside Kingston Penitentiary, Glenbow Museum, Calgary, Feb. 14 to May 17, 2015

Bleak, oppressive. These words echo on viewing 30 Galleries West | Fall/Winter 2015

Geoffrey James’ photographs taken at Kingston Penitentiary in 2013, shortly before the closing of the 178-year-old prison. James’ documentary stance here captures the facility and its inhabitants in 44 archival inkjet prints. Formats and sizes vary, with half in black and white. Where colour appears, it is to potent effect. For example, North wall with the main gate shows the building’s exterior – its stone façade in sun or shadow, muted grey and tawny umber tones suggesting interior gloom. In another photograph, Exercise yard built for female inmates, but never used, bright pink chairs sit in a grassy fenced area. Matter-of-fact titles are clinical, surreal – Book dropoff in the Dome, with absorption pad for warning shots and Heating control with spitballs. Inmates and prison staff are seen in black and white. Guards and workers seem sombre. The visitors’ room is sparse, unwelcoming. Most photos of inmates show aboriginal men in a designated area that features a teepee. In Change of seasons ceremony, the men appear serious, joyless. One photograph offers a notable contrast. Native inmate is a close portrait of a handsome man who seems not yet drained of life by incarceration, who sports on his shoulder and biceps – angled to the camera – a magnificent tattoo of a ‘chief’ in feathered headdress. Images of the penitentiary’s architecture, primarily late Georgian, show a design aesthetic – a circular atrium seen from a high angle, an elegant stone arch – these in contrast to hand-gouged plaster; small, narrow cells decorated with graffiti or graphic images; and bars, barbed wire and grillework fences. A few photos provide strange juxtapositions – Lake Ontario and a marina just beyond the limestone walls. Accompanying the photos are panel renderings of administrative rules and inmate musings, such as a poem by Randy Hillson that begins: “They call this place just west of hell / You’ll make no friends, that’s just as well.” A finely produced book from Black Dog Publishing serves as the exhibition catalogue, though not all photos in the book are in this show’s mounting. James, Welsh-born, Oxford-educated and Toronto-based, is an award-winning photographer known for landscape – formal gardens and sylvan sites – and alienating human environments. As influences he claims Kertesz, Lartigue, Schwitters and Poussin. James says his photographic projects bear witness to subjects idyllic or brutal. Here his camera enters an institutional enclosure, reveals what humans have built to incarcerate, and the human nature contained within. His pictures of Kingston Penitentiary do not aestheticize the subject. Neutral, yet emotional, they portray a harsh reality, one now gone, but witnessed, and so held in public memory. – Steven Ross Smith

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Award-winning Bronze Sculptor, Montana Avens Exclusive Canadian Representation

104-709 Main Street, Canmore, AB T1W 2B2 Open Daily

Bachelor Party by SAM TERAKEDIS, Bronze, Limited Edition 9 of 20


Ō Leigh Square Community Arts Village 110 - 2248 McAllister Avenue Port Coquitlam, BC V3C 2A5 Open Monday - Saturday

Art Gallery at Evergreen 1205 Pinetree Way Coquitlam, BC V3B 7Y3 Open Wednesday - Sunday

Port Moody Arts Centre 2425 St Johns Street Port Moody, BC V3H 2B2 Open Monday - Sunday

August 20, 2015 - September 21, 2015 Colours of Dream Judith Fairwood and Venus Sobranes

July 25, 2015 - October 18, 2015 DOMINION Seth

September 24, 2015 – October 26, 2015 Shattering the Silence Karen Santos and Suzanne Laird

October 31, 2015 - January 3, 2016 Perfect Geometry Laurie Papou

August 27 – September 24, 2015 Messengers Nancy Cramer, Paddi McGrath, Anna Milton, Marianne Philips Inheritance Kathryn Nielsen, Carlyn Yandle Journeying with the Totems Andre J. Prevost

October 29, 2015 - December 7, 2015 PoCo Portrait Project 100: Our Time, Our Town Denise Maxwell, Michael King, Tori Lockwood and Zeny Nielson

October 4 – October 29, 2015 Art 4 Life A group exhibition for children November 5 – December 21, 2015 Winter Treasures The Fine Art of Holiday Giving Group Exhibition Christmas Marketplace Blackberry Artist’s Society Group exhibition

Galleries West | Fall/Winter 2015 31

ROUGH COUNTRY ALBERTA: Rough Country: The Strangely Familiar in Mid-20th Century Alberta Art, Art Gallery of Alberta, Edmonton, Oct. 3 to Jan. 31 Expressionism gripped Alberta artists in the 20th century. This show focuses on five of them – Maxwell Bates, William Leroy Stevenson, John Snow, Dorothy Henzell Willis and Laura Evans Reid – with some 50 works that place Alberta within the con-

ABOVE: Dorothy Henzell Willis, Children in the Wood, date unknown, oil on paper, 28” x 35.5” RIGHT: Maxwell Bates, Eroded Land, date unknown, oil on canvas, 14” x 30”

32 Galleries West | Fall/Winter 2015

text of a larger art history. Expressionism freed artists’ subjective ideas, emotions and feelings through vibrant non-naturalistic colours, distorted forms, shallow space and bold patterns. These Alberta Expressionists also expressed empathy for humanity and formed close bonds amongst themselves. Bates said he and Stevenson, a fellow Calgarian, were an “enormous help to each other.” The two found confirmation for the direction of their work during a 1929 trip to the Art Institute of Chicago, where they were exposed to Post-Impressionist paintings from Europe. Snow took evening classes from Bates in Calgary for two years after the Second World War. Influenced by British artist Henry Moore and the vibrant colours he saw in India during his wartime service, Snow created luminous lithographs. His figurative work and still lifes have a timeless quality. One of the most important colour lithographers in Western Canada from 1953 until at least 1986, Snow created 450 lithograph editions, often of five colours each, on a hand press. He also printed Bates’ and Stevenson’s lithographs in his basement studio. The show’s title, Rough Country, comes from a 1964 lithograph by Snow that shows a country road juxtaposed against a glowing red sky. Driven by social compassion, Willis often worked figuratively, conveying a sense of anxiety in her closely packed compositions. Children in the Wood, for instance, alludes to youngsters displaced by war. Munch’s The Scream made a formative impression on Willis as a teen; its influence comes through in some of her work. Reid also took an expressive approach in paintings that reflected on the horrors of war and the hard lives of the Ukrainian diaspora in Alberta, among other themes. Besides creating painterly landscapes, the Alberta Expressionists – all born before 1918 – responded with empathy to social issues that affected families, workers, refugees, casualties of the Depression and other marginalized people. Their images are less a depiction of objective reality and more an expression of their subjective feelings. “They didn’t have a very sunny view of Alberta,” says Mary-Beth Laviolette, who curated the show with Ruth Burns. “They saw it through a much darker lens.”



Barracks to Banks

CANADIAN SILKSCREENS FOR WAR AND PEACE 18 September 2015 – January 2016 Barracks to Banks presents a wartime artists’ initiative that later flourished during peace. Vibrant silkscreens by Emily Carr, A.Y. Jackson, Tom Thomson and nearly 50 others show the overwhelming support Canada’s WWII troops received from our best-known artists and the vital role that support played in forming Canada’s national identity. Curated by Lindsey V. Sharman

THE FOUNDERS’ GALLERY AT THE MILITARY MUSEUMS 4520 Crowchild Trail SW, Calgary AB 403 410 2340 ext. 2630 Weekdays 9:00 AM - 5:00 PM Sat. & Sun. 9:30 AM - 4:00 PM @FoundersGallery

A.J. Casson, White Pine c.1947, Silkscreen Image courtesy of Pegasus Gallery of Canadian Art

Alberta and the Group of Seven Discover New Connections | February 4–May 26, 2016 The Alberta Legislature | Open for you to discover

Galleries West | Fall/Winter 2015 33

ABOVE: Daphne Odjig, Ottawa, ON, 2009, photograph on paper, 19.2” x 15.7” LEFT: Joseph Sanchez, Ottawa, ON, 2009, photograph on paper, 19.2” x 15.7” BELOW: Patricia Deadman, Banff, AB, 2008, photograph on paper, 19.2” x 15.7”

ROSALIE FAVELL SASKATCHEWAN: Rosalie Favell, (Re)facing the Camera, MacKenzie Art Gallery in Regina, Aug. 29 to Nov. 22 Rosalie Favell found herself part of a welcoming group of aboriginal artists doing residencies in 2008 at the Banff Centre. She decided to shoot portraits of these fellow artists, who included Alex Janvier, Nadia Myre and Frank Shebageget. For the next seven years, wherever Favell went, she photographed other aboriginal artists, curators and cultural figures. She sees the portraits as a celebration of what she calls a “community” of aboriginal artists. The point of the project is simple: “Here we are, and this is what we look like.” The result is a collection of almost 300 portraits, about half from Canada and the other half from the United States, along with a sprinkling from other countries. The black-and-white images include such prominent Western Canadian artists as Daphne Odjig, Lori Blondeau, Ruth Cuthand and Adrian Stimson. Smaller exhibitions from this body of work have been held in Winnipeg and Ot34 Galleries West | Fall/Winter 2015

tawa, but this is the first time all the portraits are together. Clearly, Favell, a Métis from Winnipeg who now lives in Ottawa, knows how to make her subjects relax. Most smile naturally. Few strike artificial poses. There’s a definite lack of attitude. The portraits are like interrupted conversations among friends. “That’s the look I am comfortable with,” says Favell. But there are political overtones. Both Favell and Michelle LaVallee, the MacKenzie Art Gallery curator organizing the show, are well aware the camera was once a tool Europeans used to exploit aboriginal people. But in this case, an aboriginal woman is wielding the camera, creating images of other indigenous people as they are, not as constructed through a white male gaze. As a child, Favell was unaware of her aboriginal heritage; it was not discussed at the dinner table. These days, she is exploring her childhood by studying old family photos and turning them into paintings – a new medium for someone previously known only for photo-based art. Six paintings were to be part of the exhibition. Some show Favell as a youngster playfully wearing a feathered headdress, not as a sign of her own heritage, but, surprisingly, as the exotic apparel of an alien culture. With irony and humour, the paintings explore one woman’s ambiguous past. – Paul Gessell


The 2015 SSNAP

Competition Finalists

The Salt Spring National Art Prize (SSNAP) is pleased to present the 52 finalists who have been chosen from over 1,300 artist submissions. Our finalists will be featured in a month-long exhibition held on Salt Spring Island from September 25 to October 26, 2015. Winners will be announced at the

Gala Awards Night: October 24, 2015

and will receive a total of $25,000 in prizes. Sponsored by

Please visit our website for more information on SSNAP and the many exciting events planned for our month-long exhibition.

Peter Adams Annie Baillargeon Cole Bazin Mike Bernard Sophia Burke Eric Button Jacynthe Carrier Keith Chisholm Courtney Clinton Nicholas Crombach , Audrey D Astous Holly de Moissac Anne-Laure Djaballah Gerry Dotto Lucien Duhamel Lindy Fyfe Vanessa Hall-Patch Beverley Hawksley Kimberly Heacock Susan Huber John David James Ursula Johnson Karen Louise Jones Karina Kalvaitis Victor Kolstee Megan Krause

Chris MacKenzie Joanne Madeley Caitlin McCann Brendan McNaughton Jessie McNeil Dylan Moffat Jeff Molloy Liza Montgomery Carolyn Mount Dong-Kyoon Nam Dave Parsanishi Corrie Peters Alexandra Phillips Jessica Sallay-Carrington Kathryn Schultz Patricia Slighte Doug Smith M.E. Sparks Anne J. Steves Fan-Ling Suen Julia Vandepolder Teresa Wasney Nicola Wheston Carl White Jeff Wilson Cheryl Wilson-Smith

Galleries West | Fall/Winter 2015 35


ABOVE: Martha Eetak, Amauti, around 1918, caribou hide and teeth, wool, sinew, cotton and beads, 70” x 28” RIGHT: Maud Darling, Crazy Quilt, around 1900, silk and cotton, 76” x 56”

36 Galleries West | Fall/Winter 2015

This nationally touring exhibition redefines the concept of “self-portrait” and simultaneously brings new importance to women’s traditional crafts, often overlooked by the art world. A mix of conventional selfportraits by painters, photographers and sculptors, it also includes self-representations in the form of clothing, quilts, scrapbooks and embroidered samplers. Thus, we see two moody Emily Carr self-portraits and the moving expressionist 1961 painting, Infinite Cycle, by Daphne Odjig, who shows herself surrounded by spirits as she kneels, grieving, at the grave of her first husband, Paul Somerville. There are also mischievous works by Hannah Maynard, a pioneering Victoria photographer of the 1890s, whose single prints sometimes contain multiple self-portraits. In one example, three identical Maynards have a tea party; one pours tea on the head of another. But the show also includes self-portraits without representations of face or body. For instance, button blankets reveal the histories of Marion Wilson and Margaret Frank, both Kwakwaka’wakw of the Pacific Northwest coast. And a quilt from the early 1900s by Maud Darling shows that this Almonte, Ont., woman came from a large family, worked as a dressmaker, loved gardening and belonged to the Daughters of Rebekah, a service group. With some 50 works spanning the late 1700s to the early 1960s, the show includes noted artists such as Frances Anne Hopkins, Paraskeva Clark, Pegi Nicol MacLeod and Molly Lamb Bobak, although many others are little known beyond their home communities. The exhibition is a joint project of the Agnes Etherington Art Centre at Queen’s University in Kingston, Ont., where it opened last summer, and the Art Gallery of Hamilton, where it closes next summer. The show will stop at the Kelowna Art Gallery from Jan. 23 to April 3. The co-curators, Kingston’s Alicia Boutilier and Hamilton’s Tobi Bruce, decided early on they wanted to broaden the concept of what a self-portrait could be. Says Boutilier: “It would be kind of boring if we just had a bunch of faces of white women on the wall.” The Artist Herself is definitely not boring. Consider the spectacular caribou parka sewn around 1918 by Martha Eetak, a Padleimiut Inuit from Yathkyed Lake, west of Hudson Bay. In 2013, some teachers from that area of Nunavut saw the parka at the Manitoba Museum in Winnipeg and, based on the story told by the elaborate embroidery and beadwork, identified its creator. Sadly, Eetak had sold the parka almost a century earlier to buy food for her starving family. – Paul Gessell


BRITISH COLUMBIA: The Artist Herself: Self-Portraits by Canadian Historical Women Artists, Art Gallery of Greater Victoria, Oct. 1 to Jan. 3

i see london

ellinor stenroos

sept 4 - nov 1 2015

opening reception sept 11 2015

i see france

danielle bartlette

| YYC Galleries West | Fall/Winter 2015 37



“Depth and Perception”

“An Introduction to Blake Ward”

Thursday 29 October to 19 November 2015

Friday 6 November 2015 at 7 pm



1554 West 6th Avenue Vancouver, BC, Canada

716 N. Wells Street Chicago, Illinois, USA

+1 604 732 5353

+1 312 475 1788

Articsok Gallery

Petley Jones Gallery

Maison D'Art

Front Gallery

Rouge Gallery

Galleria Enrico Lumina

Galerie Saint-Dizier

Hilton| Asmus Contemporary

Toronto ON - CANADA

Vancouver BC - CANADA

Edmonton AB - CANADA

Montreal QC - CANADA

Saskatoon SK - CANADA

Monte Carlo - MONACO

Bergamo - ITALY

Chicago IL - USA

T 403 290 0145 1226A Ninth Avenue SE 38 Galleries West | Fall/Winter 2015

Cascade, Oil on Board, 12” x 16”

Summer Meadows, Acrylic on Canvas, 12” x 12”

Marla Blackwell

Janet B. Armstrong

Just Imajan Art Gallery 3-320 1st St West, Cochrane, Alberta • 403-932-7040 Est. 2008

ĂŶĂĚŝĂŶ WĂŝŶƟŶŐƐ͕ ^ĐƵůƉƚƵƌĞƐ͕ tŽŽĚƚƵƌŶŝŶŐ͕ 'ůĂƐƐǁŽƌŬ Θ ^ŝůǀĞƌ :ĞǁĞůƌLJ Galleries West | Fall/Winter 2015 39



Anna Banana outside Open Space in Victoria with an artifact from her immense archive of banana paraphernalia.

40 Galleries West | Fall/Winter 2015

’m not sure what to expect when I go to meet Anna Banana. What to make of an artist who adopted this loopy name as her artistic – and legal – identity, then turned it into her life’s work by creating everything from the Encyclopedia Bananica to the Banana Olympics? And why bananas? There’s something absurd about them, for sure. Not only the shape of those dangling appendages, but the slipshod skins that have propelled so many slapstick gags. And don’t get started on the sexual innuendo. You don’t so much peel a banana, as strip it: Down, right down, to that pale flesh, tender yet firm, for that first luscious mouthful. Anna Banana has heard it all. “People aren’t comfortable with my name,” she says during a long and gossipy interview. “And, often, it goes to sexual things. Or it’s goofy and childlike.” Banana is happy to mug for photos, but is more serious than you might expect, given that she once declared herself to be Victoria’s town fool. She’s also surprisingly candid (for women of a certain generation, of course, the personal is the political). Still, there’s no banana suit, not even a yellow sweater. Just a small banana pin discreetly fastened to the vest she dons for the quick walk to lunch. Working for more than four decades on the fringes of the art system, Banana gamely created public performances, sent vast quantities of mail art, and amassed an astonishing archive of images, newspaper clippings and other miscellany about bananas. We meet at Open Space, the Victoria non-profit artist-run centre that fits her avant-garde practice like, well, a banana skin. One wall of a back room

is stacked with boxes overflowing with banana paraphernalia that she culled from a larger collection in the basement of her home in Roberts Creek on the Sunshine Coast, north of Vancouver. Most of it was gifted to her, including a rather limp hand-sewn banana that seems determined to split from its peel holster. She keeps stuffing it down, and up it pops, again and again. These boxes hold the makings for the Encyclopedia Bananica as well as Regifting the Bananas, a new downsizing project that lets visitors take home a piece of her collection. Both will be displayed at Open Space from Sept. 19 to Oct. 24 as part of Banana’s upcoming retrospective, Fooling Around with A. Banana. It’s organized by Open Space’s director, Helen Marzolf, and Michelle Jacques, the curator of the Art Gallery of Greater Victoria, where the second part of the show runs from Sept. 19 to Jan. 3. This venue will display photographs and other documentation of various art projects, including the 1975 Banana Olympics in San Francisco, and the 1980 reprise in Surrey, B.C. Also on view is an interactive project, A Celebration of Mail Art, which includes public workshops. Over the years, Banana has poked her fingers into many alternative practices. She connected with artists Michael Morris and Vincent Trasov, whose claim to fame includes running as Mr. Peanut in Vancouver’s 1974 mayoral election. The contacts she made via their Image Bank Request List, a mail exchange network, led Banana to become a key figure in mail art, an informal movement of artists, both professional and amateur, who swap their work via the postal service. She pioneered the




artistamp, her take on postage stamps, and was also a small-press publisher, with projects such as Vile magazine, which focused on mail art, and her own newsletter, the Banana Rag. Banana’s work shares ground with the early 20th-century Dada ethos, which embraced chaos and the irrational, ignoring conventional aesthetics and challenging traditional bourgeois values. But her longtime interest in social engagement moves her trajectory forward too, twining her practice with critical strands of contemporary art. Indeed, it’s not much of a stretch to see her work as a precursor to current projects in relational aesthetics, a term proposed by French curator Nicolas Bourriaud to describe projects that advance the idea that art’s aim can be simply to engage human relations in a social sphere, through activities such as dinner parties. Jacques, who oversaw production of a 176page book about Banana to coincide with the retrospective, notes the artist’s long practice, her important role as an innovator, and her interest in helping people from different walks of life access their creativity. “It’s a good moment to understand how prescient Anna’s work was,” says Jacques. “She made it at a time when a lot of people might have had trouble accepting the Banana Olympics as an artwork. But, in current times, that kind of participatory project, where artists are primarily concerned with engaging their audience in active ways, has become way more prevalent.” Banana also produces political art. What she calls security blankets, for instance, are woven from strips cut from the patterned snoop-proof linings of business envelopes. One piece features the words “Our Saviour” and an image of Ronald Reagan, the former U.S. president. Banana’s voice drips with sarcasm as she describes it. One senses there are few places she would be unwilling to tread. “Anything is fair game – not that I’ve exploited it all,” she says. “There’s so much.” Or, as she offers later in the conversation: “It’s not all jab, jab, jab. But mostly it is. Because there’s so much to jab.” Born in Victoria in 1940 as Anna Long, Banana is of an age when artists’ thoughts turn to preserving their legacy. This show will aid that process, providing critical attention to a career often guided by love and laughs. “The bottom line on my work is interaction,” Banana says, wistfully recalling the community she found in San Francisco, a counterculture epicentre in the 1970s. “They were up for any public nonsense I could dream up.” At the Banana Olympics, for instance, events included the overhand banana throw. Winners were

often chosen based on their costumes. Still, legacy – especially a permanent home for your work – is hard to come by when you’ve spent much of your life in the underground scene. Sure, there was the European tour Banana organized in 1978 with her second husband, Bill Gaglione, a Dada-influenced artist based in San Francisco. She met him after making the difficult decision to flee an early first marriage and motherhood. Along the way, she spent two years at the Esalen Institute, the famed retreat centre in Big Sur. California was also where she adopted her new name after falling into a box of bananas at a party. To hear Banana tell it, that European tour has the makings of a movie script. Her second marriage was imploding and epic battles were interspersed with Futurist sound performances in one dingy basement after another. When

they went behind the Iron Curtain, they were vetted by officials to ensure they wouldn’t start an uprising. Banana enjoys telling these stories. Life in Roberts Creek must seem dull, indeed, by comparison. Again and again, I’m struck by Banana’s timelessness. Sure, her hair is grey and her face lined, but her eyes are bright with a mischievous sparkle. It’s easy to empathize with that generation’s female artists, the often tough either/or choices they faced about motherhood and career, and how often their ideas were credited to the men they loved, their creative labour just dust on the history books. “You’ve had a fascinating life,” I say at one point. She nods. “I’ve really loved what I’ve been. It’s fun and it’s thumbing my nose at the straight world.” Mostly, Anna Banana seems at peace. If she had the chance to do it all again, I doubt she would change much.

TOP: Horses’ Asses artistamps, International Art Post, photo offset, 1993 MIDDLE: Blind and Balance Race, Banana Olympics, Embarcadero Plaza, San Francisco,1975 BOTTOM: Master’s Degree of Bananology given out at Town Fool of Victoria events in 1971-1972

Galleries West | Fall/Winter 2015 41

42 Galleries West | Fall/Winter 2015




everal months ago, Clint Neufeld was surprised to learn his ceramic sculpture, Slightly Purple Transmission, had travelled across the Atlantic to be shown, perhaps permanently, at Canada’s much refurbished, art-friendly high commission in London. Canada House, as the diplomatic mission is known, was reopened last February by the Queen, who had the opportunity to view Neufeld’s gender-confused clone of an auto transmission, along with 280 other artworks from across Canada. The piece’s prestigious new home is a long way from Neufeld’s studio at Osler, just north of Saskatoon. Its remarkable odyssey began three years ago when Neufeld attended the Toronto Art Fair and met Daniel Sharp, who manages the art collection owned by the Department of Foreign Affairs, Trade and Development. Sharp wanted more work by Saskatchewan artists and asked Neufeld to recommend a few artists and forward images. Neufeld’s initial list did not include any of his own creations, but he amended that at Sharp’s request.

The result: Foreign Affairs purchased a few of Neufeld’s suggestions, including Slightly Purple Transmission. As far as Neufeld knew, the sculpture had disappeared into a government vault. But then, several weeks after the Canada House unveiling, he bumped into a friend in Winnipeg who had seen photos of the event. “Congratulations on your work in Canada House,” the friend said. Neufeld replied: “I don’t know what you’re talking about. Where’s Canada House?” The federal government’s efforts to showcase Canadian art in Britain is just one piece in a complicated puzzle involving millions of dollars in annual assistance to the visual arts. Some is funnelled through individual departments – Foreign Affairs and Aboriginal Affairs and Northern Development are two major players – but Alberta artist Alex Janvier’s mural, Morning Star, adorns the dome of the River Salon in the Canadian Museum of History in Gatineau, Que., near Ottawa. Janvier spent three months in 1993 painting the mural with help from his son, Dean. It illustrates the history of the land from Janvier’s Dene Suline perspective and expresses hope for mutual respect. Galleries West | Fall/Winter 2015 43

Arts funding tends to rise and fall depending on the health of the economy and the whims of the government of the day.

44 Galleries West | Fall/Winter 2015

ABOVE: Clint Neufeld, Slightly Purple Transmission, 2012, ceramic, 32” x 13” x 14” RIGHT: The Queen meets Vancouver artist Gordon Smith at Canada House in London last February. Smith, 96, sitting in front of his oil painting, Reflections, completed the work after touring Canada House the previous summer.

maintains a growing collection of 4,000 works by indigenous artists. It runs a small gallery, usually offering three shows a year in the department’s towering headquarters in Gatineau, Que., near Ottawa. The total annual budget for the department’s art branch is $300,000, including $105,000 to buy art and maintain the collection. That acquisition figure is unchanged since 1990. “We’re just happy it hasn’t been cut,” says Linda Grussani, director of the art program. The department’s goal is to spend 60 per cent of its acquisition funds on emerging and mid-career artists and 40 per cent on established, more expensive artists. Artists in the collection include such prominent Western Canadians as Alex Janvier, Jane Ash Poitras, Robert Davidson and Faye HeavyShield. Up to a quarter of the collection is on loan at any given time. “We are a very happy lender,” says Grussani. Extensive indigenous collections were amassed at the Canadian Museum of Civilization, also in Gatineau, and it once organized regular shows of contemporary aboriginal art. But the aboriginal arts community is worried about the Conservative-driven retooling of the institution, which restyled it as the Canadian Museum of History in late 2013. Two key curators – Lee-Ann Martin, who oversaw contemporary aboriginal art (and was formerly chief curator of the MacKenzie Art Gallery in Regina) and Norman Vorano, the curator of Inuit art – left around that same time. Their two jobs are to become one, and while a hiring process was underway, that new position was unfilled well into 2015. The museum says it remains dedicated to acquiring and exhibiting aboriginal art. But there have been no aboriginal art exhibitions (aside from displays of ancient artifacts) since Martin and Vorano


much also goes to the Canada Council for the Arts and the Canada Council Art Bank, as well as national museums and galleries. These institutions support artists in a variety of ways. They may buy work, provide grants to support the creation of new work, or pay artists for exhibiting in spaces where their work is not sold. Such measures give artists greater credibility in the art world and, indirectly, can help increase the value of their work. While Stephen Harper’s Conservatives have faced plenty of criticism from the arts community, the complexity of various budgetary regimes can make it difficult to draw precise conclusions about overall trends in arts funding. But one thing is clear: The level of support individual institutions offer artists tends to rise and fall with the health of the economy and the whims of the government of the day. For instance, the Conservatives like the Canada Council, which spends $18 million a year on visual arts, including $6 million in direct grants to artists, and has relatively low administrative costs. The council’s parliamentary appropriation has increased or remained stable in each annual budget since the Conservatives came to power in 2006, reaching a high of $182 million last year. But, at the same time, federal budgets have chopped funds from other art-oriented institutions, such as Library and Archives Canada, which preserves a vast collection of historical paintings and photographs, and used to organize shows at its downtown Ottawa location. It owns the entire collection of the Portrait Gallery of Canada, which exists in name only. That’s due to a Conservative decision in 2008 to cancel plans announced by the previous Liberal administration to house the gallery in its own building. The gallery now exists merely as a program of Library and Archives Canada, and circulates occasional exhibitions of mainly historical art around the country. Meanwhile, the National Gallery of Canada’s budget has been hit hard. Its annual parliamentary appropriation has fallen from about $51 million in the 2007-2008 fiscal year to just over $41 million in 2013-2014. (Those figures do not include an annual grant of $8 million for buying art, which has remained unchanged.) The most recent federal budget, the last before this fall’s election, left funding for major art institutions relatively intact. (Perhaps Harper took note that his $45-million cuts to arts programs in 2008 were unpopular with voters, at least in Quebec.) Still, the Canadian Arts Coalition, a national organization of cultural workers, businesses and volunteers, reacted by focusing on the Canada Council, noting its funding “unfortunately” was “unchanged.” With inflation, of course, no change is effectively a cut. But, in this era of deficit trimming, the Canada Council might just as easily consider itself fortunate. That’s certainly the attitude at Aboriginal Affairs, which

FOREIGN AFFAIRS The art acquisition budget is about $300,000 a year. The department cancelled plans in 2012 to sell some of its most valuable paintings, works by the likes of William Kurelek, Jean-Paul Lemieux and Paul-Emile Borduas, after news stories surfaced about the impending loss of national treasures.


left. Even an exhibition about Japanese influences in Inuit prints, organized in 2011 by what was then the civilization museum, ended its international tour last year not at the museum that created the show, as would normally be expected, but at the Carleton University Art Gallery across the Ottawa River. And recent acquisitions? The museum has difficulty giving a clear answer. Its collection includes some 17,500 aboriginal works. Contemporary pieces number 3,000 from First Nations artists and 12,800 from Inuit artists. (The dividing line between contemporary and traditional is 1950 for Inuit art and the 1960s for First Nations.) But as there’s no separate budget for art acquisitions, year-to-year comparisons are difficult. Still, the collection has some gems. Permanent displays include a plaster version of Bill Reid’s signature sculpture, The Spirit of Haida Gwaii; Alex Janvier’s Morning Star, an abstract dome painting 62 feet in diameter; and Daphne Odjig’s monumental painting, The Indian in Transition. In recent years, the museum has discussed transferring at least part of its aboriginal collection to the National Gallery, which has increasingly incorporated indigenous art into its permanent displays of Canadian art. But the gallery, already short of storage space and maintenance funds, seems reluctant to take on vast new collections of anything. The National Gallery does not maintain a separate budget for Canadian contemporary purchases. Instead, contemporary Canadian art is included with foreign imports in the overall contemporary envelope, which was $3.3 million in the 2013-2014 fiscal year, and the photography envelope, at $1.5 million. The total annual acquisition budget of $8 million is not always completely spent, in order

to save money for expensive purchases down the road. A single Monet or Picasso, for instance, can cost many millions of dollars. The National Gallery Foundation sometimes helps out, raising substantial funds from private donors to purchase specific pieces. The gallery’s biennial exhibitions of Canadian contemporary acquisitions, launched in 2010, usually include several dozen new works. The last round of purchases, for instance, featured pieces from Vancouver artists Geoffrey Farmer, Althea Thauberger and Howie Tsui. Marc Mayer, the gallery’s director, says the only criteria for acquisition of contemporary Canadian work is “excellence.” Officially, the gallery does not aim for regional or ethnic equity. In practice, though, that may not be the case. The gallery has certainly been the target of political pressure – and not just for hanging the dress that Montreal artist Jana Sterbak made from 50 pounds of raw flank steak or dropping $1.8 million on American artist Barnett Newman’s three-stripe painting, Voice of Fire. According to news reports, former New Brunswick premier David Alward complained to the Harper government in 2011 about the gallery’s seeming indifference to New Brunswick artists. Since then, the gallery has found more “excellence” in New Brunswick, notably 14 works by Mario Doucette, a high-profile Acadian artist from Moncton. Saskatchewan artist David Garneau is skeptical about the gallery’s supposed reliance solely on excellence in its support for artists. Garneau, head of the visual arts department at the University of Regina, believes regional representation also comes into play. “There’s no one way of defining what art is – there’s no agreed

NATIONAL GALLERY OF CANADA The National Gallery owns some 64,650 domestic and foreign works, including 3,750 contemporary pieces, not counting photographs, produced in the last 25 years. Recent purchases include works by Howie Tsui and Mario Doucette.

ABORIGINAL AFFAIRS AND NORTHERN DEVELOPMENT The department’s art branch has an annual budget of $300,000, including $105,000 to buy art and maintain the collection. The acquisition budget is unchanged since 1990.

View of Beyond Recognition: Aboriginal Abstractions, a group show last year in the Aboriginal Affairs and Northern Development Canada Art Gallery in Gatineau, Que.

ABOVE LEFT: Howie Tsui, The Unfortunates of d’Arcy Island, 2013, Chinese paint pigments and gold calligraphy ink on mulberry paper, mounted on board, four panels, 36” x 96” x 1.7” ABOVE: Mario Doucette, The Acadian Deportation (after Sir Francis Dicksee), study, 2012, electrostatic print with coloured pencil on white wove paper, 11” x 17”

Galleries West | Fall/Winter 2015 45

“I think the question is: How are artists helping Canada?” – David Garneau upon definition – so try and find a definition for excellence,” says Garneau. “It’s equally difficult.” “Excellence” is also a criteria used by Foreign Affairs when it acquires art. Department spokesman Nicolas Doire says other factors are a desire to promote Canadian artists, decorate Canadian missions abroad, and “communicate an image of Canada.” The department has a collection of about 6,000 works that are displayed at its Ottawa headquarters and abroad in embassies and diplomatic residences. The department’s annual acquisition budget is approximately $300,000, but that can vary depending what projects are underway, says Doire. The program also has an annual operating budget of about $300,000 for expenses such as shipping, framing and conservation. Four embassies – London, Paris, Tokyo and Washington – have their own budgets to maintain galleries that exhibit Canadian art. These shows can be costly for artists, who are responsible for their own transportation, shipping and living expenses while abroad to install their work and attend openings. The exhibitions are usually

framed as federal assistance to artists. But Garneau takes a different view. “I think the question is: How are artists helping Canada?” For instance, the first exhibition in the dedicated gallery at the refurbished Canada House was a series of large-format photographs by Vancouver’s Jeff Wall, who is well known internationally. Such an exhibition adds to Canada’s prestige abroad, according to Garneau’s line of thinking. Garneau also questions why Foreign Affairs asked Neufeld to suggest worthy Saskatchewan artists. “Clint is not a curator,” says Garneau. “That’s lazy on the collector’s part.” Garneau says Foreign Affairs should send an ambassador of sorts to check out Saskatchewan’s art in person. Foreign Affairs actually does periodically hire curators in specific regions to recommend purchases, and after receiving Neufeld’s suggestions, Sharp did visit artists in Saskatchewan, including Neufeld. Some works were brought to Ottawa and shown to an advisory committee of outside curators before purchase. Artists typically aren’t critical of Foreign Affairs, despite the costs they must bear for embassy exhibitions. In a competitive field, they tend to be grateful for whatever chances they get. And embassy shows look good on a resume. Winnipeg’s Diana Thorneycroft, for instance, has fond memories of her 2011 exhibition in Paris at the embassy’s Canadian Cultural Centre. She showed a series of photographs of dioramas she constructed to depict, with black humour, quintessentially Canadian scenes. “My Paris experience was pretty close to being perfect,” says Thorneycroft. “It was one of the best working holidays ever.” She gives credit to the embassy’s cultural officer, Catherine Bédard.

CANADIAN MUSEUM OF HISTORY The museum holds some 17,500 indigenous works. But the aboriginal arts community is worried about the 2013 Conservative-driven retooling of the institution, formerly the Canadian Museum of Civilization, and the departure of two key curators.

RIGHT: Diana Thorneycroft, A People’s History (Louis Riel), 2010, digital photograph, 38” x 50” BELOW: Natasha Mazurka, Recombinant, 2014, cut acrylic vinyl, installation view at Prince Takamado Gallery, Japan

EMBASSY SHOWS Artists are grateful for shows at Canada’s diplomatic missions in London, Paris, Tokyo and Washington, despite the out-of-pocket costs they often bear for travel and other expenses. Art is a competitive field, and such shows look good on an artist’s resume.

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LEFT: The Indian in Transition is one of Ontarioborn Daphne Odjig’s most important works. Finshed in 1978, it’s an acrylic painting on canvas that measures eight feet by 26 feet and symbolizes political and cultural revitalization. It can be seen at the Canadian Museum of History in Gatineau, Que. Odjig is of Odawa, Potawatomi and English heritage.

CANADA COUNCIL ART BANK Founded 43 years ago, the Art Bank made purchases of $50,000 to $300,000 in the golden years up to 2011. Due to policy changes and the economic slowdown, no acquisitions have been made since then. The Art Bank’s deficit was $165,000 in the 2013-2014 fiscal year.

Storage racks at the Canada Council Art Bank help preserve the country’s visual culture while offering easy access when works are lent to corporate and government clients. Much of the collection of 17,000 works is in storage at any given time.

Meanwhile, Ottawa painter Natasha Mazurka gives the Tokyo embassy high marks after her solo show last year. Her work featured a series of recurring patterns that might have been lifted from wallpaper. “The staff was outstanding and provided everything needed to prepare for the project, mount the exhibition, and promote it through the media,” says Mazurka, who also has work at Canada House. The embassy’s Prince Takamado Gallery has also shown Narrative Quest, an exhibition organized by the Alberta Foundation for the Arts to raise awareness of 12 Alberta aboriginal artists. The show, which closed in February, included work by Joane CardinalSchubert, Terrance Houle, Alex Janvier and Jane Ash Poitras. “Embassy staff were pleasant and excited about the exhibition throughout the entire process,” says Erin McDonald, manager of art collections with Alberta Culture. “Our experience with them was incredibly positive and professional.” Narrative Quest was unusual in that most shows at the gallery are initiated by artists. “We assess each proposal against criteria to determine the suitability,” says Laurie Peters, head of public affairs for the Tokyo embassy. “While we provide the installation/dismantling services as well as promotion, it is up to the artist to seek out funding for their travel and transportation of their works. Most of the artists rely on Canada Council or provincial government funding and some have sponsors.” The placement of 281 works in Canada House last winter seems like a triumph for Canadian artists. But there’s more to the Foreign Affairs story than embassy exhibitions. Along with Conservative cuts to programs that help artists promote their work abroad,

the move that caused such a stir in the 2008 federal election, the department was planning in 2012 to sell some of its most valuable paintings, works by the likes of William Kurelek, Jean-Paul Lemieux and Paul-Emile Borduas. The sale, which was supposed to help reduce the federal deficit, was cancelled after embarrassing news stories surfaced about the impending loss of national treasures. Speaking of the deficit, consider the ailing Canada Council Art Bank, an agency that was founded 43 years ago and currently owns about 17,000 works. Initially, it was given an annual budget to buy art. Then, in 1999, under the Chrétien Liberals, its mandate was changed so it could purchase art only from the profits of art rentals to clients in the private and public sector. Peer juries pick the acquisitions, but the purchase of so-called unrentables – nudes and large installations – is not encouraged. The new system initially worked. Annual purchases of between $50,000 and $300,000 were made in the golden years up to 2011. Then, as corporate and government clients tightened their belts amid a stagnant economy, the Art Bank started running annual deficits. No acquisitions have been made since then. The deficit reached $165,000 by the 2013-2014 fiscal year. The Art Bank, which operates semi-autonomously from the Canada Council, has the feel of a high-end gallery, despite its headquarters in an industrial area in Ottawa. Amy Jenkins, the lead art consultant, offers a tour. We stop to admire: A blue-and-white ceramic vase sprouting an artichoke by Vancouver’s Brendan Lee Satish Tang; a large-format photograph by Diana Thorneycroft of a miniature diorama showing Louis Riel at the gallows; a painting of a sparkling blue house by Saskatchewan artist David Thauberger. Works like these can end up in themed shows the Art Bank curates from its collection for a spiffy new gallery called Âjagemô, an Algonquin word meaning crossroads, in the ground-floor foyer of the downtown office building that houses the Canada Council and other tenants. Back in Osler, Sask., Clint Neufeld says he once tried to interest the Art Bank in his work. He failed. Could it be the Art Bank jury felt deputy ministers and bank presidents wouldn’t be interested in renting one of his pastel-coloured, ceramic auto transmissions or engines? Neufeld has no idea. Despite that rejection, he is not complaining. The Canada Council has given him three project grants, totalling $58,000, since 2008. Most project grants these days are $20,000, although that could change as the Canada Council overhauls its programs to simplify the application process. Some artists feel the current system rewards grant writing rather than artistic talent. But Neufeld, who has sat on a Canada Council jury, thinks the process is fair. “I was really impressed with the system that they had set up to dish out the money.” Like purchases by institutions, grants from the Canada Council and provincial arts boards are important to artists. “You’re not getting rich off it,” says Neufeld. “But it allows you to spend serious studio time and you don’t have to worry about working some crap job so you can pay the rent on your studio and buy materials you need.” Ultimately, the Canada Council subsidized the creation of Neufeld’s Slightly Purple Transmission. Then Foreign Affairs bought it. And finally, it was exhibited in the Saskatchewan Room at Canada House. Says Neufeld: “Hopefully, some day I’ll get there to have a look at it.” Galleries West | Fall/Winter 2015 47




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all them the Winnipeg Generation, a group that includes the Royal Art Lodge and many not-Art-Lodge Winnipeggers who were born in the 1970s and attended the University of Manitoba in the late 1990s and early 2000s. Many of them are now ripe for mid-career surveys. But it’s Sarah Anne Johnson, although amongst the youngest, who was the first to have a mid-career museum survey, earlier this year at Raleigh’s Contemporary Art Museum in North Carolina. Johnson completed a Yale MFA after finishing a Winnipeg BFA a dozen or so years ago. She also had some training in theatre. The Yale program is exclusive, and it confers advantages, but its exclusivity and visibility to New York’s art world guarantees very little. Yale gave Johnson a step up, but not that big a step up. The Winnipeggers who get places at Yale or Columbia or Parsons are usually the most financially strapped people in the program, as was Johnson in hers. Other students are often trust-funders and often very young and often, as in most schools, not committed to art as a career. The frustrations are innumerable for Canadian students at American grad schools, but I have never met a Winnipeg artist who regretted the experience. That said, it’s worth mentioning that many of the famous Winnipeg Generation artists did not go to grad school in the United States, Canada or anywhere else, and have not suffered for it. Yale was still wedded to chemical photo processing when Johnson attended. In fact, she did not learn digital techniques until after she graduated. Since Johnson and Yale were both late adapters to photography’s digital revolution one might assume her MFA background had something to do with her practice of painting and scratching directly on her prints, with Photoshop only

a secondary technique of hidden operations. However, my guess is that the handling has more to do with her Winnipeg roots, that DIY look that’s so common in Winnipeg. She “retouches” photographs, that is, she paints directly on the print, which makes each piece a unique object. Perhaps Johnson’s retouching techniques – and her photographs of Sculpey dioramas – are a response to the crisis in contemporary photography brought on by the ubiquity of Internet images. It has not escaped the attention of serious contemporary photographers that while they agonize over every image, the rest of us upload millions of photographs every day to social networking sites. Serious photographers the world over must cope with this surplus and justify their art in the face of it. Johnson’s taking-up of handwork happened, as with so many Winnipeggers, just as this over-photographed era was beginning. Her manipulation of photographic surfaces is especially welcome as a corrective to the cult of the pristine photographic print, a form that has survived more than 150 years of an elevating discourse, and one which thrives as never before in today’s production of huge digital prints, those acres of textureless photographs that cover gallery walls like wallpaper. Johnson got gallery representation right after Yale from the Julie Saul Gallery in Chelsea, and became well known when the Guggenheim Museum in New York bought a complete set of photographic prints from her Tree Planting series, a coup organized by Saul and her collectors. It consists of documentary photographs, some manipulated, and pictures of Sculpey set-ups, little dioramas, but without scratching or painting on the prints. Tree Planting was singled out by Roberta Smith, of the New York Times, in a glowing review when it debuted at the Guggenheim.

I remember talking to Saul when she first showed the Tree Planting work at her gallery. She said, half-jokingly, that at first she thought tree planting was some kind of kibbutz experience for Canadian kids. The grueling summer job seemed quite exotic to many New Yorkers. Unlike the Royal Art Lodge and Winnipeg’s 26 collective, Johnson has always been a loner, and has sought her own adventures and projects, some at home and others abroad. Like her Winnipeg elders, Wanda Koop, William Eakin and Eleanor Bond, she travels a lot, and uses every extended trip as an opportunity to make art. She has established a work pattern that swings from reflections on personal subjects to meditations on far-flung adventures. Tree Planting in 2005, her trip to the Galapagos Islands in 2007, and a Norwegian foray that resulted in her Arctic Wonderland of 2011 are notable as long-distance projects. Her House on Fire in 2009, the related Dancing with the Doctor performance work of 2010, and the Wonderlust set of 2013 unravel personal and family ties in complex works that incorporate photography, painting, sculpture and performance. Photography is Johnson’s core medium, the one from which other work grows through iteration and bricolage. Again, some of work has a do-it-yourself feel, or at times even an outsider sensibility, like that of many of her Winnipeg compatriots. Her sculpted figures, for example, do not exactly meet Renaissance ideals, but her constructed dollhouses and straight photographs are things only a professional could make. And that professional is the artist herself, since she rarely hires assistants. A first look at a Johnson exhibition is often a matter of matching various levels of technical finesse to various levels of rawness in the subject matter: as a rule the more fraught, emotional and romantic the subject

OPPOSITE PAGE: Long Arms (Wonderlust), 2013, sanded chromogenic print with oil paint, 42” x 28” LEFT: House on Fire, 2009, mixed media, 41” x 43” x 52”

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matter, the rougher the technical treatment. Interestingly, Johnson’s The Galapagos Project does not address Charles Darwin at all – there’s no reference to the islands as the birthplace of his idea of evolution. Nor does she make it a mourning song to endangered species or a cautionary tale about evolution somehow gone wrong. Her work is anything but a National Geographic documentary. Rather, her subject is a curious form of educational tourism in which privileged young people from around the world take up residence in these remote isles in order to assist local government agencies with what is enigmatically called “agricultural rehabilitation.” Johnson takes on the anxieties of such experience-based travel, exposing the awkward heart of this strange gap-year challenge for the wealthy. Johnson always has an eye on the mythological potential of her fractured wordless stories. Like the tree planting works, The Galapagos Project charts contem-

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porary rites of passage. But these series also call to mind the initiation rites of traditional societies that subject youths to encounters with jungle and bush. She does not make environmentalist claims for her art. The carbon bombing of international air travel and the chemistries of photo production tend to usurp any claims of environmentalism and, thankfully, Johnson does not play that game. Her Arctic Wonderland series is an unexpected foray into Norway, not, as might be expected, the Canadian North. Instead of work about the Manitoba polar bear, which already has a worldwide audience, Johnson switched things up and took a trip up the fjords, perhaps as a reminder that in addition to the innumerable “norths” of Canada, there are many others elsewhere. Meanwhile, on the personal side of her practice, Wonderlust has a place amidst contemporary projects by other artists who dabble with alternatives to mainstream porn

and attempt to imagine a more equitable and less exploitative future for it. Replete with her trademark drawing and painting and scratching on prints, in this case with added clown noses and clown boots, these images seem somehow more real than the amateur video that is today’s most popular form of pornography. The tactility of her play is a reminder of the tactility of sex, and that visuality isn’t, or shouldn’t be, everything in porn. Johnson’s House on Fire and Dancing with the Doctor, read like documentation from inside a psychotic episode. The subject is her grandmother’s CIA-sponsored psychiatric treatment in the 1950s, a true story that seems like head-scratching fiction. Johnson imagines what her grandmother felt as doctors abused her. She tucks into the work an occasional image of herself as a child, perhaps to heighten the psychic distance from the torture. I saw a performance of Dancing with the

OPPOSITE PAGE: Wrestling (The Galapagos Project), 2005, chromogenic print, 11” x 14” LEFT: Dancing with the Doctor, 2011, choreographed performance piece

RIGHT: Fireworks (Arctic Wonderland), 2010, chromogenic print, photospotting and acrylic inks, gouache and India ink, 28” x 42” BELOW: Sad Clown (Wonderlust), 2013, digital chromogenic print with oil paint, 30” x 20”

Doctor at aceartinc in Winnipeg and it was harrowing and beautiful. We associate boxes on heads with virtual reality these days, but Johnson uses the motif in a horror story of confinement and helplessness. Unlike many performances by artists, this one was unabashedly theatrical and, so far, a unique instance of the genre in her work. She is working on new versions of House on Fire and Dancing with the Doctor for an exhibition opening Dec. 5 at the Southern Alberta Art Gallery in Lethbridge, Alta. It’s the start of a major project that she says will take years to complete. “I am building all the rooms from the dollhouse from House on Fire as film sets and filming myself performing in them,” she says. “I decided years ago, after I had built the dollhouse, that I wanted to bring it to life because some ideas are best realized through a timebased medium.” The first video installation, to be shown in Lethbridge, is called Hospital Hallway. She will exhibit the film set, which looks like an institutional hallway, but in the never-ending shape of an octagon. Inside, are 15 television screens, each showing Johnson dressed in a costume that represents her grandmother. Johnson, who’s on the short list for this year’s prestigious Sobey Art Award, given to artists under 40, is also showing the same work this fall as part of the award exhibition at the Art Gallery of Nova Scotia.

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C Young Man, 2013, pencil on paper, 33.5” x 47.2”

ertain artists work steadily toward the centre of their darkest fascinations. The poet Sylvia Plath, for example, set her observational powers on her own mental breakdown. Though it made her feel perverse, photographer Diane Arbus focused on what she called “freaks” – people with physical differences. Erica Eyres, who lives in Glasgow, has something of the same resolve. Using video, ceramics or drawing, she targets what most of us try to avoid: social awkwardness, dysfunction, egotism, failure. For a time in the 1970s, Eyres’ father was a studio portrait photographer. In a recent suite of drawings, Eyres recreated many of his photographs in graphite, imbuing them with a strangely fixating power. Meeting the gaze of Eyres’ teenage loners or older women trying to look sexy is an encounter with loneliness. There can be terrible gaps, after all, between how we wish to be perceived and what people see. Thankfully, Eyres employs humour as a release valve. Young Man sports a feather-soft mullet that undermines his set jaw and

flinty stare. Sandra, Sue and Janey each have impressive hair, tragically backcombed. Eyres’ drawings frequently employ pathos, hinting at terrible neuroses. But it’s in her performative videos that she is most explorative. Many borrow from shallow forms of popular culture: dating shows, soap operas and low-budget reality TV. Her characters wear schlocky makeup and bad wigs, and live in a world of cheap glam and trailer trash. While the Internet too uses such ‘lowlife’ fodder to generate tropes and memes (remember the popularity of Awkward Family Photos?), Eyres’ work is subtler, exposing our deepest and most unrelenting psychological drives. Her videos can be perversely comedic, but may also twinge a sensitive nerve. Argos Hand, a six-minute video collaboration with friend and fellow artist Sigga Bjorg Sigurdardottir, is a masterpiece of synecdoche, a literary device in which a part is used to represent a whole. The video shows only the hairy, scaly fingers of a monster flipping slowly through the pages of a mail-order jewelry catalogue. We can’t see


her face, but we can detect a powerful vulnerability in the way she pores over each heart shaped pendant. And, in a sleight of hand with point of view, Eyres puts us in the monster’s chair. We can’t see the beast because we are the beast, hideous, yet yearning for impossible beauty. Eyres was born in 1980, and earned a BFA at the University of Manitoba before moving to Scotland for her Master’s degree at the Glasgow School of Art. She has exhibited widely, with solo exhibitions at the Centre for Contemporary Arts in Glasgow and the Kunsthaus in Erfurt, Germany. This fall, she returns to her native Winnipeg for her show, Holidays in the Future, at Lisa Kehler Art and Projects from Sept. 5 to Oct. 10, where she will show a new video, Clay Head. It again depicts a pair of hands, well manicured this time, pushing wet clay onto a Styrofoam mannequin head. As the clay is sculpted into a large nose, the narrator shares a memory. She was a child actor given a coveted role for her ability to endure the arduous application of make-up and prosthetics. “My head was completely mummified,” she recalls. “I sat motionless for hours, engulfed in darkness and silence.” In a harrowing scene, eyeholes are gouged out of the foam and glass eyes are pushed in. The narrator intones: “Because of my age, I was handled with great delicacy.” By the end, it’s hard to be sure what is real. A child, cast in the re-make of an original show, is grotesquely fictionalized. Her story though, is undone by a trajectory that moves in the opposite direction; an artifice is given life. Disguise, charade and behind-the-scenes confessionals converge into a heartbreaking and convoluted psychodrama. Essentially, Eyres’ work tackles pretense and the myriad of ‘selves,’ both public and private, that we, in our media-obsessed culture, constantly subject to surveillance and scrutiny. She claims her practice is not intentionally influenced by ideology. Her work is not overt enough to be read purely as cultural critique. It wouldn’t get under the skin the way it does if it was. Rather, it’s almost like contemporary fairy tales, where menace and threat lurk inside a pathetic anti-hero – natural territory, perhaps, for an artist whose mother is a psychiatric nurse and whose father was a child psychologist. Eyres is one of Winnipeg’s most interesting exports. Her latest drawings, also part of the show, are based on images from 1970’s men’s magazines. They are more spare and refined than her portraits. There’s Mike, a bit of a nerd, who appeared in a magazine section called “One for the Ladies.” He reclines, spread-eagled, his genitals

flopped to one side. The two young friends in Women were copied from a nudist magazine of the same era. Their bright smiles betray not a hint of embarrassment over the fact that their downy pubic hair is on display for all to see. In another drawing, a group of flabby middle-agers prove that nude bowling is quite possible, although shoes, of course, are necessary. “The drawings depict people doing very mundane activities, as if they want to show off how normal they are despite being naked,” Eyres says. Eyres is interested in photographs from the pre-digital era. “They have a distinct awkwardness,” she says, “but simultaneously lack the self-conscious, staged quality of the modern selfie.” These new drawings have a distinct lack of guise, and since some of the source material is actually soft porn, an ironic innocence. They may not possess the same weird appeal of her earlier portraits, but are intriguing in their own right. They feel weightless, freed from the layers of pretense we are used to seeing in glossy images. Contoured with a minimum of lines, Eyres’ nudists would float off the page if they weren’t so well anchored by their skilfully drawn idiosyncrasies and the small dark forests between their legs. But her drawings are not so quirky or light-hearted when you understand their darker context. Such innocence is no longer possible. We are too busy posing for the mirrored camera, putting our best face forward while repeatedly deleting our worst, caught in our own painfully self-conscious pathologies.

Bowling, 2015, pencil on paper, 11.4” x 16.5”



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n my desk are 50 sheets of card stock, light blue with a subtle white mottle; I’m also using strips of silver Mylar as a wrapping ribbon and larger squares as a base on which to print shimmery, slightly ghosted photos. I’ll enfold these images in grey envelopes that I’m making myself. Beside these are Elmer’s No-Wrinkle Rubber Cement, double-sided Scotch tape, an X-acto knife, an 18-inch metal ruler, a bonded lead No. 2 pencil and a gum eraser. I’ve just loaded a black ink cartridge into my Waterman fountain pen to handwrite a sparse memorial poem over 15 panels, each four inches by four inches, that I’ll then assemble into an accordion fold to create a circular read. It’s an artist’s book. I’m making 10 copies. What exactly are artists’ books? The definition can slide. Perhaps, in the purest sense, they are books conceived and created, hands on, by artists. They are most often published in limited editions, sometimes signed and numbered. They are concerned with the materiality of the book. Unified in form and content, they are works of art. They can interrogate and stretch the format of the book, moving beyond the normal codex to include boxed sheets, scrolls, decks of cards, irregular shapes, sculptural forms, strange and delightful materials, and even installations, performances and, nowadays, digital works. The term usually excludes trade publications that feature reproductions of an artist’s work, whether a catalogue or a coffee-table book. Fine printing, as, for example, by letterpress, or exquisite production values, may be part of the project, but these traits alone may not be enough to qualify a publication as an artist’s book. The accomplished American artist, bookmaker and scholar, Johanna Drucker, in her catalogue compendium Druckworks, says: “Most attempts to define an artist’s book which I have encountered are hopelessly flawed – they are either too vague … or too specific.” She says artists’ books “take every possible form, participate in every possible convention of book making, every possible ‘ism’ of mainstream arts and literature, every possible mode of production, every shape, every degree of ephemerality or archival durability.” With my project, it’s not the definition that interests me. Rather, it’s the faint vanilla smell of the paper; the razor-slice of the blade; the smooth and pebbled textures as I trim and fold; the glue that sticks my fingers together; the crawl of ink that shapes the text; and, finally, the rubbery crumbs I brush away as I erase the penciled guide lines that keep my phrases straight. For the 30 or so hours it takes to create Vigil, the words, the book and I are one. I made this book early this year, but the practice of artists making books has a long history. Often cited as the premier antecedent is Songs of Innocence and Experience, which was handwritten, illustrated, coloured and bound by William Blake and his wife, Catherine, in

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1789. A wave of artists’ books built in the early 20th century through the influence of art movements such as Russian and Italian Futurism, Dada, Surrealism, Expressionism, and – according to Drucker’s scholarship – more recent developments such as Fluxus, Pop art, Conceptualism, Minimalism, the women’s art movement and postmodernism, as well as music and performance art. Canadian publishers and artists have been active in the field since the 1960s. While book art has a strong tradition in the visual arts, equally vital is the cross-disciplinary contribution of literary artists, sometimes working with designers and visual artists. Or, often, individual writers simply extend a solo writing act into book making. This is a logical link, as the book is most often the primary

Some publishers of artists’ books to check out: Wild Hawthorn Press and Moschatel Press, both of Scotland Something Else Press, the imprint of Fluxus artist Dick Higgins Calgary poet Derek Beaulieu’s No Press Siglio Press in Los Angeles Room 302 Books in Ottawa Chax Press in Texas Granary Books in New York

ABOVE: Steven Ross Smith’s artist’s book, Vigil, a memorial poem dedicated to his father, is part of Travelling Exhibition, a project organized by German artist Manuela Büchting. LEFT: Writer Mari-Lou Rowley and visual artist Tammy Lu, both of Saskatoon, teamed up to produce Transforium, a 16-page artists’ book published by JackPine Press.

product of a writer’s work. And small-format chapbooks – often handmade – have been a literary staple for years. As the volume of artists’ books grew, specialized bookstores, usually run by artists, began to appear. In Toronto, Art Metropole, a non-profit focused on artist-made publications, was founded in 1974 by the art collective General Idea. It’s still active today. As well, major collections are housed at the libraries of both Emily Carr University in Vancouver, with about 1,200 artists’ books, and the Banff Centre, which holds 4,000 titles. It was at the Banff Centre, where I worked as the director of literary arts from 2008 to 2014, that I met a young German book artist and curator, Manuela Büchting. She had become familiar with my poetry and my earlier book-making projects, and, in 2014, invited me to contribute to her project, Travelling Exhibition. It includes 30 artists, all working in the four-by-four format, under her imprint DeerPress. Büchting began making books and paper objects as a child. A Galleries West | Fall/Winter 2015 55

RIGHT: Jack! is Newfoundland artist Tara Bryan’s jack-in-the box book. It features relief prints, nursery rhymes, sea shanties and other poems. BELOW: Vincent Trasov’s Mr. Peanut flip book was created more than 40 years ago. BOTTOM FAR RIGHT: Spoken-word poet Shanda Stefanson’s Picking Apart the Stitches. BOTTOM LEFT: Artist’s book by Toronto bookbinder Don Taylor, part of Travelling Exhibition, a project organized by Manuela Büchting

bookwork is “always meant to contain the moment, to become a memory in the future,” she says. “There is something really beautiful about the material paper, sometimes very translucent, sometimes thick and irresistible.” Travelling Exhibition aims to connect German and Canadian artists, bridging two worlds, one with a long tradition and “one that feels open-minded and free to me,” says Büchting. Vigil is part of that project, along with contributions from Alberta’s Lisa Borin and Vancouver artist Leanne Johnson, who publishes as leannej, among others.. It’s challenging and ultimately random to cite just a few influential artists’ books. But notable ones certainly include the Moscow poet Aleksei Kruchenykh’s 1916 Universal War, which integrates hand-written text, expressive lithographs and collage elements. 56 Galleries West | Fall/Winter 2015

Another is by German artist Dieter Roth, who made about 50 copies of Literature Sausage between 1961 and 1970 by grinding up existing books and adding fat, gelatin, water and spices. He then stuffed the mixture into sausage skins. Definitely books, but reprocessed and unreadable. There’s also the oft-noted Twenty-Six Gasoline Stations. Made by American artist Ed Ruscha in 1963, it features photographs of gas stations along Route 66 between Los Angeles and Oklahoma City, and was distributed in those very gas stations. But perhaps the most famous is Yoko Ono’s 1964 conceptual book, Grapefruit, a bound edition of event scores that, as with musical scores, offers instructions for potential actions. She produced 500 copies that originally sold for $6 each.


OPPOSITE PAGE: David Clark created 88 Constellations for Wittgenstein (To Be Played with the Left Hand), a hyperlinked digital narrative.

While Canada is a newer contributor to the field, it has a strong output. One early entry was grOnk – not a book per se, but a handson literary magazine with an artists’ book sensibility, founded in 1967 by poet bpNichol and others. It focused, among other things, on concrete poetry, where meaning is transmitted through typography and other visual devices. grOnk published over 100 issues in a variety of formats and bindings, with images, drawings and typed or handwritten texts. In 1969, Toronto’s Coach House Books published the Mr. Peanut flip book by artist Vincent Trasov. Coach House also released Canadian poet Steve McCaffery’s monumental text explosion, Carnival, in 1973. Several years later, Toronto’s Underwhich Editions began publishing limited editions of handmade books, including artists such as Patricia Beatty, David Bolduc and Rosalind Goss, as well as poets Gerry Shikatani and Kristjana Gunnars. More recently, JackPine Press of Saskatoon has published some

60 handmade, limited edition and, most often, collaborative books at the overlap of literary and visual art. Their books, which can sell out quickly, are often hand-stitched or off-size, and use special papers, ribbons, cutouts, unusual foldings and sometimes even string, nails, buttons or twigs. For instance, Transforium, by writer Mari-Lou Rowley and visual artist Tammy Lu, both of Saskatoon, requires people to unfold it, integrating hand and eye as they look and read, discovering the book’s architecture along the way. A new JackPine publication is spoken-word poet Shanda Stefanson’s Picking Apart the Stitches, in an edition of 75 copies. Its cover is made from an old stage curtain from Saskatoon’s Persephone Theatre, and its title banner is machine embroidered. Inner text is printed on treeless paper. Walking Bird Press is the imprint of Newfoundland artist Tara Bryan. With over 30 titles and broadsides since 1997, it takes book art to a high level. For instance, Down the Rabbit Hole is a tunnel book featuring text from Lewis Carroll’s Alice in Wonderland. It’s made with string, textured paper, cardboard stock, centre-cut pages and a wooden handle. Lifting the handle releases a tunnel of spiraling text that recedes down the ‘hole.’ Meanwhile, another book, Jack! – as in the box – springs to life as you lift its lid. It features nursery rhymes and sea shanties along with linocuts and woodcuts, all on white paper folded like a concertina. Bryan’s other books embrace fabric, thread, painting, shipping tags and off-size pages, offering a gorgeous and inventive panoply. Lest one think these books are simply some kind of narcissistic fringe activity, consider the annual Vancouver Art/Book Fair, which runs Oct. 17 and Oct. 18. Presented by the non-profit group, Project Space, and housed at the Vancouver Art Gallery, this festival of

ists’ publishing will feature nearly 100 local, national and international publishers, as well as a diverse line-up of programs, performances and installations. Some 3,000 visitors are expected. While artists’ books have their seeds in critique, resistance and anti-establishment modes, and in production practices that are personal and intimate, they have become potent enough to command institutional regard. The proliferation of publications and publishers has spawned specialist academic programs, notably the Center for Book and Paper Arts at Columbia College in Chicago. As the largest book-and-paper teaching institution in the United States, it offers instruction and practice in letterpress, bookbinding, papermaking and artists’ books. In Canada, several institutions offer courses in book arts, including the Alberta College of Art and Design in Calgary, NSCAD University in Halifax, and Toronto’s OCAD University. While tactile and sensory qualities historically have been vital to artists’ books, some artists are shifting the form beyond paper, still as makers, but with digital tools. Over four years – 2004 to 2008 – David Clark, an associate professor at NSCAD University in Halifax, created 88 Constellations for Wittgenstein (To Be Played with the Left Hand). It’s a hyperlinked digital narrative that plays out with words, images, music and voice, allowing visitors to create their own paths through on-screen constellations. The work is edifying, associative, humorous and full of visual puns. Canadian artist J.R. Carpenter, now living in Britain, makes digital stories featuring maps, images and unfolding or scrolling verbal narratives. She invents and programs her own pieces, including the recent Once Upon a Tide, with its ever-changing sentences. Her pieces are often journey stories, both literal and digital multidimensional adventures. The field continues to grow, with artists’ books becoming more complex and more inventive. Drucker, writing in The Century of Artists’ Books, notes the books “really are the quintessential 20th-century art form, one obviously fated to continue into the next century ... rare, affordable, unique or banal, books are a major staple of the art world – as yet uncanonized and marginal, but omnipresent.” Is it these qualities that attract me? Perhaps they’re part of it. But mostly it’s the appeal of making that sends my mind drifting to my next foray into the possibilities and limitations of the book, and the irresistible allure of shaping word, image and paper with my imagination and my hands.

A FEW NOTABLE ARTISTS’ BOOKS: General Idea’s Generi©, a red-and-gold foldout micro-foil balloon inscribed with a brief cautionary text, was published in 1992. Diagrammatica, by Californian Jaye Fishel, is an accordion foldout with minimal binary texts rendered feminist and political, and printed over images of vaginas. An edition of 50 was published by Bull Horn Press, of San Francisco, in 2011. Vancouver writer Baco Ohama’s lovely 1997 memoir, Chirashi: Stories from the Garden, features pictures and texts about the artist’s efforts to learn Japanese. It has a spacious layout, pink tissue endpapers and a hand-sewn binding. 52 Transactions is Victoria curator and educator Kathy Slade’s 2007 conceptual rendering of receipts for the books she borrowed over a year from the Vancouver Public Library. Galleries West | Fall/Winter 2015 57


58 Galleries West | Fall/Winter 2015


ost of us don’t give much thought to the frames that cradle paintings. They are, as Calgary framer Jarvis Hall observes, the “unsung hero we don’t notice” in our headlong rush to feast our eyes on the picture, the real star of the show. But, for Hall, frames are a fascinating part of art history. Their twists and turns can yield mysteries both puny and grand, often signaled by small material clues – a few extra nail holes here, an oddly butted joint there, or, perhaps, a tiny abrasion that indicates a painting was

not quite dry when it was dropped into its original frame. As with anything, the closer you look at frames, the more interesting they become. But Hall, who can spend hundreds of hours building a large and complex frame, acknowledges his sleuthing can sometimes border on the obsessive. “It’s not like CSI,” he says. “But there are certain things I do get a little carried away with.” At their most basic level, frames have two jobs – to protect the art and to draw people into the viewing experience. But frames can be laden with a wealth of other cultural baggage. In European museums, for instance, gilded frames are scattered along the walls of cavernous galleries like so many golden bread crumbs, marking a path through dense thickets of art. But why were frames covered with gold

in the first place? The answer, says Hall, is simple. Back in the day, of course, there was no electricity. Most art was seen by candlelight in dim interior spaces. “The flame hits the highly contoured surface of a picture frame that’s gilt in gold, which then illuminates and casts that light back against the painting,” he says. As well, many early European paintings were displayed in churches – think, for example, of altarpieces, paneled paintings often encased in ecclesiastical armatures. A golden sheen offers a potent visual message to the masses about faith and the power of the clergy. And, of course, gold is congenial with most natural colours, says Hall. In other words, gold just looks good around paintings. Hall, the son of well-known realist painters John and Joice Hall, recently led a tour in the Glenbow Museum – not to look at art, but to consider the frames. He made some surprising discoveries, and was pleased to find his audience equally intrigued. First, a small mystery: A 1931 portrait of Patrick Burns, an Alberta rancher, businessman and senator, by artist Kenneth Forbes is housed in a frame Hall believes was made by Irving Couse, an artist and framer from New York who moved to New Mexico in the early 1900s. Hall points to a simplified arrow motif in the corner of the frame and notes that Couse, influenced by the native art in Taos, began to combine Art Deco and Art Nouveau elements with indigenous symbols to create his own framing vernacular. “I found the use of a southwestern American frame on this very Canadian portrait to be odd,” says Hall. He suspects someone may have changed the frame at some point, possibly to match the décor of the house in which it hung. A second discovery was the frame around a 1974 painting by William Kurelek, Young Ukrainian Church Carollers. Kurelek, who painted scenes from his childhood on the Prairies, often made his own frames from whatever he had at hand. For a time, when he worked at a Toronto framing shop, he had access to old frames he could pirate and piece together. Hall knew the painting he spotted in the Glenbow’s storage area was still in Kurelek’s original frame because of a motif – a running vine with maple leaves – the artist often used. Hall found himself contemplating how Kurelek had cobbled the frame together, and was particularly thrilled to find his framing notations on the back. “It’s a fantastic little road map,” he says. Hall has owned his downtown Calgary

framing shop for a decade and often gets requests to reframe newly purchased art. “The only thing collectors can change about a piece of art is the frame,” he says. “And they do it often.” But he believes such changes can be ill advised if they put the art and the frame at stylistic odds. He points to the French Impressionists, who typically displayed their paintings in plain white frames. “The gold, they felt, was too harsh around their new style of painting,” he says. “So they would white out the frames, which gave an easier break between border and painting.” But the wily dealers who sold their work to American industrialists quietly replaced the plain frames with gilded ones that matched the furnishings in the millionaires’ mansions. “It was more attractive to the purchaser, who then understood that all of the gold surround was equivalent to the gold things in their homes,” says Hall. Over the years, Impressionist works in gilded frames have made their way into museum shows and permanent collections. “If you see Impressionist paintings at the Met, or wherever you are, they will all be in a style of frame that 90 per cent of the Impressionists who made the paintings would be horrified to see,” says Hall. “It was not their intent.”

OPPOSITE PAGE: Jarvis Hall works on a frame. BELOW UPPER: The frame of a 1974 painting by William Kurelek, Young Ukrainian Church Carollers, shows a motif of maple leaves on a vine that the artist often used on his frames. BELOW LOWER: A simplified arrow motif can be seen in the corner of a frame Jarvis Hall believes was built by Irving Couse.

Galleries West | Fall/Winter 2015 59

AUCTIONS Viewed from the web: Spring sales reasonable despite struggling economy


TI RIGHT: William Kurelek, His Old Man’s Pipe, 1973, mixed media on Masonite, 22.3” x 14” – $64,900 at Waddington’s LOWER: Peter Whyte, Untitled - Sketching Tent in the Rockies, 1932, oil on canvas board, 11” x 14” – $28,000 at Levis

his may have been Alberta’s spring of economic discontent, but art sales in the Calgary auctions were reasonable. Levis Fine Art Auctions had a good start with a small but fascinating etching by Sybil Andrews. It had an estimate of $600 to $800, but sold at $10,530. The sale also had a small spark of a panel that Peter Whyte painted in 1932 in the shadow of Mount Assiniboine. It was great to see it sell at $28,000. Over all, historical works by strong local artists did reasonably well.

At Hodgins Art Auctions, also in Calgary, a pleasant surprise was the use of online live bidding amid the live sale chatter in the room. One could hear auctioneer Frank Hall knocking off bids, and even see where the works sold. It’s great to know so many pieces land far outside of Alberta. One big plus of this streaming video session was its clarity. Highlights included a perfect historical watercolour from 1891 by Frederick A. Verner that sold 60 Galleries West | Fall/Winter 2015

for $30,000. There was also a large Illingworth Kerr canvas from 1947. They don’t get much better than this rare gem, which sold for $15,000 after a lively floor and phone battle. The sale also featured a large collection of bronzes and some international paintings, including a rare and fabulous Montague Dawson. A British painter, Dawson is considered a master of sailing ships. The work sold over the phone for $160,000, beating its estimate of $40,000 to $60,000. Over all, Hodgins did well. Auctions at Waddington’s Canadian Fine Art in Toronto were interesting, even viewed online from my home. A piece from a New York collection by Lionel Lemoine Fitzgerald, Grain Silos, Saskatchewan, sold well at over $20,060. One of William Kurelek’s best self-portraits, His Old Man’s Pipe, sold for $64,900. A lively 1946 abstract by Stanley Cosgrove, an artist who is often overlooked, sold easily for $42,480. My favourite abstracts were a 1976 painting by Yves Gaucher that sold for $47,200 and Voyage, by Toronto painter John Meredith, which sold well for $42,480. Both paintings carried estimates of $20,000 to $30,000. It’s always good to see contemporary art find a better price point and a home in a good collection. One of the best stories was a small work on paper by Jack Bush. It was owned by the original collector via the former Park Gallery in Toronto, and found a new home at $21,240. This 1958 gem likely benefited from the artist’s recent

tive at the National Gallery of Canada. Finally, Alex Colville’s Sunrise, a 1970 serigraph from an edition of 70, made good value at $30,680. In my view, it’s high time people recognized that his serigraphs are amongst his best work. Over all, it was a good sale with mixed results. I tried to watch the Heffel Fine Arts sale in Vancouver via live streaming, but between buffering of the site and the challenges of repeated sales, I gave up. Of course, my use of technology is limited as I’m self-taught and over 60. So it’s quite possible I am not up to speed! Some familiar names appeared. Takao Tanabe did well. Gordon Smith followed known values. Quebec abstraction continued to hold solid prices. And a number of Kureleks sold at strong values. Pleasant surprises came with Pierre Gauvreau and Madeleine Arbour of the Automatistes. I was also pleased to see an Ivan Eyre, Floodwood, from his more abstract and surreal period, sell at $106,200. These paintings are so original and inventive they elevate the Winnipeg artist into a global context. Other works at Heffel included a W.J. Phillips piece, Karlukwees, B.C., which sold at $56,050. Phillips, I feel, is undervalued as an artist and a printmaker. A sale like this is positive news. The other sparks at Heffel were paintings by Emily Carr. Of course, with her recent exhibition in Britain and then at the Art Gallery of Ontario in Toronto, it’s expected any strong works will do well. My favourite of the Carr paintings, Forest Light, had an impeccable provenance. It sold well at $1.5 million, against an estimate of $400,000 to $600,000. Other quality paintings sold within estimate or beyond. The lack of strong examples of Group of Seven works was notable. These can be rare finds. J.W. Beatty’s Winter Break-Up, Algonquin Park, a prime canvas, sold well at $106,200. This proves again my point that a work’s quality can move collectors into the chase. Consignor Canadian Fine Art in Toronto presents live previews of their consignments, and has a responsive platform for bidding, communication and condition checks. A couple of good abstracts caught my eye, including a 1975 Bush work on paper, Quarter Moon, which sold at $41,400. Consignor keeps improving its site and does have a following, so is worth watching. Online sales continue to present a large volume of work. Offerings are made almost monthly and, yes, there are bargains. To my surprise, many pieces are selling. Buyers seem to be watching, and the online sales certainly benefit auction companies and their consignors. Douglas Maclean of Canadian Art Gallery is an art adviser and private dealer in Canmore, Alta.

BELOW: Ivan Eyre, Floodwood, 1979, acrylic on canvas, 56” x 64” – $106,200 at Heffel LOWER: Montague Dawson, Shimmering Horizon, no date, oil on canvas, 28” x 42” – $160,000 at Hodgins

Prices include buyers’ premiums. For more images go to:

FALL 2015 AUCTIONS Consignor Canadian Fine Art (online) - Heffel Fine Art, Vancouver and Toronto - Hodgins Art Auctions, Calgary - Lando Art Auctions, Edmonton - Levis Fine Art Auctions, Calgary - Maynards Fine Art & Antiques, Vancouver - Waddington’s Canadian Fine Art, Toronto - Walker’s Fine Art & Estate Auctioneers, Ottawa - Galleries West | Fall/Winter 2015 61


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

BRITISH COLUMBIA GALLERIES ABBOTSFORD Public Gallery THE REACH GALLERY MUSEUM ABBOTSFORD 32388 Veterans Way, Abbotsford, BC V2T 0B3 T. 604-864-8087 F. 604-864-8048 The Reach Gallery Museum Abbotsford is committed to preserving and sharing the stories of our rich and diverse cultural heritage and showcasing the best in visual arts. Exhibitions include local history, local, regional and national visual artists and Canadian travelling exhibitions. Tue to Fri 10 am - 5 pm, Thurs till 9 pm, Sat, Sun noon - 5 pm. CAMPBELL RIVER Public Gallery CAMPBELL RIVER ART GALLERY 1235 Shopper’s Row, Campbell River, BC V9W 2C7 T. 250-287-2261 Situated on northern Vancouver Island, Campbell River Art Gallery opened in 1994 and remains the region’s sole public gallery, serving surrounding districts and islands. The Gallery has two exhibition spaces featuring professional contemporary artists, four lobby satellite cases featuring local and emerging artists and a studio offering classes for children and adults. Summer: Mon to Sat 10 am - 5 pm; Winter: Tues to Sat noon - 5 pm. DUNCAN, BC 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 was 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. ENDERBY, BC Cooperative Gallery COURTYARD GALLERY 907 Belvedere St, Enderby, BC V0E 1V0 T. 250-832-8898 Recently opened with support from the Enderby and District Arts Council, the gallery shows the BRITISH COLUMBIA INDEX Abbotsford ............................................................ 62 Campbell River ....................................................... 62 Duncan .................................................................. 62 Enderby ................................................................. 62 Grand Forks ........................................................... 62 Kamloops............................................................... 62 Kelowna................................................................. 63 Nanaimo ................................................................ 63 Penticton ............................................................... 63 Prince George ........................................................ 63 Qualicum Bay/Beach ............................................... 63 Salmon Arm........................................................... 63 Salt Spring Island ................................................... 63 Sidney .................................................................... 64 Silver Star Mountain ............................................... 64 Skidegate ............................................................... 64 Terrace ................................................................... 64

62 Galleries West | Fall/Winter 2015

work of more than twenty artists – paintings, fibre art, sculpture, stained glass, woodwork, and more. Guests can meet the creators of the works who staff the gallery. Offers art classes and workshops. Tues to Sat 11 am - 4 pm. GRAND FORKS Public Gallery GALLERY 2 ART AND HERITAGE CENTRE 524 Central Ave, PO Box 2140, Grand Forks, BC V0H 1H0 T. 250-442-2211 F. 250-442-0099 Established in 1984 the gallery is committed to the idea that the visual arts play a fundamental role in forming and fostering the regional and national cultural heritage. To do so, the gallery presents a balanced exhibition and educational program representing historical and contemporary works by established and emerging regional, national and international artists. Tues to Fri 10 am - 4 pm, Sat till 3 pm. KAMLOOPS Commercial Gallery CHAZOU GALLERY 791 Victoria St, Kamloops, BC V2C 2B5 T. 250-374-0488 Chazou Gallery is an exhibition and project space that caters to contemporary Canadian and international visual artists. The solo, group or collaborative exhibitions are curated, and change five times a year. The space consists of three exhibition rooms that can be transformed into a single gallery. Usually Wed to Fri 11 am - 4 pm, or by appointment. Cooperative Gallery KAMLOOPS COURTHOUSE GALLERY 7 W Seymour St, Kamloops, BC V2C 1E4 T. 250-314-6600 Located in the historic old courthouse, the Courthouse Gallery is an artist-run cooperative showcasing works by local artisans including weaving, paintings, pottery, glass, textile/fibre, jewellery and photography. Featured artists are presented each month. Tues to Fri 10 am - 5 pm, Sat 10 am - 4 pm. Public Gallery KAMLOOPS ART GALLERY 101-465 Victoria St, Kamloops, BC V2C 2A9 T. 250-377-2400 F. 250-828-0662 The Kamloops Art Gallery is the principal gallery in the southern interior of British Columbia, supporting contemporary and historical visual art on a local, national and international level as well as hosting ongoing public and educational programs. The Vancouver (Greater) ............................................... 64 Vernon................................................................... 67 Victoria (Greater).................................................... 68 Whistler ................................................................. 68 ALBERTA INDEX Banff...................................................................... 69 Black Diamond ....................................................... 69 Calgary .................................................................. 69 Camrose ................................................................ 72 Canmore ................................................................ 72 Cochrane ............................................................... 73 Cold Lake ............................................................... 73 Drumheller ............................................................. 73 Edmonton (Greater) ............................................... 73 Fort McMurray ....................................................... 75 Grande Prairie ........................................................ 75 High River .............................................................. 75

Toronto-based artist Sarindar Dhaliwal was born in the Punjab region of India and raised in London before she moved to Canada in 1968. Her work reflects on identity and the immigrant experience, often addressing the dissonances between East and West that she experienced as a child. She works in a range of media including installation, video, photography and drawing. This show, The Radcliffe Line and Other Geographies, brings together monumental works from the last 20 years, including recent pieces that explore the history and consequences of the 1947 partition of India. Dhaliwal’s work addresses difficult personal and collective narratives in lush and vibrant style, often by using floral motifs. She responds critically to colonial histories while maintaining reverence for wonder and the imagination. She holds a PhD from Queen’s University in Kingston, Ont., and has exhibited widely across Canada. Oct. 29 to Jan. 10 at The Reach in Abbotsford, B.C. Sarindar Dhaliwal, the cartographer’s mistake: the Radcliffe Line, 2012, chromira print, 27” x 27”

Jasper .................................................................... 75 Lethbridge ............................................................. 75 Longview ............................................................... 76 Medicine Hat ......................................................... 76 Okotoks ................................................................. 76 Pigeon Lake............................................................ 76 Ponoka .................................................................. 76 Red Deer ................................................................ 76 Wetaskiwin ............................................................ 76 SASKATCHEWAN INDEX Assiniboia .............................................................. 76 Estevan .................................................................. 76 Meacham............................................................... 76 Melfort .................................................................. 77 Moose Jaw............................................................. 77 North Battleford ..................................................... 77 Prince Albert .......................................................... 77

Regina ................................................................... 78 Saskatoon .............................................................. 78 Swift Current.......................................................... 78 Weyburn ................................................................ 78 Yorkton .................................................................. 78 MANITOBA INDEX Brandon................................................................. 79 Morden ................................................................. 79 Portage La Prairie ................................................... 79 Selkirk .................................................................... 79 Winnipeg ............................................................... 79 NORTHERN TERRITORIES INDEX Yellowknife ............................................................ 80

SOURCES KAG is also home to a permanent collection and The Gallery Store. Mon to Sat 10 am - 5 pm; Thurs till 9 pm with free admission sponsored by BCLC. KELOWNA Commercial Galleries HAMBLETON GALLERIES 1290 Ellis St, Kelowna, BC V1Y 1Z4 T. 250-860-2498 Established in 1964, the Hambleton has provided a showcase for leading Canadian artists whose works grace many national and international private and corporate collections. At their new location, owners Stewart and Tracy Turcotte offer investment art opportunities to their clientele and have added ceramics, and bronze sculpture to complement the paintings. Tues to Sat 10 am - 5:30 pm. SOPA FINE ARTS 2934 South Pandosy St, Kelowna, BC V1Y 1V9 T. 250-763-5088 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. 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. NANAIMO Cooperative Gallery ART 10 GALLERY 123-4750 Rutherford Rd, Nanaimo North Town Centre, Nanaimo, BC V9T 4K6 T. 250-756-6136 Established in 1982 by 10 artists, Art 10 Gallery now features the work of more than 20 artists plus a jeweller from Central Vancouver Island. This popular artist-run gallery offers unique pottery and a range of painting styles to suit varied tastes. Open daily during regular Nanaimo North Town Centre mall hours. Public Gallery NANAIMO ART GALLERY 150 Commercial St, Nanaimo, BC V9R 5G6 T. 250-754-1750 Nanaimo Art Gallery is the region’s public art gallery and offers contemporary exhibitions, and art education programs for all ages. In Nanaimo’s Arts District. Tues to Sat 10 am - 5 pm. PENTICTON Commercial Gallery 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 A place of inquiry, interest and enjoyment, the Penticton Art Gallery presents contemporary and historical exhibitions of both established and emerging artists. Visit website for current exhibition, program and event listings. Admission: Adults $2, weekends by donation; Students and children free. Tues to Fri 10 am - 5 pm, Sat and Sun noon - 5 pm. PRINCE GEORGE Public Gallery TWO RIVERS GALLERY 725 Canada Games Way, Prince George, BC V2L 5T1 T. 250-614-7800 F. 250-563-3211 Toll Free: 1-888-221-1155 The gallery focus is contemporary Canadian art. In the main gallery, seven to ten exhibitions by established artists are curated annually. The Galleria hosts community projects and emerging artist’s work, changing monthly. Proposals for the sculpture court are invited on an ongoing basis. Gallerypublished catalogues and other publications are available in the gallery shop. Tues to Sat 10 am - 5 pm, Thurs till 9 pm, 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). SALMON ARM Public Gallery SALMON ARM ART GALLERY 70 Hudson Ave NE, PO Box 1181, Salmon Arm, BC V1E 4P6 T. 250-832-1170 Built in 1937 as Salmon Arm’s first post office, the Salmon Arm Arts Centre has presented visual arts exhibitions and community arts events since 1994. Exhibitions feature contemporary local, regional and international artists in a variety of media. Admission by donation. Tues to Sat 11 am - 4 pm.

725 Canada Games Way Prince George BC

October 22, 2015 – January 10, 2016 October 22: Opening Reception & Artist’s Talk: 7:30pm Two Rivers Gallery Permanent Collection

John MacDonald Unnatural Histories

Edward Epp, Freighter, Via Rail Train, 2002. Acrylic on canvas.

John MacDonald. Unnatural Histories, 2007. Oil and mixed media on canvas.

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.

Ministry of Public Safety and Solicitor General Gaming Policy and Enforcement Branch

Galleries West | Fall/Winter 2015 63


South Granville


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

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UNO LANGMANN 604.736.8825



KIMOTO GALLERY 604.428.0903




10 MARION SCOTT 604.685.1934


PETLEY JONES 604.732.5353

11 KURBATOFF 604.736.5444


ELISSA CRISTALL 604.730.9611

12 ART EMPORIUM 604.738.3510


MASTERS GALLERY 604.558.4244

13 BAU-XI GALLERY 604.733.7011


HEFFEL 604.732.6505

64 Galleries West | Fall/Winter 2015

IAN TAN 604.738.1077 DOUGLAS REYNOLDS 604.731.9292

The Commons, a survey of work from the last decade, demonstrates how Kevin Schmidt displaces cultural spectacles such as billboards or rock-show lights from the urban environment into wilderness settings. He questions notions of the sublime and shared bodies of knowledge, proposing a utopian assertion of the commons, where both culture and the land are publicly available. Oct. 3 to Jan. 2 at the Kamloops Art Gallery Kevin Schmidt, A Sign in the Northwest Passage, 2010-present, sculpture, photographs, watercolours, Photobook and HD video 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 pm, Sun 11 am - 4 pm. Cooperative Gallery COMMUNITY ARTS COUNCIL OF THE SAANICH PENINSULA Box 2221, 9565 Fifth St, Sidney, BC V8L 3S8 The CACSP encourages, supports and promotes local arts activities throughout the year including Artisans Shows and Sales at Tulista Park waterfront Gallery; Spring and Fall Studio Tours; ‘Arts in the School’ program and Children’s Summer Art program; the Sidney Literary and ArtSea Festivals; and the annual three-day Sidney Fine Art Show. 10 am - 4 pm. SILVER STAR MOUNTAIN Commercial Gallery GALLERY ODIN 215 Odin Road, PO Box 3109, Silver Star Mountain, BC V1B 3M1 T. 250-503-0822 F. 250-503-0822 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. SKIDEGATE, BC Public Gallery HAIDA GWA II MUSEUM #2 Second Beach Rd, Skidegate, Haida Gwaii, BC V0T 1S1 T. 250-559-4643 F. 250-559-4643 The Haida Gwaii Museum continues to build an international reputation for its outstanding collection of Haida historical objects, contemporary art, archives and natural history collections. The Museum believes culture, art and history have positive effects in the community, encouraging creativity, dialogue and promoting new ways of thinking about the world. Winter: Tues - Sat 10 am - 5 pm; Summer: Daily 10 am - 6 pm. TERRACE Public Galleriy NISGA’A MUSEUM GALLERY 810 Highway Drive, PO Box 300, Laxgalts’ap (Greenville), BC V0J 1X0 T. 250-633-3050 Hli Goothl Wilp-Adokshl Nisga’a aims to be renowned as a centre for research, learning, and cultural tourism ó a permanent home for the preservation and celebration of all that is Nisga’a. Anhooya’ahl Ga’angigatgum’ (the Ancestors’ Collection) containing over 300 Nisga’a cultural treasures is the central feature of the museum. SUMMER: Tues to Sun 11 am - 5 pm, Fri, Sat till 7 pm; SPRING & FALL: Fri to Sun 11 am - 5 pm and by appointment. GREATER VANCOUVER Commercial Galleries ART WORKS GALLERY 225 Smithe St, Vancouver, BC V6B 4X7 T. 604-688-3301 F. 604-683-4552 Toll Free: 1-800-663-0341


BAU-XI GALLERY 3045 Granville St, Vancouver, BC V6H 3J9 T. 604-733-7011 F. 604-733-3211 BAU-XI (boe she) means “great gift.” Opened in 1965, it is the oldest contemporary gallery in Vancouver. A second location in Toronto in 1976 established Bau-Xi as a national gallery representing about 50 artists. A third gallery Bau-Xi Photo opened in Toronto in 2010 to provide a showcase for contemporary photography. David Alexander, Bobbie Burgers, Drew Burnham, and Cori Creed are a few of the artists represented. Mon to Sat 10 am - 5:30 pm, Sun 11 am - 5:30 pm.

After 10 years on South Granville, Susanna Strem has moved her Chali Rosso Gallery to 549 Howe St in Vancouver. BUCKLAND SOUTHERST GALLERY 2460 Marine Drive, West Vancouver, BC V7C 1L1 T. 604-922-1915 Established 15 years ago, this village gallery in the heart of West Vancouver is proud to present the eclectic work of 18 Canadian contemporary artists – many with international roots bringing an added vibrancy and panache to the collection. Their reputation rests on the strength of the artists’ work,

Alison Keenan, Edward Peck and Phyllis Schwartz, of the BestB4 collective, transform the gallery into a meeting place for community members as part of a new project, Telling Stories: The Connection Between Us. Peck’s On the Wall series frames stories found in Berlin graffiti, while Keenan uses birds as guides to explore narratives and Schwartz looks at environmental devastation. Nov. 7 to Dec. 19 at the Chinese Cultural Centre of Greater Vancouver Edward Peck, Doorway Story, 2015, pigment print on fibre, 28” x 22”

the integrity of the employees, and the welcoming atmosphere. Mon to Sat 10 am - 5.30 pm, Sun noon to 4 pm. 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 - Fri 11 am - 6 pm, Sat noon - 5 pm. INUIT GALLERY OF VANCOUVER 206 Cambie St, Vancouver, BC V6B 2M9 T. 604-688-7323 Toll Free: 1-888-615-8399 Presenting Canada’s foremost collection of masterwork Inuit art, Northwest Coast First Nations art and select Canadian art since 1979. A tradition of presenting important exhibitions of Canadian aboriginal art, featuring new works by senior artists and exploring the work of the talented next generation of artists. Mon to Sat 10 am - 6 pm, Sun 11 am - 5 pm. KIMOTO GALLERY 1525 West 6 Ave, Vancouver, BC V6J 1R1 T. 604-428-0903 A contemporary gallery space exhibiting original artwork by regional & national Canadian artists. Mon to Sat 10 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. 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.

Jean Claude Roy OCTOBER 14 – NOVEMBER 28, 2015 ARTIST IN ATTENDANCE OCT 14 (OPENING), 15 & 16



403 & 404-1529 WEST 6 AVE, VANCOUVER, BC, T 604 563 2717 Portugal Cove in Winter, Oil on canvas, 36”x36”

September 19 – October 3

PLEIN AIR Opening Reception: September 19, 6 – 9 pm The creative output of twenty artists during a workshop with New York artist Jayne Holsinger on the South Thompson River.

Samira Zamani, mezzoprint

Celebrating 29 years in business, Art Works offers one of the largest selections of original art in Western Canada. Providing installation services, largescale commissions, digital editing and customframing of artwork and mirrors. Delivers locally and ships 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.


Ceramist Sheila Macdonald

October 10 – November 27


December 5 – 19

Opening Reception: October 10, 6 – 9 pm

Winter Salon: LUMINARIES

William Anthony, Jen Dyck, William Frymire, Jamie Rauchman, Samira Zamani, Tricia Sellmer.

Gallery Artists.

Opening Reception: December 5, 6 – 9 pm

791 Victoria St, Kamloops, BC, V2C 2B5 250-374-0488 •

Ian Tan has re-located his eponymous gallery in Vancouver across south Granville to #2321. MONNY’S GALLERY 2675 W 4th Ave, Vancouver, BC V6K 1P8 T. 604-733-2082 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.

Galleries West | Fall/Winter 2015 65

SOURCES This internationally recognized gallery is Canada’s foremost specialist in the finest quality European and North American paintings from the 18th, 19th and 20th centuries. The elegant, neo-classical surroundings of the gallery also showcase a careful selection of antique furniture, silver and objets d’art. Tues to Sat 10 am - 5 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. Tues to Sat 10 am - 5:30 pm, Sun variable (call ahead). Closed holiday long weekends.

In A Bright Future, David Burdeny looks at architectural extravagances of the former Communist government in the Soviet Union. The show, he says, takes its title from Stalin’s directive to architects to introduce the concept of a bright future to metro stations in Moscow and St. Petersburg in order to remind people that their sacrifices were yielding benefits. The result was polished marble walls, vaulted ceilings and ornate chandeliers that seem at odds with popular notions of drab Soviet-era buildings. Sept. 10 to Oct. 4 at the Jennifer Kostuik Gallery in Vancouver David Burdeny, Moscow Metro III, 2015, archival pigment print

PACIFIC WAVE GLASS ART (FORMERLY PACIFIC HOME AND ART CENTRE) 1560 West 6th Avenue, Vancouver, BC V6J 1R2 T. 604-566-9889 Pacific Wave Glass Art features a wide selection of mouth blown glass from local and international artists including Murano Glass Artists from Italy: A.Tagliapietra, M.Gambaro, L. Vidal, Oscar Zanetti and Arnaldo Zanella. The gallery also presents contemporary paintings from local artists. Only 5 min from Granville Island. Mon & Sat 10 am - 5 pm, Tue to Fri 10 am - 6 pm. PETLEY JONES GALLERY 1554 W 6 Ave, Vancouver, BC V6J 1R2 T. 604-732-5353 F. 604-732-5669 Established in 1986 by Matt Petley-Jones, nephew of the late Canadian and British artist Llewellyn Petley-Jones, the gallery specializes in 19th - 20th century Canadian, European and American paintings, sculpture and original prints. It also offers a range of fine art services, including framing, restoration and appraisals. Around the corner from former Granville location. Mon to Sat 10 am - 6 pm. POUSETTE GALLERY 403 and 404-1529 West 6 Ave, Vancouver, BC V6J 1R1 T. 604-837-2716 Recently opened on the rooftop of the W-Six building in South Granville’s Gallery Row, Pousette Gallery offers contemporary art with flare from Canadian and international artists. The view alone from the twin galleries is worth the brief elevator ride. Director Maryann Pousette Gebauer brings an international sensibility to her selection of artists and their works. International shipping. Tues to Sat noon - 6 pm or by appointment. Consult website for extended hours during exhibitions. 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

66 Galleries West | Fall/Winter 2015

are exclusive to Rendezvous. Contemporary and post-impressionist paintings and sculptures are displayed in an atmosphere conducive to viewing fine works of art. Tue to Sat 10 am - 5:30 pm, Sun & Mon by appointment.

Public Galleries ART GALLERY AT EVERGREEN CULTURAL CENTRE 1205 Pinetree Way, Coquitlam, BC V3B 7Y3 T. 604-927-6550 F. 604-927-6559 Art+Gallery/default.htm This public gallery features seven exhibitions each year showcasing international, national and local artists. Educational programs emphasize and encourage literacy in the visual arts and are available for groups of all ages from September - June. Mon to Sat noon - 5 pm. BILL REID GALLERY OF NORTHWEST COAST ART 639 Hornby St, Vancouver, BC V6C 2G3 T. 604-682-3455 F. 604-682-3310 A public gallery for contemporary aboriginal art of the Northwest Coast named after the acclaimed Haida artist Bill Reid (1920 - 1998). The gallery showcases the permanent collection of Bill Reid

alongside changing exhibitions of contemporary Northwest Coast art. Highlights include stunning gold and silver jewellery, monumental sculptures and a towering totem pole by James Hart of Haida Gwaii. Wed to Sun 11 am - 5 pm. CITYSCAPE COMMUNITY ART SPACE 355 Lonsdale Ave, North Vancouver, BC V7M 2G3 T. 604-988-6844 Contemporary, inclusive art space featuring diverse and dynamic monthly group exhibits. Programmed by the North Vancouver Community Arts Council to “celebrate artists and encourage community interaction.” Mon to Sat noon - 5 pm, Thurs noon - 8 pm (Satellite spaces in District Hall, Lynn Valley Main Library and City Hall). CONTEMPORARY ART GALLERY 555 Nelson St, Vancouver, BC V6B 6R5 T. 604-681-2700 @CAGVancouver Established in 1971, the Contemporary Art Gallery (CAG) is a non-profit public art gallery dedicated to the research, exhibition, education and documentation of contemporary visual art as it is practiced locally through to internationally. It aspires to generate significant audiences for its innovative and diverse programs through free access and a profile that is international in scope. Tues to Sun noon - 6 pm.

LaTiesha Fazakas has recently opened Fazakis Gallery at 145 W 6 Ave in YVR featuring cross-cultural contemporary art. PORT MOODY ARTS CENTRE GALLERIES 2425 St Johns St, Port Moody, BC V3H 2B2 T. 604-931-2008 F. 604-931-2052

ROBERT LYNDS GALLERY 1639 West 3 Ave, Vancouver, BC V6J 1K1 T. 604-558-3806 Established in 2012, Robert Lynds Gallery specializes in contemporary art. It is an artist-friendly gallery dedicated to emerging and established artists who embrace new media and contemporary art practice - resulting in new artistic languages and experiences. They aspire to make Canadian art accessible to both the new and established collector across the country. Tues to Fri 10 am - 6 pm, Sat 11 am - 5 pm or by appointment. STEWART STEPHENSON FINE ART 1063 Hamilton St, Vancouver, BC V6B 5T4 T. 604-893-7841 A self-taught artist, Stephenson specializes in large-scale abstract artwork known for the unique compositions, vibrant colors and flawless gloss finishes. Working intuitively with no prior sketch work, Stewart’s paintings are expressive and bold. His paintings can be found in private and corporate collections around the world. Recent collections explore themes of celebrity, social and media culture. Mon to Sat 10 am - 6 pm, Sun noon - 6 pm. STUDIO GALLERY 33 4850 Mackenzie St, Vancouver, BC V6L 2B5 T. 604-838-8670 Artist owned and operated, this small neighbourhood gallery offers a wide range of well-priced, quality artworks from Vancouver artists Paul Burgoyne, Denna Erickson, Louise Howard, Chad Krowchuk, Carylann Leoppky, Julie Mai, Pilar Mehlis, Jay Senetchko and Lorraine Thompson. Staff enjoy assisting people new to purchasing original works of art. An in-house gold/silversmith Martin Vseticka creates original custom designs. Tues to Fri 2 - 6 pm, Sat 10 am - 5 pm or by appointment. UNO LANGMANN GALLERY 2117 Granville St, Vancouver, BC V6H 3E9 T. 604-736-8825 F. 604-736-8826 Toll Free: 1-800-730-8825

Views from the Southbank III: Information, Objects, Mapping is a group show bringing together work by artists who look at the digital saturation of contemporary life. Some engage with infographics and data systems, including Debbie Tuepah who pours and peels back large drips of paint to create vibrant graphs and charts based on statistics from the news. Meanwhile, Sandee Moore creates an interactive video game influenced by GPS-mapping and townhouse advertising. The show is the last of a three-part series that has featured some 75 artists. Sept. 19 to Dec. 13 at the Surrey Art Gallery Debbie Tuepah, Node 6, 2013, yarn, acrylic and found object, 42” x 8” x 8”

SOURCES festivals throughout the year. It is dedicated to encouraging and facilitating community development through arts, culture and heritage. Daily except statutory holidays. MAPLE RIDGE ART GALLERY 11944 Haney Place - in The ACT, Maple Ridge, BC V2X 6G1 T. 604-467-5855 Founded in 1982, the Maple Ridge Art Gallery promotes the visual arts and educates through ongoing exhibitions, educational tours, workshops, artist’s talks, art rental programs, and a gallery shop. The gallery provides a facility for both amateur and professional artists of all ages. Tues to Sat 11 am - 4 pm.

Inspired, in part, by churches and cell phone towers in Edmonton, A Question of Faith, Paul Bernhardt’s first solo exhibition in Vancouver, investigates relationships between painting, religion and technology. His paintings combine representation and abstraction to focus on machines, both historic and contemporary. Bernhardt, who was born in Ontario, ponders whether technology has become a religion and the implications of trusting the seemingly autonomous systems that mediate life today. Oct. 15 to Nov. 15 at Elissa Cristall in Vancouver Paul Bernhardt, Apparition, 2015, oil on canvas, 56” x 43.5” Located on the main floor of the Port Moody Arts Centre, the gallery consists of four exhibition spaces: the Main Gallery, the 3D Gallery, the Plum Gallery - Walls, and the Display Case. Each year the gallery hosts more than 30 exhibitions with work from local and international artists. Mon to Thurs 10 am - 6 pm, Fri & Sat 10 am - 5 pm, Sun noon - 4 pm. GORDON SMITH GALLERY OF CANADIAN ART 2121 Lonsdale Avenue, North Vancouver, BC V7M 2K6 T. 604-998-8563 The recently-opened 4000 square foot gallery houses an outstanding collection of Canadian art amassed from 50 artists including Gordon Smith, Jack Shadbolt, Bill Reid, Robert Davidson, Angela Grossman, E.J. Hughes, Kenojuak Ashevak, Rodney Graham, Guido Molinari, Etienne Zack, Douglas Coupland and Toni Onley. Tues to Sat noon - 5 pm. LEIGH SQUARE COMMUNITY ARTS VILLAGE 2253 Leigh Square Place, Port Coquitlam, BC V3C 3B8 T. 604-927-8400 F. 604-927-8444 The Leigh Square Community Arts Village is an innovative arts facility – home to visual art exhibitions, public art, special events, music, dance, theatre, creative writing, art camps, workshops and



MORRIS AND HELEN BELKIN ART GALLERY 1825 Main Mall, University of British Columbia, Vancouver, BC V6T 1Z2 T. 604-822-2759 F. 604-822-6689 Mandated to exhibit, collect, research, publish and educate, the Belkin Art Gallery is one of BC’s premier showcases for contemporary art. Visit website for program information and to download the selfguided UBC Outdoor Art Tour. Tues to Fri 10 am - 5 pm, Sat and Sun noon - 5 pm. 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 “The Raven and the First Men,” and the new Multiversity Galleries, showcasing 10,000 objects from around the world. Café MOA, an elegant shop, and free tours. Spring/Summer: daily 10 am - 5 pm Tues to 9; Fall/Winter: closed Mon, open Tues 10 am - 9 pm and Wed to Sun 10 am - 5 pm. Closed Dec 25 & 26. 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. SEYMOUR ART GALLERY 4360 Gallant Ave, North Vancouver, BC V7G 1L2 T. 604-924-1378 F. 604-924-3786 Established in 1985, the gallery is a non-profit, public community gallery which presents an average of 13 art exhibitions annually – featuring a wide range of media and works by local, national and international artists and groups. Treasure Cove Gift Shop offers unique gifts by local artists. Second satellite location at Lonsdale Quay. Daily 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. Daily 10 am - 5 pm, Tues 10 am - 9 pm. VERNON Commercial Galleries HEADBONES GALLERY - THE DRAWERS 6700 Old Kamloops Road, Vernon, BC V1H 1P8 T. 250-542-8987

403-475-6410 112, 908 - 17 Avenue SW Calgary, AB The Devenish Building

Don Frache Featuring Historical and Contemporary Canadian Art. With over 1,500 original works available.

Stooks, Oil, 12” x 16”

#3, 215 – 39th Avenue N.E., Calgary, Alberta T2E 7E3 Hours vary, please call 403-277-7252 View our collection online at: Eileen Sawracki BX Creek Acrylic on Canvas 16” x 20”

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

Fine Art & Frames

Galleries West | Fall/Winter 2015 67

SOURCES gallery is dynamic, welcoming and above all, dedicated to the love of art. Along with regular new paintings by award-winning painter Marion Evamy, other artists also showcase artwork that is contemporary, confident and affordable. Relax on the red couch and enjoy art described (by critic Robert Amos) as “a blast of joy”. Tues to Sat Tues to Sat 11 am - 5 pm. THE 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 - 5:30 pm, Sun 11 am - 5 pm. THE GALLERY AT MATTICK’S FARM 109-5325 Cordova Bay Rd, Victoria, BC V8Y 2L3 T. 250-658-8333 The Gallery at Mattick’s Farm takes pride in sourcing and promoting original art work by a variety of Canadian and international artists. Each month the gallery features the work of a different artist. Daily 10 am - 5:30 pm.

Vancouver-based artist Jeff Mair combines elements of painting, installation and sculpture in his exhibition, Utopian Dystopia, which explores themes of control and information management. Mair’s minimalistic survey of seemingly familiar materials, such as shredded documents and terracotta plant pots, are not as straightforward as they appear. Sept. 10 to Oct. 10 at the Robert Lynds Gallery in Vancouver Jeff Mair, Dystopian Vessel: Plant Pot (Helianthus), 2015, mixed media, 6” x 7” Located only minutes from downtown Vernon, Headbones Gallery is moving forward with a group of artists under the aesthetic of NeoPriest, an acronym for New Pop Realists Intellectually Engaged in Story Telling. At the same time, The Drawers specializes in drawing and contemporary works on paper with a small component of sculpture. Tues to Sat noon - 6 pm. NADINE’S FINE ART & FRAMES 3101 31 Ave, Vernon, BC V1T 2G9 T. 250-542-8544 Artist/owner Nadine Wilson opened her gallery in 2005. She represents several local artists, presents regular classes in watercolour, oil and acrylic painting and drawing as well as offering professional framing services. In summer the gallery hosts guest artist workshops. Mon to Fri 9:30 am - 5:30 pm, Sat 9:30 am - 4 pm (winter: Sat 10 am - 2 pm). 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. GREATER 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,

68 Galleries West | Fall/Winter 2015

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 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. MARTIN BATCHELOR GALLERY 712 Cormorant St, Victoria, BC V8W 1P8 T. 250-385-7919 Offering an eclectic mix of work by emerging and established artists from Victoria and surrounding area. Exhibition space for rent when available. Suitable for rehearsal and dance/musical events. Complete professional picture framing on site. Mon to Sat 10 am - 5 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 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 2249 Oak Bay Ave, Victoria, BC V8R 1G4 T. 250-881-0462 A small gem in the heart of Oak Bay Village, the

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, Ron Parker, Natasha Perks. Mon to Fri 10 am - 5 pm, Sat 10 am - 3 pm. 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 gallery has been under the ownership of Gunter H.J. Heinrich and Anthony R.H. Sam since 1994 and in 2003 has moved to its own building in Oak Bay Village. They regularly run major exhibitions of two to three weeks. Tues to Sat 10 am - 5 pm.

for the University of Victoria and features paintings, drawings and sculptures by some of the bestknown artists in the Pacific Northwest, bequeathed to the University of Victoria by Dr. Michael C. Williams. Two gallery spaces feature a variety of rotating exhibits. Wed to Sat 10 am - 4 pm. LEGACY MALTWOOD AT MCPHERSON LIBRARY Box 3025 Stn CSC, McPherson Library, Room 027 Finnerty Road, Victoria, BC V8W 3P2 T. 250-721-6562 F. 250-721-6607 The Legacy Maltwood, located on the lower level of the McPherson Library, exhibits prints, drawings, paintings and photographs from the University of Victoria’s permanent art collection, including a large contemporary First Nations print collection. Hours of operation coincide with McPherson Library. Call for current hours. WHISTLER Commercial Gallery MOUNTAIN GALLERIES AT THE FAIRMONT Fairmont Chateau Whistler, 4599 Chateau Blvd, Whistler, BC V0N 1B4 T. 604-935-1862 Toll Free: 1-888-310-9726

Vancouver-based mosaic artist Lilian Broca explores the biblical story of Judith in Heroine of a Thousand Pieces, which features seven large mosaic panels created in Italian glass. Broca, who was born in Romania and came to Canada via Israel, has previously depicted powerful mythical women such as Lilith and Esther, seeing them as role models with experiences that are relevant to today’s social issues. Nov. 12 to March 31 at Il Museo at the Italian Cultural Centre in Vancouver Lilian Broca, Judith Displaying Her Trophy, 2014, Byzantine smalti, millefiori, gold smalti and ceramic tiles on honeycomb panel, 74” x 48”

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 DOWNTOWN 630 Yates St, Victoria, BC V8W 1K9 T. 250-721-6562 F. 250-721-6607 The Legacy Downtown is the primary gallery space

SOURCES space, and a state of the art warehouse/studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 10 am - 10 pm. WILLOCK & SAX GALLERY Box 2469, 210 Bear St, Banff, AB T1L 1C2 T. 403-762-2214 Toll Free: 1-866-859-2220 Art reflects the spiritual and physical reliance of humanity on the natural world. The Willock & Sax Gallery is innovative and eclectic, rooted in the idea that art is about people, place, and community. They carry work by mainly Western Canadian contemporary and historic artists, who enjoy international, national, and regional reputations. Daily 10 am - 6 pm.

Wilf Perreault follows his retrospective at the MacKenzie Art Gallery in Regina with a show called Light to Dark. Known for his images of back alleys, Perreault continues to explore themes of home and the everyday, using the atmospheric light of dusk and dawn to create contemplative suburban scenes. Perreault, whose work is included in numerous public and corporate collections, has been based in Regina since 1970. Sept. 19 to Oct. 2 at the Douglas Udell Gallery in Edmonton Wilf Perreault, Silent Light, 2015, acrylic on panel, 20” x 18”

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. Admission by donation. Summer (Jun 1 - Sep 15) 9:30 am - 6 pm; Winter (Sep 16 - May 31) 10 am - 5 pm, closed Dec 25 and Jan 1. BLACK DIAMOND Commercial Gallery BLUEROCK GALLERY 110 Centre Ave, Box 1290, Black Diamond, AB T0L 0H0 T. 403-933-5047 F. 403-933-5050 Bluerock Gallery is a go-to place for one-of-a-kind fine art and craft, jewellery, cards and inspiring books. New art arrives regularly and the impressive collection by more than 100 artists is constantly being expanded and rotated. Daily 10 am - 6 pm, Thurs till 9 pm.

ARTISTS IN FOCUS: Lyrical Abstraction

WENDY SKOG September 11 - October 2, 2015 Opening Reception: September 11, 2015 from 6 to 9pm. Artist in attendance.

Long Weekend, Acrylic on canvas, 56” x 41”

Peripeteia: New Works

PHILIP MIX October 9 - 30, 2015 Opening Reception: October 16, 2015 from 6 to 9pm. Artist in Attendance.

Reeds One, 2015, Oil on linen, 40” x 48”

403-475-6410 112, 908 - 17 Avenue SW Calgary, AB The Devenish Building

CALGARY 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

Artist-run Galleries ALBERTA PRINTMAKERS GALLERY AND STUDIO 4025 4 St SE, PO Box 6821 Station D, Calgary, AB T2P 2E7 T. 403-287-1056 The gallery is part of the Alberta Printmakers’ Society, a non-profit, artist-run organization founded in 1989 to increase public awareness of printmaking as a contemporary fine arts medium, and to provide a resource for printmaking artists. It exhibits the work of local, national and international artists. Facilities include a studio equipped for relief, etching, silkscreen and lithography. Wed to Sat 11 am - 4 pm or by appointment. THE NEW GALLERY 208 Centre St SE, Calgary, AB T2G 2B6 T. 403-233-2399 F. 403-290-1714 From its new location in Chinatown, 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. Second location at John Snow House 915 18 Ave SW (by appointment only). Tues to Sat noon - 6 pm. TRUCK CONTEMPORARY ART IN CALGARY 2009 10 Ave SW, Calgary, AB T2C 0K4 T. 403-261-7702 F. 403-264-7737 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.

Galleries West | Fall/Winter 2015 69

SOURCES ford, Anne Gallant, W.R. deGarth, N. de Grandmaison, Roland Gissing, George Horvath, Georgia Jarvis, Glenn Olson, Torquil Reed, Colin Williams and Marguerite Zwicker. For sale or lease. Browsers welcome. Please call for hours. FRAMED ON FIFTH 1207 5 Ave NW, Calgary, AB T2N 0S1 T. 403-244-3688 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 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.

Don Maynard’s solo show, Following the Afterthought, brings together works created with multiple layers of Mylar and acrylic ink. Visual information is intentionally obscured to create a palimpsest of visual conversations. Maynard’s works, which refer to the movement of energy, are rooted in an abstract and minimalist aesthetic and informed by water and landscape imagery. Maynard has exhibited across Canada and the United States since 1990. Sept. 19 to Oct. 17 at Newzones in Calgary Don Maynard, Hangout Conversation, 2015, acrylic on mylar, 47” x 35” Commercial Galleries BARBARA EDWARDS CONTEMPORARY 1114 11 St SW, Calgary, AB T2R 1P1 T. 587-349-2014 F. 587-349-2015 Barbara Edwards Contemporary is committed to exhibiting contemporary art of high calibre on the Canadian stage. The gallery represents a selection of the best Canadian and international artists and estates including the work of Eric Fischl, Jessica Stockholder, Betty Goodwin, Ray Mead, Tim Zuck, and April Gornik. Tues to Sat 11 am - 6 pm. CIRCA 1226A 9 Ave SE, Calgary, AB T2G 0T1 T. 403-290-0145 Toll Free: 1-877-290-0145 Circa is a one-of-a-kind gallery specializing in midcentury modern art glass from around the world. All items are hand blown works of art from the 1940-1960s. The focus is on European art glass from the best known studios and furnaces. Circa brings world-class vintage art glass to Calgary from centres across Europe. A visual spectacle of color, form and modernism. Daily 10 am - 5 pm. CKG / CHRISTINE KLASSEN GALLERY 321 50 Ave, Calgary, AB T2G 2B3 T. 403-262-1880 CKG / Christine Klassen Gallery, an evolution of The Weiss Gallery, represents a dynamic group of artists united by their craft-intensive approach to

70 Galleries West | Fall/Winter 2015

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 Calgary, AB T2P 3J1 T. 403-262-9947 Presently in transition to new location. 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. 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, Dorothy Chisholm, “Duncan” MacKinnon Crock-

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 Fri 10 am - 5:30 pm (Thurs/Fri till 6 pm), Sat 10 am - 5 pm, Sun noon - 5 pm.

temporary Canadian and international artists. Tues to Sat 10 am - 5 pm. LATITUDE ART GALLERY 102A-708 11 Ave SW, Calgary, AB T2R 0E4 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 10 am - 5 pm, and by appointment. LOCH GALLERY 1516 4 St SW, Calgary, AB T2R 1H5 T. 403-209-8542 Established in 1972 in Winnipeg, the Loch Gallery specializes in building collections of quality Canadian, American, British and European paintings and sculpture. It represents original 19th and 20th century artwork of collectable and historic interest, as well as a select group of gifted professional artists from across Canada including Ivan Eyre, Leo Mol, Ron Bolt, Peter Sawatzky, Anna Wiechec, Philip Craig and Carol Stewart. Also located in Winnipeg and Toronto. Tues to Sat 10 am - 5:30 pm. MASTERS GALLERY 2115 4 St SW, Calgary, AB T2S 1W8 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. MICHELANGELO FINE ART 112-908 17 Ave SW, Calgary, AB T2T 0A3 T. 403-475-6410 F. 403-475-6447 Michelangelo Gallery of Fine Art and Framing has

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. Tues to Sat 10:30 am - 5:30 pm. GIBSON FINE ART LTD 628 11 Ave SW, Calgary, AB T2R 0E2 T. 403-244-2000 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. Tues to Fri 10 am - 5:30 pm, Sat 11 am - 5 pm. JARVIS HALL FINE ART 617 11 Ave SW (lower level), Calgary, AB T2R 0E1 T. 403-206-9942 Jarvis Hall Fine Art is committed to supporting the practice of contemporary art by emerging, midcareer and established Canadian artists. Currently representing Mark Dicey, Carl White, Jeffrey Spalding, John Will, Larissa Tiggelers, Herald Nix, Billy McCarroll and more. Various works of art are also available throughout the year by historical and con-

Crocky Rocky, Prairie Fairy presents a retrospective of prints and drawings that offer a glimpse into the imaginative world of Jim Westergard, an Americanborn artist who taught at from Red Deer College from 1975 until his retirement in 1999. Oct. 10 to Jan. 31 at the Red Deer Museum and Art Gallery Jim Westergard, The Artist as Captain Canuck, 2003, wood engraving, 8” x 6”

SOURCES recently opened in Calgary’s historical Devenish Building featuring a variety of Canadian contemporary artists. The Coast Collective in Victoria is a strategic partner. The gallery also offers custom picture framing as well as art consulting and appraisals. Tues to Sat 10 am - 6 pm, Sun noon - 5 pm.

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.

MIDTOWNE GALLERY 9250 Macleod Tr SE, Calgary, AB T2J 0P5 T. 403-252-7063 Each month Midtowne Gallery presents solo and group exhibitions of emerging, mid-career and established Canadian artists. The focus of the gallery is original contemporary art in a wide range of styles (paintings, works on paper, sculpture, glass and ceramics). Midtowne Gallery is located within It’s Worth Framing (free parking) on Macleod Trail. Mon & Sat 10 am - 4 pm, Tues to Thurs 10 am - 6 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.

MOONSTONE CREATION NATIVE GALLERY 1219 10 Ave SE, Calgary, AB T2G 0W6 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 GALLERY OF CONTEMPORARY ART 730 - 11 Ave SW, Calgary, AB T2R 0E4 T. 403-266-1972 F. 403-266-1987 Opened in 1992, Newzones is one of Canada’s leading contemporary art galleries, promoting prominent Albertan, Canadian and international artists as well as young, up-and-coming artists both at home in Calgary, and internationally. The Gallery’s program has an emphasis on process-orientated artwork that challenges both the traditional use of materials and formal aesthetics. Tues to Fri 10:30 am - 5:30 pm, Sat 11 am - 5 pm. 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 Canadian paintings, drawings, prints and sculpture; also shows contemporary American prints. Exhibitions change monthly featuring established and emerging artists along with themed group shows. Tues to Sat 10 am - 5:30 pm. RUBERTO OSTBERG GALLERY 2108 18 St NW, Calgary, AB T2M 3T3 T. 403-289-3388 This bright exhibition space in the residential community of Capitol Hill shows a variety of contemporary art styles and media in an inner city location for artists and art lovers to meet and interact. Some of the work is produced on-site by artists working in the adjoining Purple Door Art Studio space. Wed to Sat 12:30 pm - 5 pm, Thurs till 9 pm. 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 and West Market Square 509-1851 Sirocco Dr SW Calgary, AB T3H 4R5 Established since 1979, and now with two locations, the gallery features an extensive portfolio of distinguished Canadian artists offering fine original paintings, glass, ceramics and sculptures in traditional and contemporary genres. Ongoing solo and group exhibitions welcome everyone from browsers to experienced collectors. Personalized corporate and residential consulting. Mon to Sat 10 am - 5 pm. (Free Sat parking). THE COLLECTORS’ GALLERY OF ART 1332 9 Ave SE, Calgary, AB T2G 0T3 T. 403-245-8300 F. 403-245-8315

VAN GINKEL ART GALLERY & STUDIO 1312A 9 Ave SE, Calgary, AB T2G 0T3 T. 403-830-0061 Recently opened, Calgary artist Paul Van Ginkel paints in oils and watercolours while specializing in Western and Dance themes. He also does custom (commission) pieces and has limited edition paper and giclee prints available. “In the heart of Inglewood” Check website for hours. WALLACE GALLERIES LTD 100-500 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.

Art by Illustrators

Sept 10 - Oct 3, Opening: Thurs, Sept 10, 5:30-8:30

Maya Gohill, Mike Kerr, Karen Klassen & Renata Liwska. Ceramics / Brad Keys

Mostly Monochromatic Set

Oct 10 - 31, Opening: Sat, Oct 10, 2:00-6:00

Glen MacKinnon, Rayburn Marasigan & Jill Stanton. White Owl Ceramics -Laura Sharp


Nov 7 - 28, Opening: Sat, Nov 7, 2:00-6:00

Mitchel Smith, Melissa Woodcock

Small Works Exhibition & Sale

Dec 5 - Jan 30, Opening: Thurs, Dec 5, 2:00-6:00

Group show 9250 Macleod Trail S.E. Tel: 403.252.7063 • free parking

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 - 6 pm. Cooperative Gallery 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 CONTEMPORARY CALGARY C 117 8 Ave SW, Calgary, AB T2P 1B4 T. 403-777-1350 and C2 AT CITY HALL 104-800 Macleod Tr SE, Calgary, AB T2G 2M3 T. 403-262-1737 Contemporary Calgary, a merger of The Art Gallery of Calgary (AGC), the Museum of Contemporary Art Calgary (MOCA) and the Institute for Modern and Contemporary Art (IMCA) is 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. Second location at City Hall. Thurs to Sun noon - 6 pm.

Canmore’s Contemporary Gallery

Featuring work by: Melanie Aikenhead, Barbara Ballachey, Jason Bartziokas, Grant Berg, Diane Colwell, Michael Corner, John Dean, Robert Dmytruk, Terry Fenton, David Foxcroft, Dan Hudson, Priscilla Janes, Jan Kabatoff, Janet Lowry, Billy McCarroll, Shannon Norberg, Craig Richards, Jeffrey Spalding, Judith Zinkan The Edge Gallery is located in the ‘heart’ of Canmore 612 Spring Creek Drive, Canmore, AB • 403-675-8300 •

Galleries West | Fall/Winter 2015 71

Andre Ras e s First Rays of the Morning 24


5002 - 50 St., Camrose, AB T4V 1R2 • 1-888-672-8401 • Art Supplies, Picture Framing, Prints, Posters, Rocks & Crystals

SOURCES ESKER FOUNDATION GALLERY 444-1011 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. Tues to Thurs 9 am - 5 pm; Fri 11:30 am - 7:30 pm; Sat 9 am - 5 pm; Sun noon - 5 pm. Adult $14, Seniors $10, Students $9, Family $32; Members and under 6, free. Glenbow Shop open Mon to Sat 11 am - 6 pm; Sun noon - 5:30 pm. 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 Centre is a public art gallery, museum and shop located just outside Calgary, overlooking the Alberta Foothills and Rocky Mountains. It is open to the public year round and offers a wide range of art exhibitions, museum displays, programming, art sales and special events. A not-for-profit organization, it strives to promote artistic community, and to sustain a setting for art and the creative process. Tues to Sun 10 am - 4 pm.

Society of Canadian Artists


Call for Elected Memberships Submissions due October 9th, 2015 Welcoming applications from all professional artists – from the traditional to those who work in new and digital media

NICKLE GALLERIES Taylor Family Digital Library, University of Calgary, 410 University Court NW, Calgary, AB T2N 1N4 T. 403-220-7234 Now reopened in a landmark location on campus,

the Nickle Galleries showcases the best of Alberta artists, currently featuring Marion Nicoll and Arthur Nishimura. Mon to Fri 10 am - 5 pm, Thurs till 7 pm, Sat noon - 5 pm, closed Sun. FREE admission. THE MILITARY MUSEUMS – FOUNDERS’ GALLERY 4520 Crowchild Tr SW, Calgary, AB T2T 5J4 T. 403-974-2847 F. 403-974-2858 Officially opened in 2009, and under The University of Calgary administration since 2012, The Founders’ Gallery contributes to Canadians’ understanding of military experience by displaying historic and contemporary works of art and related artifacts. The gallery hosts local, national, and international exhibitions, which change every few months. Mon to Fri 9 am - 5 pm, Sat and Sun 9:30 am - 4 pm. 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 Commercial Galleries 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

In Keeping Track, Calgary-based artist Sarah Nordean makes detailed and deliberate ink drawings on paper that lines the windows in the exhibition space, using diffuse light from within to illuminate her work. Nordean, who holds a Masters’ degree from Emily Carr University in Vancouver, participated in the 2014 Design Biennial in Istanbul. To Sept. 28 at the Lightbox Studio at Arts Common in Calgary Sarah Nordean, Keeping Track, 2015, pigment liner on vellum, detail

Working studio/gallery featuring Alberta Artist Therese Dalë-Kunicky Art work created with hand ground paints made from Natural Earth Pigments

Sundance Grandmothers, oil on canvas, 36” x 36” 72 Galleries West | Fall/Winter 2015

45 McRae ST OKOTOKS, AB T1S 1B3 403-601-0348


Featuring Parkland Prairie Artists

SOURCES 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. ELEVATION GALLERY 100-729 Main St, Canmore, AB T1W 2B2 T. 403-609-3324 With 15 years’ experience representing some of Western Canada’s finest modern artists, Elevation Gallery has recently added a second floor gallery and events venue “Hive” by Elevation ( – available to host private events, pop up gallery opportunities for non-represented artists, and as a community venue for creative venture and performance. Daily 10 am - 6 pm, and Fri/Sat evenings. (Closed Mon in shoulder seasons.) THE AVENS GALLERY 104-709 Main St, Canmore, AB T1W 2B2 T. 403-678-4471 Established in 1986, the Avens Gallery is a fixture in the town of Canmore. Their mandate is to showcase high quality western Canadian artists and they take an understandable pride in their eclectic collection of original paintings and sculpture. Daily 10 am - 6 pm with extended wknd/hol hours. 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. By appointment.

Elevation Gallery in Canmore celebrates 15 yrs with upstairs addition of 'Hive' by Elevation for events and pop-ups. Public Gallery CANMORE ART GUILD GALLERY Box 8023, 102-700 Railway Ave, (Elevation Place), Canmore, AB T1W 2T8 Located in the new Elevation Place, this friendly gallery shows the works of local Bow Valley artists and occasional guest artists. Established in 1980, the Canmore Art Guild runs the gallery on volunteer power. Exhibitions include paintings, photography, sculpture, stained glass, fabric art, woodwork and more. Group and solo shows are 2-4 weeks long. Thurs to Tues 11 am - 5 pm (closed Wed). COCHRANE Commercial Gallery JUST IMAJAN ART GALLERY/STUDIO 3-320 1 St West,, Cochrane, AB T4C 1X8 T. 403-932-7040 Artist-owned gallery representing more than 35 Canadian artists with paintings, sculpture, glass, wood-turning and metalsmith designs plus a few antiques. Thurs, Fri noon - 5 pm, Sat 10 am - 5 pm; sometimes Sun noon - 4 pm. Call ahead. COLD LAKE Public Gallery JANVIER GALLERY Cold Lake First Nations 149B (Box 8130), Cold Lake, AB T9M 1N1 T. 780-639-4545 Janvier Gallery, formerly located across from the Marina in the city of Cold Lake, has re-opened in a purpose-built, Douglas Cardinal designed building in Cold Lake First Nations 149B (also known as English Bay) about ten minutes north of Cold Lake on 25 Street/English Bay Road. The gallery holds many Alex Janvier originals, with exhibitions changing often. Currently open BY APPOINTMENT.

DRUMHELLER 3RD AVENUE ARTS Box 338, 20 3 Ave West, Drumheller, AB T0J 0Y0 T. 403-823-3686 Quality Western Canadian art. Featuring the works of over 30 artisans. Unique selection of photography, fine art originals, prints, pottery, glass objects and jewellery. Owned and operated by visual artist Michael Todor. Mon to Sat 10 am - 5:30 pm; Daily Jul, Aug. ATELIERO VERDA Box 1708, 40 3 Ave W, Drumheller, AB T0J 0Y0 T. 403-823-2455 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.


CHRIS CRAN Inherent Virtue

Organized by the Southern Alberta Art Gallery in partnership with the Art Gallery of Alberta and the National Gallery of Canada

PETRA MALÁ MILLER Portraits in Light DECEMBER 5, 2015 TO FEBRUARY 3, 2016


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 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. BUGERA MATHESON GALLERY 10435 124 St, Edmonton, AB T5N 1R1 T. 780-482-2854 With a brand new location, designed from the ground up to suit the needs of clients and artists, the Bugera Matheson Gallery continues a 20-year tradition of serving Edmonton’s art-loving community. Experience a rich variety of unique fine art including abstract, landscape, still life and figurative painting, and sculpture. Mon to Sat 10 am - 5:30 pm, Thurs till 7 pm. 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.

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

Gallery @ 501 Exhibitions

Walter Jule, Mirror Facing Mirror, Mixed Media, 8’ x 6’ (approximately)

Annette Sicotte, Copper Beach, Mixed Media on Canvas, 4’ x 5’



Recent works by

Recent works by

Walter Jule

Annette Sicotte

September 11 – October 25, 2015

November 6 – December 20, 2015

Reception: September 11th @ 7:00 pm Artist in Attendance

Reception: November 6th @ 7:00 pm Artist in attendance

Further information contact: Brenda Barry Byrne, Curator

gallery 501

#120 – 501 Festival Avenue Sherwood Park, AB T8A 4X3 780-410-8585

Scan here to go to the Art Gallery website

Galleries West | Fall/Winter 2015 73


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 12323 104 Ave, Edmonton, AB T5N 0V4 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.

In Interiors, Other Chambers, Montreal artist Celia Perrin Sidarous presents intuitively organized collages and sculptural assemblages that consider collections of objects and how they are transformed by the visual languages of photography and the studio. Her arrangements of colour, form and shape refer to still life, but also to the secret affinities between object and material. Sept. 26 to Dec. 20 at the Esker Foundation in Calgary Celia Perrin Sidarous, Folding fan, hands, Venus, geode and hairstyle, 2015, inkjet print on matte paper, 26” x 33”

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. 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 103-10310 124 St NW, Edmonton, AB T5N 1R2 T. 780-990-1161 Edmonton’s largest commercial art gallery is located on the corner of 103 Avenue and 124 Street. Lando Gallery continues to offer superior quality Canadian and International fine art and fine objects, expert custom picture framing, fine art appraisals and many other art related services. Open Mon to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm, or by appointment. MODERN PAINTERS GALLERY 12247 Fort Road, Edmonton, AB T4B 4H2 T. 780-452-8906 Long-time Edmonton art frame manufacturer Great Bear has relocated to a space that is large enough to also indulge his passion to exhibit modern art, hence Modern Painters Gallery with monthly exhibitions by a broad roster of artists. Mon to Sat 10 am - 5:30 pm.

74 Galleries West | Fall/Winter 2015

PETER ROBERTSON GALLERY 12323 104 Ave NW, Edmonton, AB T5N 0V4 T. 780-455-7479 NEW LOCATION 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.

Jackie Bugera is celebrating 40 years since her mother Agnes, opened Bearclaw Gallery in Edmonton, a pioneer of aboriginal art in Canada. 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. 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

WEST END GALLERY 10337 124 St, Edmonton, AB T5N 1R1 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. Note new location. Second location in Victoria since 1994. Tues to Sat 10 am - 5 pm. Cooperative Gallery LOFT GALLERY AT A. J. OTTEWELL COMMUNITY CENTRE 590 Broadmoor Blvd, Sherwood Park, AB T8A 4V8 T. 780-449-4443 With artwork changing approximately every eight weeks, the Loft Gallery features the work of Art Society of Strathcona County members. Local artists and group shows are presented throughout the year in a variety of media, sizes and prices. Located in the A. J. Ottewell Art Centre. Sat, Sun noon - 4pm. 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, Thurs till 6 pm; closed Sun.

CENTRE D’ARTS VISUELS DE L’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. 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. 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

Undaunted by detail, Calgarybased artist Glen Semple’s photorealistic florals are suffused with light and colour. “They are paintings about ordinary things and our relationship with them, as well as the appearances and qualities of the objects and their interactions with one another,” says Semple, who was born in Rocky Mountain House, Alta., and earned a BFA from the University of Calgary. Nov. 14 to Nov. 20 at the West End Gallery in Edmonton Glen Semple, Lovely Fruit Blossoms, 2014, acrylic on board, 48” x 36”

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 the visual arts in Western Canada, expressing the creative spirit of Alberta and connecting people, art and ideas. Tues to Sun 11 am - 5 pm, Wed till 9 pm. ART GALLERY OF ST ALBERT 19 Perron St, St Albert, AB T8N 1E5 T. 780-460-4310 F. 780-460-9537 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.


for a wide variety of corporate projects. Open to the public. Mon to Fri 9 am - 5 pm, Sat - by appt.

SOURCES Part of a dying breed, Calgary landscape photographer Allan King uses a largeformat camera to produce antiquarian platinum prints as well as black-and-white images made with silver gelatin photographic papers. “My goal is to keep the craft and art of making both platinum and black-and-white prints alive through my workshops and exhibitions and capture as much iconic Canadian content in these two mediums as possible for future generations,” he says. To Dec. 15 in the lobby of the Scotia Centre in Calgary Allan King, Yosemite Falls, Yosemite National Park, 2000, pure palladium print 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. FORT MCMURRAY Commercial Gallery POINTS NORTH GALLERY B3-10015 Centennial Dr, Fort McMurray, AB T9H 1X8 T. 780-790-1777 Established in 1991 as Frames & More, the gallery still offers custom picture framing and high-quality artisan gifts. However with a doubling of space and a new name, Points North now represents more than two dozen Canadian artists with a special focus on local and regional. They host regular exhibitions with featured artists in attendance as well as ‘Saturday at the Gallery’ art demo events. Mon to Fri 9 am - 5 pm, Thurs till 7:30 pm; Sat 10 am - 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 ART AND SOUL STUDIO/GALLERY 124 6 Ave SW, High River, AB T. 403-422-3344 (text only please) This collective gallery is adjacent to the creative space of artist/owner Annie Froese. The gallery features original work in a variety of mediums created by Alberta artists, most of whom live within an hour of High River. Oils, acrylics, watercolours, mixed media, glass, ceramics and more are displayed in this 1917 arts and crafts home. An op-

Raven Squabble, Pastel

Dave Ball

portunity to indulge the senses. About 1/2 hr south of Calgary. Fri, Sat noon - 4 pm; Sun 1 pm - 4 pm and by appointment. JASPER Commercial Gallery MOUNTAIN GALLERIES AT THE FAIRMONT Fairmont Jasper Park Lodge, #1 Old Lodge Rd, Jasper, AB T0E 1E0 T. 780-852-5378 F. 780-852-7292 Toll Free: 1-888-310-9726 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.

Fort McMurray, Alberta 780.790.1777

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 CASA GALLERY 230 8 St S, Lethbridge, AB T1J 5H2 T. 403-327-2272 The Casa Gallery exhibits the works of local, regional and provincial artists, with its primary focus on community art i.e. without restriction of style, medium or approach, but representing work being produced by artists in Lethbridge. One can expect to see drawing, painting, fine craft, installation, sculpture, photography, new media and video art. Mon to Sat 9 am - 10 pm, Sun 10 am - 6 pm. GALT MUSEUM & ARCHIVES 502 1 St S ( 5 Ave S & Scenic Dr), Lethbridge, AB T1J 0P6 T. 403-320-3898 F. 403-329-4958

Galleries West | Fall/Winter 2015 75

SOURCES rary 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) PIGEON LAKE

For her latest series, Gods and Monsters, Renée Duval spent four years painting large-scale trees, allowing each image to mutate so the trees look neither natural nor unnatural. She underscores the hallucinatory effect by giving the images a physical presence similar in size to that of the actual tree. Duval was born in British Columbia and lives in Montreal. Sept. 10 to Oct. 10 at Herringer Kiss in Calgary Renée Duval, Bacchus, 2014, oil on canvas, 48” x 100” 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. LONGVIEW Commercial Gallery THE LOST AMERICAN ART GALLERY AND MUSEUM Box 45, 122 Morrison Rd, Longview, AB T0L 1H0 T. 403-558-3693 In addition to the artwork of Alberta artists, the gallery specializes in turquoise jewellery, Navajo rugs, vintage photographs of North American First Nations people by Edward S. Curtis, and various Pendleton products. The museum features rare Southwest pottery, historically significant baskets from many tribes, and artifacts relating to the North American lifestyle of days gone by. Thurs to Sat 11 am - 5 pm. (Call ahead Jan - Mar.)

76 Galleries West | Fall/Winter 2015

MEDICINE HAT Public Galleries ESPLANADE ART GALLERY 401 First St SE, Medicine Hat, AB T1A 8W2 T. 403-502-8580 F. 403-502-8589 This is home to the Medicine Hat Museum, Art Gallery and Archives, as well as a 700-seat theatre. The gallery accommodates a wide range of art exhibitions, including contemporary and historical, regional, national and international art. Exhibitions are often accompanied by receptions, talks and tours. Adults - $4.30, Youth and Student - $3.20, 6 & Under - Free, Family - $12.90, Thur Free for all ages. Mon to Fri 9 am - 5 pm, Sat noon - 5 pm. MEDALTA IN THE HISTORIC CLAY DISTRICT 713 Medalta Ave SE, Medicine Hat, AB T1A 3K9 T. 403-529-1070 Medalta is a century-old factory which has been converted into an industrial museum, working pottery and contemporary ceramic arts centre. The Yuill Family Gallery features contemporary artwork from the Medalta International Artists in Residence program and travelling art exhibitions. (Summer) Victoria Day to Labour Day - Daily 9:30 am - 5 pm; (Winter) Tues to Sat 10 am - 4 pm. OKOTOKS Commercial Gallery DALË GALLERY 45 McRae St, Okotoks, AB T. 403-601-0348 The gallery is a working studio featuring the work of Alberta artist Therese Dalë-Kunicky. One can view her artwork in progress and see the unique pigments used to create the images. Many of the paintings are meditation pieces. Visitors are welcome to sit, relax and have a gazing meditation with a favourite piece. Located in the heart of ‘Olde Towne Okotoks’ across from the town plaza. Tues to Sat 11 am - 5 pm. 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 contempo-

Commercial Gallery BAY 12 GALLERY 12 Village Drive (Village at Pigeon Lake), Pigeon Lake, AB T. 780-586-2999 Owned by fine art photographer, Leon Strembitsky, and painter/musician, Colleen McGinnis, Bay 12 Gallery brings original fine art by more than 40 Alberta-based artists to The Village at Pigeon Lake. Painting, photography, pottery, glass, wood, jewellery, art cards and more. Twenty min west on Highway 13 from QE 2, Exit 482B. Mon - Sat 10 am - 5:30 pm, Sun & hols 11 am - 5 pm; (Extended Summer hours) Fri, Sat open till 8 pm. PONOKA Commercial Gallery SIDING 14 GALLERY 5214 50 St, PO Box 4403, Ponoka, AB T4J 1S1 T. 403-790-5387 Siding 14 Gallery takes its name from early CPR days when Ponoka was a waterstop on the Edmonton-Calgary mainline. Today it features artwork from Western Canada, across the country and beyond. At its core is the studio of Mary MacArthur and Danny Lineham (“Those Great Little Books”) who are proud to showcase not only their own work in the ‘ancient book arts’, but that of other fine artists and artisans. Mon to Sat 10 am - 5:30 pm, and by appointment. RED DEER Public Gallery RED DEER MUSEUM + ART GALLERY 4525 47A Ave, Red Deer, AB T4N 6Z6 T. 403-309-8405 F. 403-342-6644 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 showcases Red Deer’s historical and contemporary life, and brings world-class exhibitions to the city. Mon to Fri 10 am - 4:30 pm, wknd noon - 4:30 pm. WETASKIWIN Commercial Gallery CAELIN ARTWORKS 4728 50 Ave, Wetaskiwin, AB T9A 0R7 T. 780-352-3519 Toll Free: 1-888-352-3519 Owned by fine art photographer, Leon Strembitsky, and painter/musician, Colleen McGinnis, Caelin Artworks has been in operation since 1988. Located in an historic home in downtown Wetaskiwin, this studio/gallery showcases primarily their own work, and also puts the “fine” into the art of picture framing. Mon to Fri 9:30 am - 5:30 pm, Sat noon - 4 pm.

pm, Sun (Apr - Dec) 1 pm - 5 pm, call ahead for holiday hours. 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. MEACHAM Commercial Gallery THE HAND WAVE GALLERY Box 145, 409 3 Ave N, Meacham, SK S0K 2V0 T. 306-376-2221 Presenting the works of 60 Saskatchewan artists and artisans for 33 years – with changing gallery exhibitions during April through December. Works in fibre, glass, metal, wood and a large selection of clay including ceramists Anita Rocamora, Mel Bolen, Jack Sures and Zane Wilcox; Paul LaPointe painter/printmaker and fibre artist June Jacobs. 55 km east of Saskatoon. (Summer hours) Thurs to Mon 11 am - 6 pm; (Oct to Dec) 1 pm - 6 pm; (Jan to May) by appointment.

More than a decade ago, printmaker Walter Jule asked Wendy McGrath, an Edmonton poet, to collaborate, offering her some ephemeral images that inspired poetic fragments that would lead to her book, A Revision of Forward, which explores love and the passage of time. The book, which contains 40 poems and is published by Newest Press, is accompanied by this companion exhibition of Jule’s prints, which combine text and image in three dimensions. Sept. 24 to Nov. 7 at Society of Northern Alberta Print-Artists in Edmonton Walter Jule, Opaque Disclosure: Observation of the Transparent Wall, 2002, etching and lithography with gampi chine-collé

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 Celebrating 10 years of bringing the arts to the community in 2015, the gallery features its founder’s private collection of paintings, sculptures, and artifacts from around the world. Rotating exhibitions by invited artists. Fresh Start TeaRoom on premises. Admission free. Tues to Sat 10 am - 4:30


^«çÙÄ® » Ùã ' ½½ Ùù Founded in 2005

Celebrating 10 Years of Bringing Art to the Community


Larry Easton

photography Legacy of Worship to October 18

Skawennati Tricia Fragnito uses multiple platforms in TimeTraveller™ to tell the futuristic story of Hunter, a Mohawk man unable to find his way in a crowded consumerist world. He embarks on a technologically enhanced vision quest that immerses him in historical events such as the Dakota Sioux Uprising, the Oka Crisis and the occupation of Alcatraz Island. Fragnito, who has a BFA from Concordia University in Montreal, is co-director of Aboriginal Territories in Cyberspace, a network of artists interested in aboriginal virtual environments. Dec. 4 to Jan. 17 at the Central Gallery, Regina Public Library Central Skawennati Tricia Fragnito, TimeTraveller™, 2008-2013, machinima 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. MOOSE JAW Commercial Gallery YVETTE MOORE FINE ART GALLERY 76 Fairford St W, Moose Jaw, SK S6H 1V1 T. 306-693-7600 F. 306-693-7602 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. Public Gallery MOOSE JAW MUSEUM & ART GALLERY Crescent Park, 461 Langdon Crescent, Moose Jaw, SK S6H 0X6 T. 306-692-4471 F. 306-694-8016 The gallery exhibits an engaging range of contemporary and historical art by local, provincial, national and international artists. Many of the ten to twelve exhibitions shown in the gallery each year are curated and organized by the Moose Jaw Museum & Art Gallery. Tues to Sun noon - 5 pm and Tues to Thur 7 - 9 pm. NORTH BATTLEFORD Public Galleries ALLEN SAPP GALLERY 1-Railway Ave, PO Box 460, North Battleford, SK S9A 2Y6 T. 306-445-1760 F. 306-445-1694 Allen Sapp is the recipient of the Order of Canada among many honours for his paintings depicting the everyday lives of Northern Plains Cree at mid 20th century. Housed in the historic Carnegie Library building, the gallery attracts people from around the world who are passionate about art and First Nations culture. Spring and Summer Daily 11 am - 5 pm; Fall and Winter Wed to Sun noon - 4 pm.


"Arts on the Move" exhibit Bart Pragnell October 1 to 23

Dean Francis

ADMISSION FREE: dƵĞƐ ƚŽ ^Ăƚ͗ λκ ʹ ξ͗νκ Ɖŵ͖ ^ƵŶ ; Ɖƌ ʹ ĞĐͿ λ ʹ ο Ɖŵ Ăůů ĨŽƌ ŚŽůŝĚĂLJ ŚŽƵƌƐ

ǁŝůĚůŝĨĞ ƉĂŝŶƟŶŐ The Essence of Prairie October 23 to November 25

Ken Christopher

landscapes & abstracts οκ zĞĂƌƐ ŽĨ WĂŝŶƟŶŐ November 27 to February 27, 2016

122 – 3rd Ave West, ASSINIBOIA, SK • 306-642-5292 ŝŶĨŽΛƐŚƵƌŶŝĂŬĂƌƚŐĂůůĞƌLJ͘ĐŽŵ ͻ Located one hour south of Moose Jaw.

CHAPEL GALLERY 1-891 99 St, North Battleford, SK S9A 2Y6 T. 306-445-1757 F. 306-445-1009 The Chapel Gallery is a public gallery with special emphases on contemporary, regional and Aboriginal art in all media. It facilitates workshops, mentorship programs and supports the thoughtful reception of art. Proposals from artists, curators and collectives are accepted on an ongoing basis. Jun to Sept: daily noon - 4 pm; Sept to May: Wed to Sun noon - 4 pm. PRINCE ALBERT Commercial Gallery ON THE AVENUE ARTISAN’S GALLERY 911 Central Ave, Prince Albert, SK S6V 5S8 T. 306-763-1999 The gallery represents more than 30 Saskatchewan painters, potters, photographers, carvers, jewellery makers, fabric artists, candle makers, glass artists, wood workers, knitters and metal sculptors. Artists rent display space, choose works to showcase and set their own prices. Includes full-service framing shop. Located two blocks east of Hwy 2 in historic downtown. Tues to Sat 10 am - 5 pm. Public Gallery THE MANN ART GALLERY 142 12 St W, Prince Albert, SK S6V 3B5 T. 306-763-7080 F. 306-763-7838 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 1500 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 10 am - 5 pm.

MUD, Hands, fire W H E E L


The Legacy of Canadian Studio Pottery

School of Art Gallery October 1 - December 18, 2015 Reception - October 2, 2015, 5:00 p.m.

Galleries West | Fall/Winter 2015 77

SOURCES SASKATOON Commercial Galleries 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.

Ken Christopher presents abstract and plein air paintings from the last five decades, including scenes from Saskatchewan’s scenic Qu’Appelle Valley in his first show in 15 years. Christopher was born in Swift Current, Sask., and studied at the Alberta College of Art in Calgary. He has subsisted as a painter for most of his life and, after various adventures, moved back in 1996 to the Prairies, which he calls his “first and last love.” His paintings include images of a buffalo jump used before the arrival of horses. “A spring bubbles out of the ground 20 feet below the rim, with a canopy of birch and aspen,” says Christopher. “I don’t want to leave every time I go there.” Nov. 27 to Feb. 27 at the Shurniak Gallery in Assiniboia, Sask. Ken Christopher, Brow of the Jump, 2015, oil on canvas, 16” x 20”

REGINA Commercial Galleries ASSINIBOIA GALLERY 2266 Smith St, Regina, SK S4P 2P4 T. 306-522-0997 Established in 1977, the Assiniboia Gallery showcases contemporary and traditional works of art by established and emerging visual artists. The main focus is professional Canadian artists including Sheila Kernan, Robert Genn, Kimberly Kiel, Rick Bond, Angela Morgan and many more. Tues to Fri 10 am - 5:30 pm, Sat 10 an -5 pm. MATA GALLERY 106-2300 Broad St (at 15 Ave), Regina, SK S4P 1Y8 T. 306-522-0080 Mata Gallery is a curated venue promoting professional Saskatchewan artists including Heather M. Cline, David Garneau, Martha Cole, Anita Rocamora, Martin Tagseth, Rob Froese, Zane Wilcox and Melody Armstrong – along with fine studio jewellery. The gallery is dedicated to relevant, passionate, thoughtful visual art as well as innovative use of materials and techniques. 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. SLATE FINE ART GALLERY 2078 Halifax St, Regina, SK S4P 1T7 T. 306-775-0300

78 Galleries West | Fall/Winter 2015 Located in Regina’s Heritage neighbourhood, SLATE Gallery features works from iconic and contemporary Canadian artists. SLATE owners Gina Fafard and Kimberley Fyfe offer advice and support for new and experienced buyers, assistance with acquisition and investment of artworks for private, corporate and public collections. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm. TRADITIONS HAND CRAFT GALLERY 2714 13 Ave, Regina, SK S4T 1N3 T. 306-569-0199 Traditions features fine craft of over 100 Saskatchewan artisans in a full range of media: clay, fiber, glass, wood, metal, jewellery and photography. Tues to Sat 10 am to 5:30 pm. Follow them on Facebook. 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. 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, Sun and holidays noon - 5:30 pm.

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 - 5 pm. DARRELL BELL GALLERY 405-105 21 St E, Saskatoon, SK S7K 0B3 T. 306-955-5701 Exhibiting contemporary Canadian art with an emphasis 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. Thurs to Sat noon - 5 pm, Sun noon - 4 pm. Public Galleries AFFINITY GALLERY - SASKATCHEWAN CRAFT COUNCIL 813 Broadway Ave, Saskatoon, SK S7N 1B5 T. 306-653-3616 F. 306-244-2711 The only public Saskatchewan gallery dedicated to exhibiting fine craft through solo, group, juried, curated or touring shows. Up to eight dynamic and diverse exhibitions each year. Free admission. Mon to Sat 10 - 5 pm, Thurs till 8 pm (closed Christmas Day, Boxing Day, New Year’s Day, Good Friday, Remembrance Day). REMAI MODERN (FORMERLY MENDEL ART GALLERY) 950 Spadina Cres E, Saskatoon, SK S7N 5A8

T. 306-975-7610 F. 306-975-7670 REMAI MODERN Art Gallery of Saskatchewan describes itself as “a thought leader and direction setting modern art gallery that boldly collects, develops, presents and interprets the art of our time.” While preparing to open in 2016 at the new River Landing site, offices remain open at the former Mendel Art Gallery location. SWIFT CURRENT Public Gallery 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. WEYBURN Public Gallery ALLIE GRIFFIN ART GALLERY 45 Bison Ave NE (mail to: 424 10 Ave S), Weyburn, SK S4H 2A1 T. 306-848-3922 F. 306-848-3271 Located in the lower level of the Weyburn Public Library, the gallery features touring exhibitions from the Mendel Art Gallery, the Mackenzie Art Gallery, the Saskatchewan Craft Council, the Saskatchewan Arts Board through OSAC, and many locally-curated shows. Exhibitions feature the work of established and emerging Saskatchewan artists. Mon to Thurs 9:30 am - 8:30 pm; Fri, Sat 9 am - 6 pm; Sun (Oct to May) 1 pm - 5 pm. YORKTON Public Gallery GODFREY DEAN ART GALLERY 49 Smith St E, Yorkton, SK S3N 0H4 T. 306-786-2992 F. 306-786-7667 As the only professionally-operated public art gallery within a 150 km radius of Yorkton, the Dean curates, exhibits and promotes the work of local, provincial and national contemporary artists who address issues affecting the Yorkton region. Artwork is chosen based on its relevance to the community and its ability to contribute to the Saskatchewan art scene. Exhibits in both galleries change every five to six weeks. Mon to Fri 1 pm - 5 pm, Sat 1 pm - 4 pm.

Artist and curator Jeffrey Spalding exhibits new abstractions created in seemingly random ways from printmaking materials cast off by other artists at Novak Graphics in Admiral, Sask. The works in his show, Ghosts and Angels, blend sentiments from Pop and dynamic 1950s abstraction to offer a surprising expressionism. Nov. 7 to Jan. 3 at the Art Gallery of Swift Current in Saskatchewan Jeffrey Spalding, Ghosts and Angels (Riopelle Relic), 2012, monoprint, 39.8” x 28.5” Collaboration with Novak Graphics Inc., Admiral, Sask.

SOURCES T. 204-822-6026 Founded in 1992, the Pembina Hills Arts Council facilitates and encourages the growth and diversity of arts and culture for the Pembina Valley Region by providing an environment which stimulates artistic expression and awareness through education, programming and provision of administrative support. Tues to Sat Noon - 5 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.

Zachari Logan presents recent work, including his Specimen drawings, which explore fantastical creatures using the languages of medieval illustrations of maladies and scientific illustrations of the 1800s. “I imagine these creatures to be in a constant state of flux, free to transform or evolve as and when they see fit,” he says. Logan, who received the 2014 emerging artist award from the Saskatchewan Lieutenant Governor, will also display The Eunuch Tapestries, from Oct. 15 to Nov. 17 at the Art Gallery of Regina. Oct. 8 to Nov. 7 at the Slate Fine Art Gallery in Regina Zachari Logan, Specimen 3, 2013, blue pencil on vellum, 7” x 5.5”

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. Tues to Fri 10 am - 5 pm, Thurs till 9 pm, Sat noon - 5 pm (Sat closed Jul/ Aug). MORDEN Public Gallery PEMBINA HILLS ARTS COUNCIL 352 Stephen St, Morden, MB R6M 1T5

SELKIRK, MB 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 with over 100 members. The gallery exhibits 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.

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WINNIPEG Artist-run Gallery MARTHA STREET STUDIO 11 Martha St, Winnipeg, MB R3B 1A2 T. 204-779-6253 F. 204-944-1804 Martha Street Studio is a community-based printmaking facility offering equipment, facilities and support to produce, exhibit, and disseminate cutting-edge, print-based works. There are classes in both traditional and digital printing processes, and ongoing outreach programs. The gallery facility offers visual artwork from emerging and master artists. Mon to Fri 10 am - 5 pm. Žģ ^ĐŚŶĞŝĚĞƌ͕ dƵŵďůĞ͕ ŵŝdžĞĚ ŵĞĚŝĂ͕ ϮϬϭϱ


Lisa Kehler recently opened her contemporary Art + Projects gallery on McDermot in Winnipeg's Exchange District. Commercial Galleries ACTUAL CONTEMPORARY 300 Ross Ave, Winnipeg, MB R3A 0L4 T. 204-415-5540 Actual Contemporary is a dynamic art platform in a purpose-designed space of more than 2000 sq ft located at the edge of Winnipeg’s historic Exchange District. Their commitment to diverse art forms features selected professional emerging, mid-career and senior artists both in permanent or touring exhibitions, and temporary curated shows reflecting the vibrancy of the contemporary art scene. Tues to Sat noon - 5 pm, or by appointment. 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 clean-

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Galleries West | Fall/Winter 2015 79


Landscapes with traces of past or present horror are central to Jillian McDonald’s recent work. McDonald developed The Thaw, a video and installation project, during a residency in southwestern Manitoba last March. It was produced with the help of some 20 volunteer actors, who were masked and costumed in white to play roles as animals – both predator and prey – that wake from hibernation and begin to hunt. Meanwhile, Tahltan artist Peter Morin, a professor at Brandon University, will create a new work, Glacier, that responds to elements of McDonald’s piece. Sept. 17 to Nov. 14 at the Art Gallery of Southwestern Manitoba in Brandon Jillian McDonald, Thaw, 2015, video production still

ing, 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 and established artists. cre8ery takes pride in uncovering artistic gems of all media and genres and invites patrons of the arts to discover their next art treasure. Tues to Fri Noon - 6 pm; Sat noon - 5 pm. May change for special events. GROLLÉ FINE ART Studio 24 at 81 Garry St (Fort Garry Place), Winnipeg, MB R3C 4J9 T. 204-691-6112 This gallery represents a limited number of diverse Canadian and International artists. Consulting for artists and art lovers alike, Grollé Fine Art manages collections for both seasoned and burgeoning collectors. On Garry, just off Broadway, minutes from The Forks and the Canadian Museum of Human Rights. Artist submissions welcomed. Tue to Sat 11 am - 4 pm and by appointment. 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. LISA KEHLER ART + PROJECTS 171 McDermot Ave Winnipeg MB R3B 0S1 T. 204-510-0088 Lisa Kehler Art + Projects is committed to the bigger picture. To the artists. To the collectors. To the community and the conversation that always

80 Galleries West | Fall/Winter 2015

surrounds great art. The gallery works with leading contemporary Canadian artists and is focused on increasing the awareness of Winnipeg’s artists, while fostering a new generation of collectors. Wed to Sat noon - 5 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, Mayberry Fine Art represents a select group of gifted Canadian artists including Joe Fafard, Andrew Valko, and Robert Genn. With almost 40 years experience, the gallery also specializes in historic Canadian and European works of collectible interest. A second location was opened in Toronto in 2010. 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. SOUL GALLERY 163 Clare Ave, Winnipeg, MB R3L 1R5 T. 204-781-8259

WAREHOUSE ARTWORKS 222 McDermot Ave, Winnipeg, MB R3B 0S3 T. 204-943-1681 F. 204-942-2847 A Winnipeg fixture for more than 35 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 Fri 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. Cooperative Gallery STONEWARE GALLERY 778 Corydon Ave, Winnipeg, MB R3M 0Y1 T. 204-475-8088 An artist-run cooperative of potters founded in 1978. Its thirteen members create work in a wide variety of styles and techniques, making both decorative and functional clay objects. Many of the artists have received national and international recognition. Mon - Sat 10 am - 5:30 pm, Sun 1 pm - 4:30 pm. Thurs till 9 pm from May to December. Public Galleries PLUG IN INSTITUTE OF CONTEMPORARY ART 460 Portage Ave, Winnipeg, MB R3C 0E8 T. 204-942-1043 F. 204-944-8663 Plug In ICA is a forerunner in the exhibition and commissioning of visual culture across media and disciplines. As an institute it fosters the production of art while expanding audiences. Exhibitions include work by international artists and by emerging local artists. Educational programs provide guided experiences of contemporary art and ask about the importance of art and artists in Canadian culture. Free admission. Tues to Fri noon - 6 pm; Thurs till 8 pm; Sat & Sun noon - 5 pm.

work that makes use of newer technologies. Mon to Fri 9 am - 4 pm. 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.

NORTHERN TERRITORIES GALLERIES YELLOWKNIFE Cooperative Gallery NORTHERN IMAGES YELLOWKNIFE Box 935, 4801 Franklin Avenue , Yellowknife, NT X1A 2N7 T. 867-873-5944 F. 867-873-9224 Owned and operated by Arctic Cooperatives Ltd, the gallery features one of Canada’s largest selection of Inuit and Dene art and crafts, and custom framing services. The collection includes Inuit prints and sculpture in stone, antler, bone and ivory along with wall hangings, Dene crafts, apparel and jewellery. Located in the heart of downtown Yellowknife at Franklin Ave and 48 St. Mon to Fri 10 am - 6 pm, Sat noon - 6 pm.

Serbian-born artist Aleksandra Domanovi´c explores how images and information circulate, rearranging them to produce new content and meaning. In this show, Domanovi´c uses video, sculpture and installation-based work to investigate an evocative supposition by cyberfeminists, who propose an intrinsically female reading of technology. The Belgrade Hand refers to an early robotic limb developed in the 1960s by Serbian scientists. Sept. 27 to Jan. 3 at the Plug In Institute of Contemporary Art in Winnipeg Aleksandra Domanovi´c, The Belgrade Hand Series, 2013-2015, installation detail

SCHOOL OF ART GALLERY 180 Dafoe Road, 255 ARTlab, University of Manitoba, Fort Garry Campus, Winnipeg, MB R3T 2N2 T. 204-474-9322 Formerly Gallery One One One, the expanded School of Art Gallery exhibits and collects contemporary and historical art, maintaining, researching and developing collections in the School of Art’s Permanent Collection and the FitzGerald Study Centre collection. This fully equipped, state-of-theart contemporary artspace, is wired to present all forms of contemporary and historical art, including

MCDONALD: IMAGE COURTESY OF THE ARTIST Soul Gallery is an ‘art gallery in a home’ – offering paintings, bronze and wood sculpture, photography and fine collectables from around the world with six exhibitions in the year. The concept of viewing art in context can give clients a clearer sense of how specific artworks will appear in their own home or office setting. First Sat of the month 11 am - 4 pm or by appointment.


DIRECTORY Of Art-related Products and Services To advertise, call 403-234-7097 or 1-866-697-2002


ALLAN KING PLATINUM PHOTOGRAPHS Calgary, AB T. 403-217-2713 Allan King hand crafts ultra-large format platinum prints from view camera-original 12” X 20” negatives which form the foundation for expressive yet sensitive interpretations of the Canadian Rocky Mountains, Alberta Prairie, SW United States and Places of Spirit. His limited edition prints have been exhibited at the Whyte Museum and the Royal Alberta Museum and are on permanent exhibition at the Post Hotel, Lake Louise. Gallery inquiries welcome. Platinum printing and traditional black and white workshops by appointment only. KATHERINE MCLEAN STUDIO 1-1359 Cartwright St (rear), Railspur Alley, Granville Island, Vancouver, BC V6H 3R7 T. 604-377-6689 Katherine McLean’s working studio and gallery features her colourful still-life ceramics and large encaustic paintings with the garden as theme. Visitors can watch as her art comes alive. Located in Railspur Alley directly opposite the Agro Cafe in the heart of Granville Island. Thurs to Sun 11 am - 5 pm. SWIRL FINE ART & DESIGN Calgary, AB T. 403-266-5337 Founder Tracy Proctor is an established artist specializing in the encaustic medium. She teaches encaustic workshops at her Calgary studio, hosts corporate team building events and shows in exhibits throughout Alberta. For more information, or to book an event, visit her on-line gallery.


FIRST BIENNIAL SALT SPRING NATIONAL ART PRIZE 114 Rainbow Road (Mahon Hall), Salt Spring Island, BC V8K 2V5 T. 250-931-1144 Internationally renowned for its strong arts and crafts movement and creative enterprise, the island has established a national, juried, biennial competition open to artists residing in Canada. The intent is to recognize and publicize the accomplishments of Canadian talent in the realms of 2 dimensional and 3 dimensional art. Exhibition of 52 finalists from September 24 - October 26, 2015. Gala awards October 24, 2015. Details on website. SOCIETY OF CANADIAN ARTISTS The SCA is a national, non-profit artists’ organization dedicated to expanding visual arts within Canada. It is committed to strengthening its national presence by promoting excellence in traditional forms of artistic expression, and by encouraging acceptance and growth of contemporary and experimental forms of visual art.


ALBERTA LEGISLATIVE ASSEMBLY GIFT SHOP & INTERPRETIVE CENTRE 10820 98 Ave (Pedway Mall), Edmonton, AB T5K 2N6 T. 780-422-3982 The Gift Shop offers a wide selection of arts and crafts created by Alberta artisans including books and handcrafted pottery, glassware, prints, photographs, jewellery, greeting cards and other unique

gift items. The adjacent Interpretive Centre honours the history and traditions of the Legislature and presents occasional art exhibits showcasing Alberta artists. WINTER: Mon to Fri 9 am - 4 pm, Sat, Sun, hols noon - 5 pm; SUMMER: Daily 9 am - 5 pm except hols noon - 5 pm.


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.


VEVEX CORPORATION 3-525 North Skeena Ave, Vancouver, BC V5K 3P5 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.


CHRISTINE KLASSEN GALLERY & FRAME SHOP 200-321 50 Ave SE, Calgary, AB T2G 2B3 T. 403-262-1880 Specializing in custom framing and mirrors, as well as art restoration and cleaning, CKG offers consultations and solutions for all budgets and conservation requirements. Whether it’s for a gallery or home, master framer Candace Larsen can help choose the perfect look from her curated selection of frames. Walk-ins welcome, free on-site parking. Tue to Sat 10 am - 5 pm and by appointment. 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. PALLISER ART AND FRAMING 6-3109 Palliser Dr SW, Calgary, AB T2V 4W5 T. 403-259-3944

A small art gallery exhibition space on-site shows local and regional artists on a rotating basis as a complement to the custom picture framing business. Owner Allan Brown provides thorough attention to detail in the design phase of framing projects and in their execution with the use of top quality materials. Tues to Sat 10 am - 6 pm. PEACOCK COPY AND RESTORATION 521 Canada Ave, Duncan, BC V9L 1T8 T. 250-748-9923 Now offering custom framing, in addition to film cameras and camera repairs; photo enlargements on archival photo paper or giclee printing to canvas/art paper with stretching; custom copying and restoration; passport photos; family and business portraits. Located in the plaza with Coffee on the Moon on Canada Ave. Mon to Thurs 9 am - 5 pm; Fri 9 am - 4:30 pm. Closed Sat & Sun.


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.


PACIFIC ART SERVICES 6471 Cariboo Road, Burnaby, BC V3N 4A3 T. 604-444-0808 A trusted fine art services and logistics provider for more than 45 years, PACART has added Western Canada’s newest dedicated art storage facility – with controlled temperature and humidity – to its operations in Toronto and Montreal. PACART Vancouver offers local transportation, regional transport in BC and the US, and cross country shuttle services. The operation also coordinates air and ocean freight shipments. Internationally compliant ISPM 15 crates are built onsite. Residential and corporate installations are available.


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. INGLEWOOD ART SUPPLIES 646 1 Ave NE, Calgary, AB T2G 0S7 T. 403-265-8961 Recently relocated to Bridgeland, the 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. KENSINGTON ART SUPPLY 6999 11 St SE (north of Deerfoot Meadows Shop-

ping Centre), Calgary, AB T2H 2S1 T. 403-283-2288 Now located in new, much bigger space near Deerfoot Meadows Shopping Centre featuring an expanded selection of quality fine art supplies and one of Canada’s largest selections of Golden Acrylic paints. Lots of free parking with the same friendly, knowledgeable staff. Art classes right on site. Check website for upcoming classes, workshops and demos – and possible extended hours. 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 8:30 am - 6 pm, Sat 9 am - 5 pm. 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. SUNNYSIDE ART SUPPLIES 132 10 ST, Calgary, AB T2N 1V3 T. 403-475-0608 Owned and operated by Patrick and Shirl Rowsome, the tradition of art supplies in Sunnyside lives on – offering quality materials and sound advice from a friendly and experienced staff of artists. Art materials, accessories, workshops and an ever-changing book selection covering art and design techniques. Student, senior and instructor discounts. Mon to Fri 10 am - 7 pm; Sat 10 am - 6 pm; Sun 11 am - 5 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. Mon to Sat 9 am - 5:30 pm.


BUSINESS/PROFESSIONAL WELCOME WAGON T. 780-476-9130 This Welcome Wagon greeting service offers orientation information and gifts of congratulations, without obligation and by appointment only, to new business owners/executives at the time of their appointment. Visit request forms available online.

Galleries West | Fall/Winter 2015 81


ROY THOMAS (1949 – 2004)

Roy Thomas, New Year, 2002, acrylic on canvas, 28” x 30” 82 Galleries West | Fall/Winter 2015

Ahnisnabae artist Roy Thomas’ painting, New Year, has the typical elements found in the Woodland School of Art, including black formlines and pictograph-style creatures. But the vibrant red background was what first caught the eye of Jackie Bugera, owner of the Bearclaw Gallery in Edmonton. “I’m a really big fan of red,” says Bugera, whose mother, Agnes, opened the gallery, one of the earliest to represent native artists, 40 years ago. “Emotionally that colour really resonates.” What Bugera finds most fascinating, though, is the painting’s bold and powerful imagery. It is presented in totemic style with fish, bears and loons stacked vertically, each representing a different Ahnisnabae clan. The thunderbird, mythical ruler of the sky, towers at the top. The idea that everything is interconnected is represented in the ways various creatures touch one another. Smaller animals within larger ones suggest generational transition. “The sun is the power image,” says Bugera. “It has a division circle that represents balance in life.”

New Year is one of 12 calendar works in the Time and Life series, which Thomas based on the four seasons, the four directions, the four stages of life and the four colours of the medicine wheel. It represents the month of April, the start of the Ahnisnabae calendar. At the time, Thomas was in remission from leukemia, and the project was intended to promote healing and a new beginning. Sadly, his disease recurred, eventually proving fatal. The series was sold through Bearclaw in 2002, and some pieces were later included in Vision Circle: The Art of Roy Thomas, a retrospective organized by the Thunder Bay Art Gallery. Thomas’ early life echoes that of Norval Morrisseau, the originator of the Woodland style, which is also practiced by artists like Daphne Odjig and Carl Ray. Thomas, who was born near Longlac, Ont., northeast of Thunder Bay, learned traditional stories from his grandmother, and grew up drawing them in the sand with a stick before he began painting. He proudly acknowledged that cultural heritage: “When I use my paintbrush, I understand that I am not the only one doing the painting even though my name goes on the finished work.” – Portia Priegert

Images from Top to Bottom, Left to Right: Walter Joseph Phillips (1884-1963): York Boat on Lake Winnipeg, Mamalilicoola, Summer Idyll, Karlukwees


THE COMPLETE COLLECTION OF 150 COLOUR WOODCUT PRINTS Calgary Toronto Winnipeg Tuesday to Saturday, 10:00 A.M. to 5:30 P.M. 1516 - 4th Street S.W., Calgary, Alberta T2R 0Y4 403 209 8542


Sunrise, Lake Louise, AB, 2002, 12” x 20”

Platinum Photographs

Allan King invites you to see his photographs, which are on permanent display at the Post Hotel in Lake Louise and in the foyer of the Scotia Centre Tower in Calgary through December 15, 2015. Please contact King if you are interested in his photographs for corporate interiors or to bring a special mood and quality into your home. King makes his negatives using an ultra-large format 12” x 20” view camera. He hand-crafts the limited edition prints by brushing platinum solutions on fine paper. This exquisite technique achieves photographs of unsurpassed tonal scale, nuance and depth.

Gallery inquiries welcome • 403-217-2713 • •

Spirit Island, Jasper, AB, 2002, 12” x 20”

Alberta Prairie #41, Stettler, AB, 2002, 12” x 20”

Allan King’s platinum photographs are included in the collection of the Alberta Foundation for the Arts. They have been shown at the Whyte Museum and the Royal Alberta Museum.