THE ART OF CRAFT
WESTERN CANADA’S ARTISANS STEP INTO THE SPOTLIGHT
CREATIVE COLLABORATION VICTORIA’S LINDA & HARRY STANBRIDGE
ROAD SHOWS GREAT GALLERIES OUTSIDE THE CITIES
FEATURED ARTISTS JONATHAN FORREST, MAX WYSE, JANE ASH POITRAS, ANDREA ZITTEL, LES GRAFF, EMILY CARR
Display until August 31, 2007
425 FINE ART GALLERIES IN THE WEST CANADA $7.95
RANDOLPH PARKER “Tones of Light” and other new works will be on show, May 12, 2007 Join the artist at the Gallery 10 AM – 5:30 PM Saturday, May 12th continuing through May 19th
GOODRIDGE ROBERTS “Still Life 1950” and other top quality historical Canadian Works will be available through the summer
The Art of Collecting Quality Masters Gallery Ltd. 107, 2115 Fourth Street SW, Calgary, AB T2S 1W8 (403) 245-2064 Hours: Tuesday – Saturday 10 AM – 5:30 PM
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William GOODRIDGE ROBERTS (1904-1974) RCA, OSA
“Still Life,” painted circa 1955, Oil on board, size: 25” x 32”
ROBERT GENN A distinguished career spanning 45 years will be celebrated with a landmark book dedicated to the paintings of Robert Genn. To be published this coming fall, Mayberry Fine Art is proud to host a solo exhibition in December 2007, to coincide with the release of this new publication.
“Cascade”, painted 2007, Acrylic, size: 30” x 34”
Specializing in historical works by Canadian impressionists, the Group of Seven & contemporaries as well as Canadian masters of today
Mayberry FINE ART
www.mayberryfineart.com Mayberry Fine Art, 212 McDermot Ave., Winnipeg, MB, R3B 0S3 Winnipeg’s landmark gallery, located in the historic Exchange District Tel: (204) 255 5690 email@example.com Member of the Art Dealers Association of Canada
V I R G I N I A C H R I S TO P H E R F I N E A RT
May 12 - June 26 Peter Deacon - SOLSTICE: A major new work consisting of 37 panels which reference the arch made by the sun at the winter and summer solstices. and Ben McLeod - ABOUT OUTDOOR SPACES: New sculpture, gates and dividers Exhibition reception with the artists: Thursday, May 24, 5 - 7:30 PM All welcome July - September 8 CURATOR'S CHOICE: A rotating collection featuring a variety of gallery artists
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Les Graff, "Roadside Entanglement #10" - 2003, oil/canvas, 28 x 34"
CELEBRATING 27 YEARS IN CALGARY
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THE BEST OF CANADIAN PAINTING & SCULPTURE Tuesday to Saturday 10:00 P.M. to 6:00 P.M. 1516 - 4th Street S.W. Calgary, Alberta T2R 0Y4 Tel: 403 209 8542 Please email us for a copy of our catalogue: calgary @ lochgallery.com
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Walter J. Phillips, â€œYork Boat on Lake Winnipegâ€?, colour woodcut, 10 x 13 3/4 inches, 1930.
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We welcome inquiries regarding the sale and purchase of fine historical Canadian paintings by Emily Carr, The Group of Seven, David Milne, William Kurelek, E.J. Hughes, Albert Robinson, Robert Pilot, Maxwell Bates, and Walter J. Phillips, as well as 19th and early 20th century European paintings. Please call the gallery for an appointment.
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C O N T E N T S 50
Summer 2007 Vol. 6 No. 2
Playing the Angles
Homage: Les Graff
Outside Victoria, Linda and Harry Stanbridge share an artistic, intellectual and spiritual collaboration
With a customized colour mix, abstract painter Jonathan Forrest is searching for the aesthetic essence of himself
After quitting his day job to paint full time, this Alberta-based artist could finally go deep into the prairie landscape
By Brian Grison
By Steven Ross Smith
By Brian Brennan
Where to find fine art galleries across the west Alberta.......................68 British Columbia .........78 Manitoba ...................89 Saskatchewan ............91 Northern Territories ....93
The Art of Craft
A summer's worth of great gallery destinations, from Sooke to Winnipeg Beach
With a year-long celebration, Western Canadian artisans step into the spotlight
Emily Carr, Dark Forest (c. 1935)
Services and resources for art buyers
By Jill Sawyer
By Beverly Cramp
News and events from across the region
31 Previews and Profiles Max Wyse Jane Ash Poitras Andrea Zittel Plus: 14 shows scheduled for the summer season
66 Online Reviews Find exclusive reviews of recent exhibitions throughout Western Canada at www.gallerieswest.ca www.gallerieswest.ca
By Rod Chapman
Summer 2007 Galleries West 11
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ELLIOTT LOUIS GALLERY 1540 West 2nd Avenue, Vancouver BC (604) 736-3282 • www.elliottlouis.com 12 Galleries West Summer 2007
This month’s cover: Shadow Line (detail), Tanis Saxby, porcelain clay, 2007 www.gallerieswest.ca
“Brasswood at Dusk”, Oil on Canvas
“TERRA NOCTURNA” R E N AT O M U C C I L L O Exhibition and Sale May 27 – June 9 Opening: May 27 12 – 4 (artist in attendance) 2184 OAK BAY AVENUE, VICTORIA www.theavenuegallery.com 250-598-2184
“Untitled”, 2007, acrylic on canvas, 36” x 36”
Represented by Virginia Christopher Fine Art 816 - 11th Avenue SW Calgary, Alberta, T2R 0E5 www.virginiachristopherfineart.com
Winchester Galleries 2260 Oak Bay Avenue Victoria, B.C. V8R 1G7 www.winchestergalleriesltd.com
Peter Robertson Gallery 10183-112 street Edmonton, AB, T5K 1M1 www.probertsongallery.com
The visual arts season in Western Canada SAVE THE DATE:
The Works Festival Opening June 22 and running through July 4, Edmonton’s popular annual celebration of art and design takes over a multitude of public spaces downtown. The Works Art and Design Festival is focused on discovery of
ABOVE: Ken Rinaldo, Autopo in Motion, installation
new work, and presenting surprising and unex-
LEFT: Ted Kerr, Cranes, 2006, photograph
pected juxtapositions between artists and exhibitions in all genres of fine art, craft, and practical design. Free to the public, the Festival is in its 22nd year in 2007. Highlights this year include a show of stone and bone carvings from Canada’s Far North, including carving demonstrations on the city’s popular Sir Winston Churchill Square. Ken Rinaldo will build his elegant and symmetrical installation of six robotic arms, their exposed wires and circuitry as elemental to the piece as the robots’ movement. A major exhibition of fine art glass is a juried show overseen by the Glass Art Association of Canada. Ted Kerr’s industrial photographic landscapes, shot while he was artist in residence at Shell’s Scotford refinery, are collected for the Festival, along with Vancouver painter Val Nelson’s new show, Minding the Gap.
GALLERY DIRECTOR PRAISED AFTER ROOF COLLAPSE Robert Steven, director of the Prairie Art Gallery in Grande Prairie, was praised locally and nationally for averting a potential disaster March 19 when half of the gallery’s roof fell in. At work early in the Gallery’s historic building, Steven noticed a crack in a central roof beam. With children due to arrive for the playschool in the building’s basement, the director quickly evacuated the Gallery and kept people from entering. The roof gave way soon after, but not before Steven was also able to move some of the art collection from the damaged space. Though he received a special “life saving” award for his actions at the recent Canadian Museums Association conference in Ottawa, Steven has acknowledged that the timing of the disaster is particularly bad. Now 18 Galleries West Summer 2007
with suspended operations for at least six months, the Gallery was about to embark on an ambitious, multi-million-dollar expansion and renovation project that would incorporate a library and new gallery space into the existing building. Groundbreaking on the project was set for this spring.
IN MEMORIAM: E. J. HUGHES One of British Columbia’s most significant painters, Edward John (E.J.) Hughes, died on January 5, 2007 at the age of 93 in his hometown of Duncan on Vancouver Island. After graduating from the Vancouver School of Art (now Emily Carr School of Art + Design), Hughes spent a few years as a commercial artist before being commissioned as an official war artist during World War II. Returning to Vancouver Island, he continued to develop the rich, ele-
mental landscapes that he would paint throughout his career. A chronicler of life on the Island, he captured countless vivid views of the region’s fishing industry, unique flora, coastal inlets, and his beloved Shawnigan Lake near Duncan. With work in the permanent collections including those of the National Gallery of Canada and the Vancouver Art Gallery, Hughes was named to the Royal Canadian Academy of Arts, the Order of Canada, and to the Order of British Columbia.
MANITOBA ARTISTS AWARDED $25,000 EACH A few years ago, Shirley Brown, an artist from Deloraine, Manitoba, had her imagination sparked by the chance discovery of a clutch of bird skeletons in a cook stove on her family farm (see page 41). The show she created from that discovery, Vestiges,
has since traveled extensively in Manitoba and Saskatchewan, and will open this summer at the Art Gallery of Swift Current. In April, Brown received a substantial grant from the Manitoba Arts Council to create the second phase of this artistic exploration. Called The End of Civilization, it will recreate her imagined view of primitive history through light, transparencies, and images. Brown is one of seven established artists in all disciplines to receive up to $25,000 as part of the Council’s Major Arts Grants program. The program designates funds to allow artists to devote time and energy to a significant project for up to one year. Other grant recipients in the visual arts this year include Sigrid Dahle, former director and curator of the Art Gallery of Southwestern Manitoba in Brandon, and multi-media artist Marcel Gosselin, who will create a series of large-scale diptychs in digital sterewww.gallerieswest.ca
Brendan Tang, Just What is it that Makes Asian Men So Appealing
Brendan Tang Kamloops-based artist Brendan Lee Satish Tang creates quirky and ornate clay hybrids that blend classic ceramic traditions, popculture appropriation and contemporary criticality, placing his work at the intersection of the post-modern discourse on art versus craft. Whether fusing French rococo vessels and plastic figurines, or Ming dynasty-inspired vases and anime-style robotic prosthetics, he reflects the tensions and contradictions of today’s increasingly global culture. He uses humour as a way to reflect on issues as varied as consumerism, the war in Iraq and climate change. Tang links his interest in hybridity to his family history, which includes several generations of ethnic intermarriage and intercontinental migration spanning China, India, Trinidad, Ireland and Canada. Born in Dublin, Tang grew up mainly in Nanaimo, B.C., and earned a Master of Fine Arts degree in 2006 from Southern Illinois University Edwardsville. His career is off to a strong start with recent exhibitions in juried and invitational shows in British Columbia and various U.S. cities. He was also teaching last term at Kamloops’ Thompson Rivers University, and says his main goal now is to create work he can sell with the eventual goal of becoming self-supporting as an artist. He began exploring clay as an undergraduate and admits he initially accepted the art world’s marginalization of the medium. “But the material just kind of gets into you,” he says. “I really enjoy working with it on a physical and visceral level.” But there’s cerebral content as well. By subverting the notion of beauty as it relates to the decorative arts, he inserts ceramics into a post-modern critique of formalism, utopianism and social detachment. Still, craftsmanship is important to Tang. He uses techniques such as hand painting, gold luster, airbrushing, hand-modeled filigree and photo-based decals, and compares clay’s mercurial nature to his own ability to bridge cultures. “Sometimes, I feel like I’m a bit of a cultural chameleon. But I don’t know if that’s because I’m an artist or because of how I was raised to mediate and navigate to try to understand the culture we live in.” This summer, Tang is participating in a national biennial exhibition at the Kentucky Museum of Art and Craft in Louisville. He also has a show, Through the Gilded Looking Glass, May 19 to June 23 at The New Gallery’s new location in Eau Claire Market, Calgary.
— Portia Priegert
PHOTO: MICHAEL COURTNEY
ogram. Wanda Koop, one of the province’s most distinguished painters, will create six large paintings under the name At the River of Secrets, exploring the clash of nature and technology, and sculptor and installation artist Jennifer Stillwell, who has just been commissioned by the Council for a major public art project, will produce a new body of ABOVE: Vancouver-based installation artist Stan Douglas is the winner of the 2007 Hnatyshyn Foundation Visual Arts Award RIGHT: Stan Douglas, Nu·tka·, 1996. A continuous video projection installation. Two-sided CAV laserdiscs; 4 laserdiscs or DVDs. Image Size: Variable
work interpreting architecture and its place in the environment.
VANCOUVER ARTIST WINS INAUGURAL AWARD Earlier this year, the inaugural $25,000 Hnatyshyn Foundation Visual Arts Award went to internationally renowned Vancouver-based photog-
rapher, filmmaker and multimedia artist Stan Douglas. Created to honour a mid-career artist for an outstanding existing body of work, as well as in anticipation of future contributions, the award is named for the late Ray Hnatyshyn, former Governor General of Canada. Chosen by a jury of six curators, Douglas is one of the most successful artists to come out of western Canada in the latter half of the 20th century. Since his first solo show in 1981, his works in installation, film, video and still photography have been exhibited at the Whitney Biennial, Documenta, the Venice Biennale, the Art Institute of Chicago, the Canadian Museum of Contemporary Photography, the Centre Georges Pompidou, and many others. In 1999, the Vancouver Art Gallery toured a retrospective of his work. Grounded in British Columbia myth and history, as well as influSummer 2007 Galleries West 19
West Vancouver In 2007 this city is embracing the art and culture of its Squamish roots with a series of exhibitions, cultural talks, artists’ demonstrations and other events. Growing out of the city’s designation as one of the 2006 Cultural Capitals of Canada, the centrepiece of this months-long event, called the Squamish Sculpture Symposium, is the dedication of a new piece of public sculpture in Ambleside Park. Called Sna7m Smánit (Spirit of the Mountain) designed by artist Xwa lack tun, the sculpture, featuring traditional Squamish symbolism, was unveiled in March. To celebrate the sculpture, and a renewed focus on Squamish and Coast Salish contributions to the community, the city planned events including the Stitúyntm, Enduring Traditions exhibition at the West Vancouver Museum through August 31. A selection of traditional and contemporary Coast Salish objects and artworks, this elegant exhibition has many pieces on public display for the first time. The Museum will also host a lecture series on the cultural traditions of Northwest Coast First Nations on May 9 and 23, June 13, and July 4, and talks on local First Nations cuisine and clothing.
ABOVE: Stitúyntm, Enduring Traditions at West Vancouver Museum LEFT: Salish basket with tumpline, Squamish Nation
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20 Galleries West Summer 2007
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➤➤➤ ences from 1970s American imagery and mid-20th century literature and film, Douglas’ photo conceptual work is often marked by non-linear and multiply viewpointed construction. His latest work, Klatsassin, debuted at the 2006 Vancouver International Film Festival. A murder mystery based on true events and told in high-definition video and still photography, it uses multiple points of view to tell of a clash between gold prospectors and the Tsilhqot’in in interior B.C. in the 1860s. The non-linear work is made up of high definition video and still photography.
of them from Canada and the rest international artists, chosen from a distinct region of the world each year. International recipients will be offered artist-in-residence opportunities at Canadian art schools or art centres, and a photography student or practicing photographer will be selected to intern with each international candidate. Currently the largest prize of its kind in Canada, the recipients of the first Grange Prize will be announced next spring, as the Gallery gets set to finish a spectacular, Frank Gehry-designed expansion.
AGO CREATES NEW PHOTOGRAPHY PRIZE
ARTIST SELECTED FOR AMBITIOUS WINNIPEG PUBLIC ART PROJECT
The Art Gallery of Ontario is opening its newest awards program up to an international field of fine art photographers. Called the Grange Prize, the $50,000 annual award will have a short-list of five artists, two or three
The Winnipeg Arts Council and the City of Winnipeg have chosen Jennifer Stillwell to design and build a new piece of public art for Waterfront Drive, at the intersection of historical and emerging cultural districts www.gallerieswest.ca
Providing quality art and custom framing in Art Central
Sean Randall - June 2007
Foothills, acrylic on canvas, 60” x 60”
Suite 207,100 - 7 Ave SW, Calgary, AB T2P 0W4
www.keystoneartgallery.com • email@example.com
one spring day... May 10 – 19, 2007
Arriving in Vancouver in 1953 at the age of 35, a refugee from the communist upheaval in Hungary, Marianna Schmidt took a night job as a lab technician, and began attending
Coquitlam's Evergreen Cultural Centre will feature Marianna Schmidt's works on paper
classes at the Vancouver School of Art. She quickly established herself as a printmaker, with extensive local and international exhibitions of her etchings, lithographs and serigraphs. And from there, she began a slow drift into public obscurity until her death in 2005, though she continued to evolve her creative style, and to output work prolifically. This summer, an important collaboration between three lowerWilliam Allister
mainland galleries will revive Schmidt’s legacy with a comprehensive three-part retrospective from late June to mid-September and the publication of an indepth catalogue. The Evergreen Cultural Centre in Coquitlam, the Burnaby Art Gallery and the Teck Gallery at Simon Fraser University are partnering on three shows. At Evergreen July 13 to September 15, the focus will be on original paintings and works on paper, while Burnaby will show prints and drawings from July 10 to August 26, and the SFU show will focus on photography and paintings from June 25 to August 30. Though her work was mostly overlooked by the time of her death, Schmidt’s work in Neo-Expressionism in the early 1980s had a great influence
along the banks of the Red River. The Drive links significant historic districts, including Portage and Main, the Exchange District, The Forks, and the site for the planned new Museum of Human Rights. The plan is for Stillwell to meet with community groups, the
City, and the Arts Council to develop artwork for the site. A semi-finalist for the Sobey Award in 2002 and 2006, Jennifer Stillwell is known for Suzy Webster, Electric Skin, video installation at Back Gallery Project
www.stephenloweartgallery.ca Suite 251, 255 Fifth Avenue SW • Calgary, AB (403) 261-1602
22 Galleries West Summer 2007
CAMROSE DUCOTE & JAMIE EVRARD
“Acts of Light”
Opening: Thursday, May 10, 2007 from 5-8 pm May 10 - 22, 2007
on Vancouver artists like Angela Grossman and Attila Richard Lukacs. The last 15 years of her life, shut in by ill health and social isolation, her small-scale works on paper were filled with disjointed, alienated figures, many of them floating above maps, influenced by Schmidt’s experience with war, migration and dislocation. This comprehensive retrospective will bring all aspects of her
LINDA NARDELLI & DOUG WILLIAMSON
“Different Strokes” Opening: Thursday, May 24, 2007 from 5-8 pm Artists in attendance. May 24 - June 7, 2007
experience and creative work together again.
CURATOR OPENS EXPERIMENTAL BACK-ROOM SPACE After eight years as a curator, most recently at Vancouver’s Buschlen Mowatt Gallery and OnePointSix Gallery, Monica Reyes has stepped out on her own with an unusual and slightly hidden space behind the Monte Clark Gallery. Called The Back Gallery Project, she’s opened with representation for three young artists, showing experimental work in new materials and new technology. www.gallerieswest.ca
Opened January 18 with an installation by Sascha Yamashita, she added a show by Suzy Webster called Electric Skin, featuring a new form of reactive fabric that glows blue when the wearer breathes on it. The space opens into the alley behind Monte Clark. “I wanted the location to be an important consideration,” Reyes says. “I wanted it to feel slightly underground.” Her plan is to add two more artists this year, and to keep programming shows that attract a new generation of collectors. “It’s a slow process of development,” she says. “But I definitely want it to evolve.”
OKANAGAN GALLERY HONOURS ONLEY With a collection of the very early works of B.C. watercolourist Toni Onley, the Art Gallery of the South Okanagan in Penticton has decided to honour the painter by renaming its Foyer Gallery after the artist. After
her site-specific and site-responsive work in galleries and public spaces, and her video and sculpture projects. Chosen for this project from 45 artists from across Canada who responded to the call to artists, she has shows upcoming at the Darling Foundry in Montreal, and at Winnipeg’s Plug-In Institute of Contemporary Art.
WALLACE GALLERIES LTD. 500 - 5th Avenue SW, Calgary, Alberta, Canada T2P 3L5 Tel: 403-262-8050 Fax: 403-264-7112 firstname.lastname@example.org • www.wallacegalleries.com Member of the Art Dealers Association of Canada
Summer 2007 Galleries West 23
“Sunset Fusion”, Acrylic on canvas
Joe David’s Entuck
April 27 – May 20 • Maria Curcic Compact Living ll
have inspired the master carver Joe David to create an unusual new work that mixes modern forms and materials with an ancient West Coast legend. His new work, Entuck, is a ghostly, alien form in milky blown glass, peering out of a half mussel shell carved from yellow cedar. David’s inspiration for the piece comes from a popular story of
“Golden Era”, Mixed Media, Joan Packham
revenge in his Nuu-Chah-Nulth culture — a woman stands on the shore crying over the loss of her child, who has been taken away by the Wildwoman of the Forest. She wipes the mucus from her nose and flings it toward the beach, where it lands in a mussel shell and transforms into this strange fetus, which quickly develops into a newborn child. She raises the mucus-child, who grows
“Radiance of Compassion”, Native Leather & Beading
May 25 – June 17 • Joan Packham & Colleen Rauscher Piecing it Together
“A Reflective Pool”, Acrylic Scratchboard
June 22 – July 15 • Deborah Ben Barrack Pluralistic Unity
July 20 – August 12 • Heather Brewster Scratching the Surface
As part of Craft Year 2007, Arts on Atlantic will be featuring adjunct shows of regional fine craft.
An Eclectic Mix of Fine Art & Craft 1331 - 9th Avenue SE - In Historic Inglewood - (403) 264-6627
www.artsonatlantic.com 24 Galleries West Summer 2007
A combination of bodily fluids and mussel shell
into a strong man and avenges her by killing the Wildwoman. Born in the Clayoquot town of Opitsat on Vancouver Island’s west coast, David’s strong sense of traditional technique is stretched on this new piece — the soft ovoid shapes aren’t common in West Coast art. But he was captivated by the supernatural elements of the story, and set out to create
moving to Penticton in the early 1950s with his two small daughters, Onley won a scholarship to attend the Institute Allende in San Miguel de Allende, Mexico. To fund the trip, Onley sold off 250 of his works at $5 each in Penticton, raising enough to travel south, where he stayed for three years. Over the years, the Gallery has collected a series of these auction works, giving them a unique picture of the painter’s early career.
curators and gallerists. Just released from Arsenal Pulp Press, Vancouver Art and Economies, edited by Melanie O’Brian, is a series of 20 essays on the evolution of Vancouver into a viable cultural destination. Particularly timely on the eve of the 2010 Olympics’ international spotlight, the book tears into the notion of the
A LOOK AT VANCOUVER’S CULTURAL EVOLUTION Within the past two decades, Vancouver has established itself as one of the cultural centres of North America, partly due to increased international interest in cultural communities outside the main thoroughfares (London, Paris, New York) but also because of the underlying cohesiveness and shared vision among the city’s artists,
Vancouver Art and Economies is published by Arsenal Pulp Press www.gallerieswest.ca
Entuck by Joe David, at Vancouver's Coastal Peoples Gallery
something completely new. Joe David and Entuck are represented by Coastal Peoples Fine Arts Gallery in Vancouver’s Yaletown district.
➤➤➤ city’s cultural definability, and examines the historical, critical and political elements that have come together to form Vancouver’s artistic identity.
MACKENZIE GALLERY CELEBRATES YEAR OF FAFARD It’s turning out to be a great year for Saskatchewan sculptor Joe Fafard. Invited to the Governor General’s home at Rideau Hall earlier in the year to celebrate the 50th anniversary of the Canada Council (one of a select group of distinguished artists from across Canada to be invited), the artist also received a Lieutenant Governor’s Arts Award in the category of Lifetime Achievement, and Regina’s Mackenzie Gallery will open a retrospective of his work in September. Best known for his life-like bronze sculptures of farm animals and ordinary people, Fafard works from his own bronze foundry outside www.gallerieswest.ca
Regina, the Julienne Atelier. After leaving the Mackenzie, the show Joe Fafard Retrospective will move to the National Gallery in Ottawa before embarking on a two-year tour of Canadian galleries.
MANITOBA STUDIO ROLLS OUT JUNE FESTIVAL With a unique approach to taking art into the streets, the Martha Street Studio in Winnipeg will celebrate on June 2 with the Steamroller Print Festival. Home of the Manitoba Printmakers’ Association, Martha Street will celebrate this public event and open house with hands-on workshops, music, food, and an opportunity to see large-scale print works created with a full-sized steamroller. With a mandate that includes classes, residencies, public exhibitions, and print sales, the Festival is an innovative way to take printmaking to the people. Summer 2007 Galleries West 25
“The Figure in Canadian Art” Rachel Berman, Dear Sammy, Oil on Canvas, 18.5” x 23”
Opening May 12, 2007
THE COLLECTORS’ GALLERY OF ART 1332 - 9 AVENUE SE, CALGARY, AB T2G 0T3 TEL (403) 245 8300 • FAX (403) 245 8315 WWW.COLLECTORSGALLERYOFART.COM • MAIL@COLLECTORSGALLERYOFART.COM
“Moment of the Majestic”, 2007, 30" x 40"
Celebrating 35 years of Canda’s best historical and contemporary artists
Our collections of Northwest Coast Native art, Inuit art and historic basketry, all longtime specialties of the gallery, are among the strongest in the region.
US GAL AS
Showing new and original works by some of Canada's greatest contemporary artists such as Randolph Parker, Robert Genn, Joe Fafard, Christopher Walker, Steven Armstrong, Paul Grignon, R.F.M. McInnis and Travis Shilling. Offering a great selection of historical and collectible Canadian paintings by Emily Carr, The Group of Seven, E.J. Hughes, Walter Phillips, The Beaver Hall Group, and many more.
RY OF CA LE
1880 - 2007. A sample of 500+ rare pieces collected and now available.
DIAN A NA
1-800-668-6131 or 1-250-537-2421 • #104 FULFORD-GANGES ROAD, SALT SPRING ISLAND, BC email@example.com • www.pegasusgallery.ca
26 Galleries West Summer 2007
PHOTO: MNBAQ / JEAN-GUY KĂ‰ROUAC
Paul Mathieu, La Mise en abĂŽme (dâ€™aprĂ¨s Juan SĂĄnchez CotĂĄn), 1992, porcelain, 20 x 45 x 45 cm. MusĂŠe national des beaux-arts du QuĂŠbec Daphne Odjig, winner of a 2007 Governor General's Award in Visual and Media Arts
ODJIG, MATHIEU AMONG GG WINNERS To celebrate its 50th anniversary, the Canada Council recently raised the amount awarded for its annual Governor Generalâ€™s Awards in Visual and Media Arts from $15,000 to $25,000 per artist. Benefiting from the largesse this year are three western Canadian artists, all of them established and highly regarded within their genres. Among the winners is Winnipeg-based sculptor and mixed media artist Aganetha Dyck (a double winner this year with a big award from the Manitoba Arts Council), and painter Daphne Odjig, based in Penticton, B.C. Born on Manitoulin Island in Ontario, Odjigâ€™s prolific and accomplished work touches on a variety of Aboriginal influences, mixed with sparks of Cubism and Surrealism. Winner of the Saidye Bronfman Award for fine craft (which has been folded into the GGs), Vancouverbased ceramic artist Paul Mathieu combines the functional with the decorative in his work, playing the two sides off each other in a critique of craft stereotype. An associate prowww.gallerieswest.ca
fessor at Emily Carr Institute of Art + Design and the author of Sex Pots: Eroticism in Ceramics, Mathieu was greatly influenced by a three-year residency in the ancient ceramics centre of Jingdezhen, China. From across Canada, the other artists awarded GGs in 2007 include Toronto sculptor Ian Carr-Harris, Toronto-based filmmaker R. Bruce Elder, Murray Favro, a multi-media artist from London, Ont. and Montreal-based abstract painter Fernand Leduc.
VANCOUVER BIENNALE AUCTION RAISES $3M After 18 months on public display, the works in the Vancouver Sculpture Biennale were auctioned off by Christieâ€™s in the spring, raising close to $3 million for the ongoing operation of the event and to establish an endowment for future public art in the city. The Biennale included 24 works by local and international artists including Sorel Etrog, Yoko Ono, John Henry, Bill Reid and Dennis Oppenheim. An interactive experience for visitors to the city, the show included a cell phone tour, and an
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Summer 2007 Galleries West 27
Toni Hafkenschied Photographer Toni Hafkenscheid says children are often drawn to his landscape work. Not surprising considering how he makes our big world appear toy-like. Raised and educated in Amsterdam and now living in Toronto, Hafkenscheid says the inspiration for his fanciful landscapes came in part from the model train sets he played with as a child and the summers he spent in B.C. “The landscape in B.C. is monumental,” he says. “It always felt very fake to me.” Hafkenscheid’s reality-bending work, including an extensive series of elaborate portraits often shot in strange, busy rooms, is represented in western Canada at Calgary’s Skew Gallery and at the Summit Gallery in Banff. GW: How do you achieve the miniature effect in your photographs?
travel around with a little compass so
Toni Hafkenschied: It’s done in camera. I’m shooting with a camera that’s typi-
I’ll come back the next day and see
cally used for architecture. It’s a camera like in the old days with the bellows, and
how it looks. Last summer I drove all
because it doesn’t have a rigid body like a normal camera, because of the bellows,
the way from Toronto to L.A., up to
you can actually play and tilt and swing the back of the camera. That will actually
Vancouver and then back. I do a lot of road trips.
Toni Hafkenschied, Rollercoaster, photograph, 2005, 48" x 48", Edition of three
throw things out of focus, so you get a very narrow depth of field. You get a strip
GW: What technique is used in your portraits to achieve the ornamental,
of focus and everything else is really soft. It’s a trick they use all the time in adver-
tising photography, and I use a film that gives me very saturated colour.
TH: I was inspired by paintings I’d seen back in Amsterdam. I really wanted to
GW: How do you choose subjects for a landscape photo, thinking particularly
have that painted look, and I was looking for very saturated colour. I used strobe
of the mundane, like the Hondas and Suburbans — which in your photos are
lights or flash — a combination of a couple of light sources really helps me
emphasize the face in a photograph and also get the colours very saturated.
TH: I typically shoot in the summer when there’s a lot of sunlight. I just drive
It’s all done with artificial lighting. If you had walked onto a set when I was
around and let the sunlight guide me. If I think a certain building might have
taking a photograph it would have looked like a movie set, but they’re
potential and the light is not good at that moment, I might take note of it. I
opportunity for viewers to participate in voting on favourite pieces and to blog about their impressions.
tently produced original and thoughtprovoking work.” Dyck is best known for her collaborations with honeybees, in which she places ordinary household objects in beehives — the results are elaborately waxed natural sculptures that leave a slightly eerie impression on the viewer. Her contributions to the artistic and cultural communities in Winnipeg have also been extensive. She currently sits on the Board of Directors at Plug In Institute
“HONEYCOMB” ARTIST WINS MANITOBA AWARD
28 Galleries West Summer 2007
LEFT ABOVE: Aganetha Dyck, winner of the Manitoba Arts Council Award of Distinction PHOTO: PETER DYCK
Lifelong Winnipeg resident and muchloved artist and mentor Aganetha Dyck has been honoured with the $30,000 Award of Distinction from the Manitoba Arts Council. The fifth Manitoba artist to be given the award, Dyck was a shoo-in for the recognition. The award was created to recognize senior artists who represent the province on a national and international scale. Judith Flynn, chair of the Council, says of Dyck that she “began her professional artistic practise later in life and has since consis-
LEFT: Aganetha Dyck, She caught the bouquet, women’s leather shoes, beeswax and honeycomb, 1995
— Amber Bowerman
of Contemporary Art, and she has devoted 20 years to mentoring young artists as part of MAWA, Mentoring Artists for Women’s Art.
SPINA LAUNCHES BOOK OF ART AND POETRY Launched in April at the Triangle Gallery in Calgary, painter and sculptor Fred Spina’s new book of poetry and paintings is called Arctic Notes and Prairie Places. Published by Bayeux Arts, the book is inspired by Spina’s recent work in the Arctic region of Kitikmeot, where he’s been working for the past four years as a counselor and art therapist. Best known for his public murals and sculptures around Calgary, Spina’s new work takes the reader high above the Arctic Circle in words and images. www.gallerieswest.ca
Through the spring and summer Artspace gallery will feature new work from established and emerging Canadian artists. Check www.artspacegallery.ca for details.
Artic Inookshook, Wanda DeWaard 24” X 36”, oil on canvas
Insulated, Gary Krawchuk 36” X 30”, oil on canvas
Mountain Meadow Lynda Wheaton 16” X 20” , oil on canvas Shopper at days’ end, Hugo Dubon 30” X 17”, oil on canvas Caroline #3, Robyn Oliver 30” X 30”, oil on canvas
Girl with Buckets, prairie landscape, Angela Morgan 24” X 36”, oil on canvas
The Old Apple Trick
fine art gallery
2nd floor of the Crossroads Market 1235 26th Avenue SE,Calgary, AB T2G 1R7 403-269-4278 ext 255 To host an event, contact Colin at (403) 269-4278 or firstname.lastname@example.org
Waterton Lakes 30 Galleries West Summer 2007
ID’S K IS S
85 Fourth Ave Gimli, MB 204-642-7453 www.mermaidskissgallery.com www.gallerieswest.ca
previews and profiles
A sampling of art and artists exhibiting in the West this season
Bacon. Both of these artists placed a premium on invention in an attempt to express visual equivalents for emotional realms in human experience. They also frequently keyed their work to the dark side of the human psyche, tapping BRITISH COLUMBIA: Aug 2 - 31, archetypal symbols, where mythic stories and themes are given new meaning. Bjornson Kajiwara Gallery, Vancouver Wyse’s pictorial nuances reveal a range of emotional sources delving into the realm of archetypes. By Kimberly Croswell Like symbolist art, Wyse’s mixed media images are non-didactic, communicating with A self-taught mixed-media artist, Max Wyse’s the viewer through the relationship between visual vocabulary draws on pure invention to colour, line and form. Aesthetic qualities are create his composite animorphs of human, anicombined with overt symbolism to evoke a feelmal and vegetal figures floating freely upon the ing that might, in turn, find expression in anothpicture plane. With a new show opening on er way. Like Wyse, Bacon and Redon produced August 2 at Bjornson Kajiwara Gallery in Vanimages that challenged the viewer’s comfort level couver, Wyse will exhibit a new series of works with animorphic imagery, but their styles are conto probe the subconscious and reveal new siderably different. While Bacon and Redon creatdepths of aesthetic consideration. ed figures in a spatial environment, Wyse’s Born in Kamloops, B.C., Wyse has exhibited imagery floats on top of a bare background. his work in Paris, Toronto, Vancouver and MonWyse leaves his structural elements floating treal, where he currently lives and works. His just as freely in space as the other connecting past work has referenced the artifacts of human images, and his relationship with the picture culture, such as architecture, war, and complane starts, unexpectedly, with the reverse side merce. His imagery draws first from an “eleof the work. Wyse begins by sanding the back mental” human (male) figure or figures, often of an acrylic/plexiglass panel and, as a result, partial torsos, or heads and arms, which in must conceptualize his art in reverse. He paints turn, are connected to various animals, such as in layers of colours, using pure pigments, mice, pigs, and birds, and various plants. crushed in a mortar and pestle, mixed with gel In works such as Blason (Coat of Arms), medium. In some cases, to incorporate a sense Wyse incorporates partial male torsos with disof weight and tended flower petals framed by a carpenter’s movement, he artist index ruler. Two mice peek through the form towards mixes soil into his Max Wyse . . . . . . . . . 31 the viewer. In another work, Mudman, an colours. The final Jane Ash Poitras . . . . 32 inverted male torso serves as a perch for a concolour, a coat of Andrea Zittel . . . . . . . 34 templative sparrow, which is surrounded by straight acrylic, may Marc Rembold. . . . . . 36 budding tree branches. While the dismembered be one of the most Randolph Parker . . . . 36 human figures remind the viewer of death, crucial and carefully Wyse’s constructed relationship with the living considered elements Hugh G. Rice . . . . . . . 37 Glen Semple . . . . . . . 37 non-human forms transforms the scene into in this process. By All About Alberta . . . . 38 one of rebirth and renewal. working from foreHeidi Hunter . . . . . . . 38 “This body is receptive in its giving of ground to backDennis Ekstedt. . . . . . 40 TOP: Max Wyse, Morning Garden, 61x61cm refuge to minerals, vegetables and animal life, ground Wyse Paul Fortin . . . . . . . . . 40 ABOVE: Max Wyse, Self portrait, 122x122cm and acts as a vehicle for the passage of human attains a transparShirley Brown . . . . . . 41 cultures,” the artist says. The result is an aesent and luminous Scott Pattinson . . . . . 41 thetic expression of the ancient give and take of living energy in all its forms. The quality in his work that is arrestingly unique. Martha Cole . . . . . . . 42 work reminds us that the human is also animal, and asks the question, “Who Represented by: Bjornson Kajiwara Gallery, VanRay Van Lune. . . . . . . 42 exactly is eating who?” Renato Muccillo. . . . . 43 couver; Galerie Simon Blais, Montreal; Envoy Two significant historical references emerge in Wyse’s art. The first is symbolRussell Yuristy . . . . . . 43 Gallery, New York ism, and the second draws from the figurative work of Odilon Redon and Francis www.gallerieswest.ca
Summer 2007 Galleries West 31
previews and profiles
JANE ASH POITRAS ALBERTA: Shaman, May 26 - June 7, Bearclaw Gallery, Edmonton
By Gilbert A. Bouchard While much has been said and written about Edmonton-based painter Jane Ash Poitras’ reputation as a creator of hard-hitting, politically and intellectually engaged art, not as much attention has been focused on an equally significant artistic and spiritual journey she’s undertaken with great vigor in the past half-decade. Poitras’ most recent show, an exhibition of multimedia, collage-based work opening at the Bearclaw Gallery on May 26th, is about myriad forms of international shamanism, following on the heels of several other spiritually engaged shows produced by the internationally-acclaimed artist. Her show Consecrated Medicine is still traveling across Canada (a show playing on issues of indigenous language and the spiritual) and her last two Bearclaw shows were Sacred Portraits and Profiles (featuring images of spiritual significance including portraits of Chief Dan George and Albert Einstein, and historic photos by Edward S. Curtis) and Cultural Hierophany (or Cultural Sacredness, an exhibition of images riffing on various First Nations people and ceremonies). Never afraid to deconstruct her own feelings, artistic process or deep motivations in her art, Poitras has described these recent spiritually-based shows as bodies of work meant to be as aesthetically, intellectually and spiritually correct as possible. She also intends them to be “empowered to the sacred,” aiming to draw viewers into the spiritual reality depicted, as well as making them question their own beliefs. Typical of her work over the past few years, this show boasts a rich array of images, lush colours and various drawn designs created using gel-transferred photographs and paint-based work created with high-quality, highly-layered oil pigments on traditionally stretched canvases. Poitras says the work was inspired by the various First Nations elders she’s met in her travels, and the realization that she was using more and more images of them in her work. “What I’m doing with this show is a series of paintings that deal with some 32 Galleries West Summer 2007
ABOVE: Jane Ash Poitras, Ethnobotinist With Neophytes, mixed media on canvas, 20" x 16"; BELOW: Jane Ash Poitras, Bolivian Shaman Protest, mixed media on canvas, 20" x 30"
aspect of shamanism,” says Poitras. “I’m asking things like, what is it? Is it around today? And exploring the idea that despite all the documentation found about shamanism, the only ones who really know what shamanism is are the ones who are immersed in its study.” Not wanting to limit herself to First Nations shamanism, Poitras is continuing an exploration of Tibetan spirituality, as well as an ongoing deconstruction of ethno-botany. Work in some of her past shows has detailed her study of sacred and medicinal plants like sage and mushrooms — no huge surprise, given that Poitras’ first post-secondary degree was a B.Sc. in microbiology. She subsequently completed a B.F.A. in printmaking from the University of Alberta and an M.F.A. in printmaking from Columbia University in New York. Poitras unifies all of her themes in the show’s featured image of the late pioneer ethno-botanist Richard Schultz, a painting that is one of Poitras’ favourite works in the show. “Schultz studied hundreds of plants used in shamanistic ceremonies based on his extensive travels and research, a journey that started with his joining peyote ceremonies and taking the medicine himself,” the artist says. “I did a small, simple piece of him sitting in a hut with South American kids waiting for the rain to stop. You see the compassion and the closeness the kids had with him, this magic moment captured of the white shaman advocate with these neophyte shamans.” Poitras, a popular visiting Native Studies instructor at the University of Alberta, is also embracing an open and inviting didactic element in this show, fighting cultural fear and ignorance with knowledge. “This all started with me going down south (to the American Southwest) for a trip that was supposed to be ten days long, but stretched out for two years and showed me a mind-blowing spiritual world,” she says. Represented by: Bearclaw Gallery, Edmonton; Mountain Galleries, Jasper, Banff, Whistler; Spirit Wrestler Gallery, Vancouver; Galerie Vincent, Ottawa; Fehely Gallery, Toronto www.gallerieswest.ca
Frantically, oil on canvas, 60" x 90", triptych
elebrating 25 years as a professional artist, Michel LeRoux captures viewers and transports them to his beloved forests, utilizing the brilliant light, colour and movement that pervade his work. Rather than focusing on a specific moment, he strives to portray the intrinsic character of the natural world with which he connects. Michel LeRoux has been Art Mode Gallery’s top selling artist in each of our galleries year after year since 1991. His paintings grace over 500 corporate collections and many more homes around the globe. Come discover the magic of Michel LeRoux’s paintings.
“Without a doubt, time will continue to be very kind to this Canadian artist.”
x u o R e L Michel
Denis P. Smith President Art Mode Gallery Canada Inc.
Calgary • Edmonton • Ottawa
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previews and profiles
ANDREA ZITTEL BRITISH COLUMBIA: Critical Space, June 11 - Sept 30, Vancouver Art Gallery
By Heather Ramsay
LEFT: Andrea Zittel, A – Z Time Tunnel – Time to Do Nothing Productive at All, installation, 2000 BELOW: Andrea Zittel, A – Z Homestead Unit [from A – Z West] with Raugh Furniture, steel, birch paneling with paint and polyurethane, corrugated metal roof, sculpted foam furniture, fleece blanket, pillows with pillowcases, camp stove with tea, and felted wool with A – Z Fiber Form Uniform and A – Z Container, 2000 – 2005 PHOTO: JOSHUA WHITE, COURTESY THE ARTIST AND REGAN PROJECTS, LOS ANGELES
PHOTO: ANDREA ROSEN GALLERY
Andrea Zittel drives through a corridor of southern California known as the Inland Empire every weekend. She heads to A-Z West, her 25-acre plot of desert near Joshua Tree National Park and the site of some of her most recent experiments with life, art and design. It’s a two-hour drive from Los Angeles, her other base, through the smogladen, formerly-agricultural, now highly suburbanized valley. But, the artist who rose to fame in the 1990s living in, eating and wearing her conceptual pieces in New York City, says this pilgrimage is an important part of her work. “It’s good to be surrounded by things that you hate,” she says of the oversized housing developments and shopping malls she passes on her way. “People buy so much and own so many cars, it seems like consumption is out of control.” Struggling with ideas about capitalism gone awry, a malady particularly pronounced in the suburbs of southern California where Zittel grew up, has become the basis of more than 15 years of work. Zittel, who received a Master of Fine Arts in sculpture from Rhode Island School of Design in 1990, has received accolades for her life-encompassing art. She has designed diets made out of dehydrated food (A-Z Food Group), outfits meant to be worn for six months at a time (A-Z Uniforms), and living spaces that accommodate all her needs in a 60-square-foot form (A-Z Living Units). She lived for a time on a man-made island (A-Z Pocket Property) of her own design and turned 168 hours of living outside the boundaries of time, cut off from sources of light and human contact, into art (A-Z Free Running Patterns and Rhythms). Her work explores people’s desire to control their own intimate universes, and many of her pieces touch on themes of freedom, isolation and escape. She is interested in the process (be it fabrication or design) as much as the product, and has noted that the user of an object shapes it in ways as noteworthy as the designer. It’s no wonder that an artist with such a fascination for designing the most
minute details of daily life in the smallest spaces possible, would be horrified by the glut of super-sized consumption running rampant in her home state. Although much of her work can be read as a critique of the modern over-capitalized world, Zittel readily admits she is product of her suburban upbringing. She has even taken on a corporate identity for herself. A-Z Administrative Services allowed the squeaky-voiced former mall-girl to create the illusion that she was something bigger than herself. The practical side of this was her need to be taken seriously by suppliers and fabricators in the course of creating her iconoclastic works. This summer, the Vancouver Art Gallery hosts the final leg of the first major retrospective of her work, Andrea Zittel — Critical Space, an exhibition co-curated by the New Museum of Contemporary Art in New York and the Contemporary Arts Museum Houston. She is keen to visit Vancouver, not only because of the connections that exist between the city and one of the exhibition’s curators, New Museum’s Trevor Smith (he went to the University of British Columbia) but because she’d like to explore the farthest reaches of what she calls her West Coast identity. Zittel is fascinated by the frontier history of the wild west and some of her work, like A-Z Wagon Stations, references the homestead era when five-acre plots were offered to those who could build improvements in the California desert and survive. Although the 75-piece VAG show features many of the extreme living spaces Zittel has created, she now has a partner and a young son, leading her to shift the direction of her work. A lot more of her art is happening outside of her stillsmall living space and in her studio where she is taking more control over the process. Many of her earlier pieces, like the mini-trailer A-Z Escape Units, are her design, but were fabricated by expert craftspeople. She is now exploring work she can create herself, such as felted, embroidered and woven textiles. Zittel is also enjoying working collaboratively with assistants and other artists who share her interests. One such project is High Desert Test Sites, experimental installations created by different artists each year in the desert communities near Joshua Tree. And her latest project, called Smockshop, is allowing young artists who need a way to make a living in a creative atmosphere to customize and sell her dress designs.
Morris Gallery presents:
Linda Molloy Lee Mackenzie Joanne Thomson Jan Brouwer D.F. Gray Roy Henry Vickers Mark Hobson Jeffery Boron Linny D. Vine
428 Burnside Rd E. on Alpha
Victoria, BC V8T 2X1
Regular gallery hours:
Tuesday - Saturday,
email@example.com â€˘ www.morrisgallery.ca
9:30 - 5:30
Summer 2007 Galleries West 35
previews and profiles MARC REMBOLD BRITISH COLUMBIA: Liquids, May 3 - 27, Jacana Gallery, Vancouver
Having a French grandfather who was a post-Impressionist, Marc Rembold began creating Impressionist works himself at the age of six. He had his first exhibition at 14. But as he grew older, the Swiss artist began forging a new path for himself that involved bold experimentation with colour, both pigments and technique. “I researched Marc Rembold, Glow, everywhere to find new pigments,” he sublimation polyethylmetacrylat, says. “In doing so, I created my own 2006, 92" x 48" colour concept that I call ‘light in colour’. These pigments change colour depending on temperature and when there is light. The colour changes are not dependent on electricity or anything else. In this way, a living colour was created. It’s a unique concept. Working in a contemporary context means working with materials and possibilities from now, not from yesterday.” About his Liquid series, Rembold says “for me, the intellectual point of my work is to rematerialize invisible electric light into a visible material colour form. From immaterial to material, from invisibility to the visible.” — Beverly Cramp Represented by: Jacana Art Gallery, Vancouver; Galerie Bernd Lausberg, Düsseldorf and Toronto; Galerie Kashya Hildebrand, Zurich and New York; Galerie Rosenbaum Contemporary, Boca Raton, FL
RANDOLPH PARKER BRITISH COLUMBIA: Brushstrokes, opens Aug 4, Pegasus Gallery, Salt Spring Island
Not since Ivan Eyre has a Canadian artist developed the art of panoramic landscape painting as Randolph Parker, Mountain Magic effectively as Randolph Parker. 2007, 16" x 20" Brushstrokes captures the grandeur of bioregions across Canada, and it includes Parker’s trademark horizontal canvases, as well as new formats to capture his sublime vistas. The newest experiments incorporate multiple vanishing-point perspectives in vertical and square formats. Throughout, one theme is significant: the viewer peering into the artwork sees in all directions — left, right as well as up and down — creating a subtle vertigo effect. While comparison with Ivan Eyre is appropriate — both artists compose imaginary landscapes to communicate a memory of a region’s ambiance — there are also significant differences in style. Eyre utilizes pointillism on dark backgrounds to activate the negative space. Parker draws his inspiration from Impressionist techniques, brushstrokes build up the objects he represents. Facing these brushstrokes up close, they appear to be nothing more than spots of colour, but when seen from a distance they become the painting’s imagined reality. As such, Parker’s brushwork allows him great freedom and spontaneity to create, and his painterly gestures become “a window into a world of thought and creativity.”— Kimberly Croswell Represented by: Pegasus Gallery, Salt Spring Island; Winchester Galleries, Victoria, Bau-Xi Gallery, Vancouver; Master’s Gallery, Calgary; Mayberry Gallery, Winnipeg. 36 Galleries West Summer 2007
previews and profiles HUGH G. RICE MANITOBA: From Irish Glen to Canadian Prairie, May 24 June 9, Woodlands Gallery, Winnipeg, MB
“My work is pretty close to pure abstraction, with the landscape as a starting point,” says Hugh G. Rice, a painter who divides his time between Ireland and his newly adopted homeland on the Canadian prairies. In looking at his work, it’s clear what he means. His newest paintings, a series of more than two dozen acrylics on canvas, feature prairie landscape. There is an active, lively quality to the works, though, splashes of colour that suggest he’s as interested in capturing the mood of the land as the look of it. An interest in the work of the Abstract Expressionists, including Jackson Pollock and Willem de Kooning, was furthered when Rice came to Canada and was exposed to the art of Jean-Paul Riopelle. Their “action painting” techniques show up in his own work. “(My) techniques are loose and experimental to a certain degree,” Rice says. “Sometimes (the paint) is poured, or flicked with a palette knife or even with my fingers.” And while he may be an abstractionist at heart, a love for the land is never far from the surface in Rice’s work. “I spend a lot of time in the landHugh G. Rice, Prairie Hue, scapes that I paint,” Rice says, “often acrylic on canvas, 2006, 30" x 30" just sitting still within the spaces.” Taking that mood back to his studio, Rice has created a body of work that celebrates the landscape through his own interpretation rather than simply through reproduction. — Lorne Roberts
may 19 - june 23
Represented by: Woodlands Gallery, Winnipeg, MB; Galeries d'Art
Beauchamp, Quebec; Nicholas Gallery, Belfast, Northern Ireland; Janet
Ross Gallery, Ramelton, Co. Donegal, Ireland
GLEN SEMPLE ALBERTA: May 5 - May 17, West End Gallery, Edmonton
Painter Glen Semple believes big artistic beauty comes in small packages. “Like the previous one, this brand-new show is based on the idea of ‘bit of beauty’,” says the Calgary-based photo-realist artist. “The last show was all about toys, this one is more about flowers in jars. I like details and getting lost in a painting. That’s one of the reasons I like painting glass jars and the objects that can be put into them — I like reflection and how glass distorts and captures light.” While Semple’s complex compositions are Glen Semple, A Bit of Spring, based on photographs, the process acrylic on canvas, 48" x 36" of creating the photographic base is more involved than simply snapping a shutter. “I might take up to 100 pictures with my digital camera, then use photoshop to piece together an image from all the elements I like,” he says. “I’d be a photographer if I could take a good photo. It’s much easier pulling together the good parts of a bunch of photos in a painting.” — Gilbert A. Bouchard
1111 - 11 avenue s w c a l g a r y, a b t 2 r 0 g 5 p. 403.228.4889 w w w . h e r r i n g e r k i s s g a l l e r y. c o m
Represented by: West End Gallery, Edmonton and Victoria: Herringer Kiss Gallery, Calgary www.gallerieswest.ca
Summer 2007 Galleries West 37
previews and profiles ALL ABOUT ALBERTA ALBERTA: May 25 - June 29, Nickle Arts Museum, Calgary
Fine art dealers since 1958
ANDREW McDERMOTT • May 2 – 13, 2007
LEIF OSTLUND • May 30 – June 10, 2007
Dawn Detarando’s Prairie Canary uses a prairie icon — the grain elevator — as an unlikely backdrop for socio-political metaphors: a caged canary delivers a warning about corporate pressures on rural life; a tempting apple represents the pull of urban centres. The clay piece Crys Harse, Tipsy Cup, is part of the Alberta Craft Council’s sterling silver, 4.5" touring exhibition All About Alberta, which opened last year at the Canadian Embassy Gallery in Washington, D.C. and now comes to Calgary. The exhibition features 43 pieces by 30 craft artists working in a range of media, from textiles to clay to jewelry. “I intended the pieces to say something about the diversity of Alberta that went beyond the clichés,” says curator Tom McFall, executive director of the ACC. “There’s still this modernist notion that if you’re local you’re not sophisticated.” McFall counters that “the intimacy of a work” is enriched by being rooted in the local. All About Alberta is firmly so, from Dee Fontans’ cheeky silverand-gold Red Mile Belt Buckle to Evelyn Grant’s teapot homage to her father’s Turner Valley farm and all its found wonders. McFall abhors the casting of craft as art’s unsophisticated cousin and says this exhibition, part of the Council’s celebration of 2007 as Year of Craft, helps the ACC in their drive to “reclaim the best aspects of the word craft.” — Amber Bowerman
HEIDI HUNTER MANITOBA: Dyed and Gone to Mexico — a Creative Journey, May 24 - June 9, Gallery Lacosse, Winnipeg
CHRIS BOWMAN George Bates Michele Kambolis Nicholas J. Bott Francine Gravel Daniele Lemieux Jae Dougall
Audrey Mabee Kiff Holland Wilson Chu Jose Trinidad Ted Harrison Victoria Block And Others......
Pamela Sukhum Angela Au Hemphill Alan Nakano Jacek Rudnicki Peter Wyse Mary Comber Miles
Heidi Hunter, an established fibre artist who works out of her studio in rural Manitoba, has little patience for the distinctions some might try to draw between art and craft. “I spend absolutely no time concerning myself with the definition or differences between art and craft,” she says. “I pride myself in both my craftsmanship and my artistry, and it all comes from that same place.” Decades into a successful career as one of Manitoba’s premiere textile and quilt artists, Hunter has now added drawing, painting, printmaking and collage to her repertoire, courtesy of two recent artistic journeys in Mexico. Studying there under a painter and printmaker, along with the stimulation of immersing herself in a different culture, has given Hunter’s latest work an added richness and depth. “I had absolutely no background in drawing, but I was excited by the creative process of art, journalling my Mexican experiences through drawn images,” she says. “Since then, I carry my sketchbook everywhere I go.” This new freedom shows up in the spontaneous, joyful forms of her latest work, which blurs the boundaries between quilting, painting, drawing, and printmaking, often blending several or all of these media into single works. The resulting exhibition marks an exciting creative breakthrough for an artist whose work already existed, free of categories, in a space of its own. — Lorne Roberts Represented by: Gallery Lacosse,
901 Homer Street Vancouver, BC Canada V6B 2W6 Tel 604.732.5217
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Winnipeg; Fishfly Gallery, Winnipeg Beach, MB Heidi Hunter, Fiesta, primitive hand appliqué, artist's hand-dyed and
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Summer 2007 Galleries West 39
previews and profiles
Leighton Art Centre
Aartwork Sense of Place from coast to coast May 12 to July 3, 2007 Reception & Stevens’ Award Presentation: Saturday, May 12 - 2-4pm This is the ﬁrst juried Society of Canadian Artists exhibition staged in the West and Celebrates the diversity of artistic expression in Canada. The SCA is a national arts organization dedicated to promoting the visibility and stature of the visual arts. “City Iris” Zora Buchanan, Ontario
ALBERTA: Dissolve, April 14 - May 12, Herringer Kiss Gallery, Calgary
Anyone who’s ever flown into a city after dark will see something familiar in Montreal artist Dennis Ekstedt’s Cluster. The oil painting recreates the romantic — and sometimes forlorn — sight of a sprawling illuminated night metropolis. “I’m interested in light, especially artificial light,” says Ekstedt, who studied fine art at Concordia University and Emily Carr. The 2002 Dennis Ekstedt, Instant # 6, eastern Canadian winner of the RBC New oil on canvas, 2007 Canadian Painting competition grew up in small towns but gravitated to big cities. “Distant views of cities at night have appealed to me ever since I was a child,” he says. “They’re images of the romantic sublime.” Ekstedt sees it as modern landscape. “Even though you don’t see the land in the nighttime cityscape, you can suggest the shape of it,” he says. None are of particular places, but are general representations or motifs of urban “nervous systems.” Ekstedt does use images of cities — like magazine photos — as source material and often adds a glare or reflection to his paintings to suggest the scene is being viewed through a window. “When you suggest something in front of the image you suggest a presence, a viewer,” he says, an effect that adds to the illusion that the scene has been captured on film by someone captivated by the pulse of a city below them. — Amber Bowerman Represented by: Herringer Kiss Gallery, Calgary; Patrick Mikhail Gallery, Ottawa; Saatchi Gallery, London, England
Clothesline Art Sale & Festival Sunday June 3, 2007, 11 am-4 pm Don’t miss this annual springtime classic. Choose from an eclectic mix of original /matted art hung on clotheslines in festive tents outside! A fun day for the whole family - pack a picnic and spend the day in the country. Event runs rain or shine!
• Hay Rides • Artist Demonstrations • Food Concession • Zimbabwean Stone Sculpture Walk • Art Activities for Kids • Live Music • Museum & Gallery Tours Just 15 minutes SW of the City of Calgary: call (403) 931-3633 or visit our webpage for directions www.leightoncentre.org Hours: Tuesday through Saturday 10am - 4pm Box 9, Site 31, RR #8 Calgary, Alberta T2J 2T9 40 Galleries West Summer 2007
YUKON: ( ), May 10 - June 15, ODD Gallery, Klondike Institute of Art and Culture, Dawson City
After a year of almost ceaseless travel that took him to artistic residencies in places as far flung as Trinidad, Iceland, Norway, Toronto, and Ivvavik National Park in the northern Yukon, Inuvikbased painter Paul Fortin had a welldefined case of traveller’s fatigue. Some of the work he produced during that Paul Fortin, Staircase, oil and time, included in this eight-piece show pencil on paper, 2007, 74" x 62" in Dawson City, reflects that feeling of dislocation and burnout. Paint, or ink on paper, these elemental landscapes and cityscapes have a fleeting but familiar look to them — there’s a quaintness that recalls the picture-perfect viewpoints of travel postcards. But each one is missing something — Fortin has left voids in each view, a technique that gives the work a silkscreen effect, but also says something about memory and the blurriness that comes with extensive travel. Fortin has reflected his own recollections of travel, but also hopes the viewer will recognize a common experience in each work. Originally from Peterborough, Ontario, after training at schools including the Ontario College of Art and the Nova Scotia College of Art and Design, Fortin embarked on what he calls a “nomadic lifestyle”, eventually settling on the northern edge of the Northwest Territories on the Mackenzie River delta. A disconnection between society and the environment informs much of his work, but he says about ( ), the title of this show, that while it “may represent a void or emptiness, the interpretations that the viewer brings to the paintings will be full of life and atmosphere.” — Jill Sawyer www.gallerieswest.ca
previews and profiles SHIRLEY BROWN
PHOTO: ERNEST MAYER, WINNIPEG ART GALLERY
SASKATCHEWAN: Vestiges, May 28 - June 30, Art Gallery of Swift Current
As the title to Shirley Brownâ€™s extensively traveled exhibition, Vestiges, might suggest, this installation, originated at Brandonâ€™s Art Gallery of Southwestern Manitoba, imagines a museum display of what is itself an imagined civilization. Responding to 29 bird skeletons she found in an old cook stove on her familyâ€™s abandoned homestead in Manitoba, Brown offers us material traces and invented remains here â€” â€˜artifactsâ€™ such as shrines and reliquaries â€” that in sum coalesce into a picture of a lost fictional culture and its belief systems. While poetically pointing to cultural memory and our commemoration of the past, these elegant but somewhat creepy fragments more critically inquire into the way in which we hold and shape history. Adopting museological practices and strategies, Brown displays her fantasy relics within vitrines, locating, ordering and labeling them systematically via taxonomic protocols. She also writes didactic information panels contextualizing and explaining her â€˜findsâ€™. Forcing plausibility from the implausible, Brown confronts scientific evidentiary claims to truth, dispatching both logic and objectivity. The viewer comes to understand that not only are museums physical sites but ideological edifices built on and maintaining societyâ€™s normative values and its claims to reality â€” exposing the provisional nature of our personal and cultural memories. â€” Jack Anderson
Shirley Brown, Slide Specimen Light Table, mixed media, 2005
SCOTT PATTINSON BRITISH COLUMBIA: Peripheral Flash, Jul 24 - Aug 12, Elliot Louis Gallery, Vancouver
What is the â€˜flashâ€™ Scott Pattinson refers to in his summer exhibition of recent works? Part of the answer can be found in his exhibition statement: â€œObjects or places that are â€œrealâ€?, not contrived; it is as simple as the silence of spaces between things, such as rocks moving together, between your toes on a beach, or the sunâ€™s rays refracting off particles in the air, to illuminate the space and air around you, perhaps an authentic moment. Seldom do we stop to appreciate these moments, gone, in a flash...â€? The body of work Pattinson shows in Vancouver this summer is a continuation of a theme he has been working on for nearly two years that he calls â€˜Torewaâ€™. â€œEach piece has a life, and the body of work becomes a series of experiences,â€? Pattinson says. â€œViewers can expect to see a colourful exhibition comprised of a layering of shapes and other elements that communicate with each other, created with emotion, passion, sensuality, and the subconscious.â€? The artistâ€™s earlier ambition was architecture before he switched to painting. He still uses cardboard models for inspiration but then quickly moves on. â€œMy emotion takes over with thoughtful control once I am past the original structure of the piece,â€? he says. â€” Beverly Cramp Represented by: Elliott Louis Gallery,
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Vancouver; Herringer Kiss Gallery, Calgary; Agnes Bugera Gallery, Edmonton; ACA Gallery, Toronto
Scott Pattinson, Torewa 79, 30" x 30", mixed media on board www.gallerieswest.ca
Summer 2007 Galleries West 41
previews and profiles
CELEBRATING 32 YEARS IN CANADIAN FINE ART
Claude A. Simard
l ne Gamache
WEST END GALLERY 12308 Jasper Avenue, Edmonton, Alberta T5N 3K5 (780) 488-4892
MARTHA COLE SASKATCHEWAN: The Turned Land, April 27 - May 26, McIntyre Gallery, Regina
Working from a position that “beauty is not an option” but operates as a necessary antidote to negative current social and cultural problems, wellknown Saskatchewan fabric artist Martha Cole continues to bring her sophisticated and, yes, beautiful adaptations of sewing and quilting processes to her on-going questioning of our role and place in the ecosystem. Transforming fabric into image, we see realistic scenes of the tilled and turned agriculturalized prairie landscape — from close-up images of soil and plants to panoramas that capture visual patterns left in stubble fields. In a major departure, Cole approaches this new body of work in an untraditional way. Adopting current digital technologies, she transfers computer-printed images onto fabric and then paints, stitches and quilts back onto them. While it is tempting to see these lush large-scale works either as memorializing records of an almostpast prairie way of life — which they are — she asks us to look beyond the specifics of place and time represented here. Cole’s soft subversions in fact record technologized 21st century multinational farming practices. Through them she more broadly interrogates our use of the earth. “If this is what the earth has given us,” she asks, “what are we giving back in return?” — Jack Anderson
Martha Cole, The Turned Land, digital image on polyester, unbleached cotton, Setacolor fabric paints, batting, assorted threads, 2007
Represented by: McIntyre Gallery, Regina
11th ANNUAL CANADIAN GLASS SHOW July, August & September 2007 June Pham
RAY VAN LUNE ALBERTA: Summer 2007, Kensington Gallery, Calgary
Ray Van Lune describes the inspiration for his paintings as “a lot to do with the space, huge skies and general nature of the land in Alberta.” His study of painting began in 1973 and spanned 17 years and three venerable Alberta institutions: Red Deer College, The Banff Centre and the Alberta College of Art and Design. His long education and career have seen him alternate between an abstract style and more traditional landscapes about once a decade. But he considers himself a landscape painter regardless of the style that ends up on the canvas. His two distinct forms aren’t entirely dissimilar: the colours and strokes in his abstract works are evocative of a season, time of day or place. The landscapes, while recognizable as prairie or foothills scenes, have elements of abstraction in them. “I think it can be better not to be too specific,” Van Lune says. “A landscape can lose its power if you give it a name. It becomes somehow smaller.” He adds that central Alberta, where there’s a good mix of farmland, trees and lakes, is particularly inspiring to him. “It’s all sort of mixed together,” he says. — Amber Bowerman Represented by: Kensington Gallery of Fine Art, Calgary; Front Gallery, Edmonton
WEST END GALLERY 1203 Broad Street, Victoria, British Columbia V8W 2A4 (250) 388-0009/Toll Free 1-877-388-0009 www.westendgalleryltd.com • OPEN DAILY
Ray Van Lune, 3 Sides, acrylic on board, triptych, 23" x 53"
42 Galleries West Summer 2007
previews and profiles RENATO MUCCILLO BRITISH COLUMBIA: Terra Nocturna, May 27 - June 9, Avenue Gallery, Victoria
“We owe it to ourselves to look beyond what is obvious,” says Renato Muccillo. “Darkness offers more than we may readily perceive.” In Terra Nocturna, the artist’s latest paintings offer an uncommon theme — landscape paintings of nature at night. Muccillo draws his inspiration from the landscape surrounding his home in the lower mainland of British Columbia. Unlike the heroic tradition of Canadian landscape painting — the depiction of nature as wild and “untouched” — Muccillo’s ethereal scenes are ordered by human development. His subject is a land that has been transformed and appropriated, either by farming or industry. In keeping with his theme, Muccillo’s style refers to the 17th Century Dutch tradition of landscape painting — nature is ordered by the artist to create a pleasurable scene for the eye to meander through. Following this tradition, Muccillo creates richly detailed scenes filled with verdant colours and warm shades. His evocation of half-light encourages the viewer to draw from his landscapes an experience of the everyday beauty of nature. However, it is a nature “civilized”, a groomed, rationally-ordered place. — Kimberly Croswell Represented by: Avenue Gallery, Victoria; White Rock Gallery, White Rock, BC; Alicat Gallery, Bragg Creek, AB Renato Muccillo, Sitka Spruce Nocturne Study, oil on canvas, 18" x 18"
RUSSELL YURISTY SASKATCHEWAN: May 25 - June 20, Nouveau Gallery, Regina
“Attacking”, as he puts it, large sheets of plywood with wood carving tools, Ottawa artist Russell Yuristy creates large-scale black and white prints with an expressive directness that resembles his gestural paintings. Working without preconception, his images of woodland animals and wild plants such as mullein, bull thistle and red tail grass develop — grow — almost organically under his hand. As well, he includes etchings in this new body of work, executed with electric grinding implements that enable him to work quickly and intuitively. Externalizing not only his personal identification with nature but his metaphorical “admiration of all life”, Yuristy’s work celebrates a utopia that he considers less an idealization Russell Yuristy, Two Oaks, found elsewhere, but one present in woodcut, 2006, 45.25" x 29" nature around us. Further collapsing distance through a gesture of intimacy, he hand-colours some of his images with pastels. While avoiding overt cynicism or anger about the damaged and endangered ecosystem we share with these life forms, Yuristy nonetheless asks us to consider our place within the ecosystem. Indeed, his untroubled, graphically lush images bring us closer to nature, bridging physical and emotional gaps that separate us from it. Beyond resignation or frustration, his is an ethic of equanimity; his prints, a personal offering of goodwill. — Jack Anderson Represented by: Nouveau Gallery, Regina; Cube Gallery, Ottawa www.gallerieswest.ca
Summer 2007 Galleries West 43
NORMAN YATES, Landspace 215, mixed media on paper, 2007, 5 panels, 101.5 cm x 381 cm.
April 26 - May 19 MITSU IKEMURA
May 24 - June 16 NORMAN YATES
UPSTAIRS 1619 Store Street Victoria BC V8W 3K3 Tel 250 381 3422 firstname.lastname@example.org www.franwillis.com
44 Galleries West Summer 2007
May 12 - June 30
1992 - 2007: Celebrating 15 years...
G’DDY UP! Featuring: Joe Andoe, Joshua Jensen-Nagle, David Levinthal, David Robinson, Kevin Sonmor and others!
David Levinthal, Untitled (Wild West), 1989, Polaroid Polacolor ER Land Film, 24" x 20"
Jonathan Forrest, Captain, 2007, Acrylic on Canvas, 32” x 24”
July 07 - August 25
730 eleventh avenue sw calgary ab t2r 0e4 t.403.266.1972 email@example.com www.newzones.com
Summer 2007 Galleries West 45
OUTSIDE VICTORIA, LINDA AND HARRY STANBRIDGE SHARE AN ARTISTIC, INTELLECTUAL AND SPIRITUAL COLLABORATION
PHOTO: BOB MATHESON
46 Galleries West Summer 2007
Harry and Linda Stanbridge live in a house of windows and light that they designed and built just outside downtown Victoria in 1980. They have been married for 35 years, only a few years less than they’ve been pursuing careers as artists. Linda’s skylit studio occupies two spaces in one wing of their home. Harry’s studio is a large separate building with a vaulted ceiling set in the garden amongst the tall trees in the back of the house. About 9 a.m. most mornings Linda has the pleasure of strolling from the warm kitchen to her warm studio with her morning coffee, while Harry tramps through the rain or snow to his studio. These small consequences — who uses which studio — might mean something humorous about their relationship, or it might indicate something practical about the division of labour in their family life. The discussion about who got which studio was probably both pragmatic and funny. Harry Stanbridge was born in Quesnel, B.C. in 1943. He began drawing and painting as a youngster and in 1963 moved to Vancouver to study at the Vancouver School of Art (now the Emily Carr College of Art and Design), and to launch his career with his first exhibition at Bau-xi Gallery in 1966. Following graduation in 1968, he worked in his studio for three years before entering the University of British Columbia to complete a Bachelor of Art Education and a Master of Arts. The focus of his creativity at the time was closely related to theories of Hard Edge painting, which was the ‘going thing’ on the West Coast in those years. At the time, according to his own confession, he had an existential attitude and personality and enjoyed partying. That quickly changed when he met his future wife. Linda Stanbridge (neé Morton), was born in Glasgow, Scotland, in 1948. She moved to Canada with her family when she was ten years old, where she drew and painted constantly.
BY BRIAN GRISON www.gallerieswest.ca
Christus-Triumphans, Harry Stanbridge, acrylic on canvas, 1999, 8' x 6'
Summer 2007 Galleries West 47
A DISCUSSION OF THE WORK OF EITHER OF THESE ARTISTS WOULD HAVE TO TAKE IN THEIR PERSONAL PARTNERSHIP AS WELL She studied at the Vancouver School of Art between 1967 and 1969 but withdrew before graduation to begin working full time as assistant to Douglas Christmas, owner of ACE Gallery in Vancouver (now in Los Angeles and New York). This was the only commercial gallery in British Columbia that showed the latest American art, and Linda met Frank Stella at ACE. She was deeply affected by his minimalist stripe paintings, though this influence did not emerge in her art until the 1990s. Harry and Linda met in 1967 while they were art students. They married in 1971 and moved to Victoria three years later, and between 1978 and 2003 Harry was the art teacher at Spectrum High School where he influenced many budding artists, including Peter Schuyff, a member of the Neo-Geo style of painting in New York. Throughout his teaching career, Harry was able to maintain a regular studio practice and to exhibit regularly in British Columbia, Alberta and Ontario. Today his art is represented by Fran Willis Gallery in Victoria and the Virginia Christopher Gallery in Calgary. For about a decade after marrying Harry, Linda’s situation was somewhat different. From the birth of their first son Jeremy in 1972, to the fourth birthday of their second son Robin in 1981, her studio practice took second place to life as a wife, homemaker and mother. But since 1984 she has exhibited widely in Canada and the United States. Winchester Galleries in Victoria, Douglas Udell Gallery in Vancouver and Artist Space in New York have represented her work. In the early 1980s, while Harry continued with his large canvases, Linda began teaching herself how to work with clay. The meditative process of throwing clay on a wheel was a respite from the demands of family life, but eventually making three-dimensional functional objects became too limited. The solution was suggested the day she accidentally dropped a wall piece. The shards suggested the possibility of constructing much larger wall sculptures constructed with modular clay components. By 1989, her experiments had evolved into the ceramic and metal wall sculptures that define her work today. A discussion of the work of either of these artists would have to take in their personal partnership as well. Their long history as a couple would be expected to closely interweave their creative processes, but though they
regularly engage each other’s art both sympathetically and critically, they work in separate studios. In practical and formal terms, Harry is a draughtsman-painter working in the manner of the particular stream of modernism articulated by Barnett Newman and Mark Rothko. Among other characteristics, the layered surfaces of his large colour-field abstractions recall sublime emotions. Linda, on the other hand, is a sculptor with a strong design and craft sensibility whose work suggests a scientific mind studying nature, optics and illusion. There is an important common inspiration in their individual artistic lives, though it’s not necessarily obvious in the artwork itself. They are both committed to representing and expressing a contemplative Christian ethos through their art, an element that is often more apparent in Harry’s symbolically resonant paintings, just as it more quickly finds its casual but clear voice, like another guest, in his dinner conversation. The Christian influence in Linda’s art is more subtle and harder to read. In conversation, Linda’s spirituality appears more secular, perhaps reminiscent of the contemplative philosophy of the 20th-century literary naturalist and scientist Loren Eiseley — an advocate of the philosophy that any human experience is spiritual, and part of an immense personal and human journey. How the Stanbridges came to Christianity through, or in, their artistic practice is a significant part of their story, as individual artists and as a couple. Linda discovered it in 1964 when she was 16, and though she had attended church regularly with her parents, she had found their conventional religious practice to be uninspiring and sometimes oppressive. By the time Harry asked her out in 1969, she was deeply committed to her own private spiritual practice, and she declined his request because she was on her way to church. Harry recognized that if he planned to pursue her he would have to play by her rules, and he began attending church with Linda. Kneeling among a quietly praying congregation was an epiphany for him, a traumatic spiritual breakthrough that within minutes completely changed the path and meaning of his life. On April 26, the Stanbridges opened a co-exhibition at the Two Rivers Gallery in Prince George. Communion, curated by gallery director George Harris, displays work from the past five years. As well as being a study of their shared vision, the exhibition is a testament to their discoveries in the intellectual as well as spiritual life that backs all human experience. Today, both artists are involved with a lay group of Christian contemplatives, a tradition that is 2,000 years old. Their discipline as artists is a more subtle and private practice — one that encompasses all their creativity. Like the medieval story of the circus entertainer who joined a monastery to discover that he could express his devotion only through the skill of his juggling act, Harry and Linda make art that reaches for transcendental insights, both intellectually, and as devotion. Linda and Harry Stanbridge: Communion is on at Two Rivers Gallery in Prince George, B.C. through June 24. Linda Stanbridge: New Work is on at PHOTO: BOB MATHESON
Winchester Galleries in Victoria May 5 to May 26.
48 Galleries West Summer 2007
Brian Grison is a Victoria-based writer and artist, with work in the collections of the Art Gallery of Ontario, the Art Gallery of Greater Victoria, Art Bank and the Surrey Art Gallery. He has published exhibition reviews and essays in Canadian Art, Artichoke, Focus, and MIXmagazine. www.gallerieswest.ca
Spine, Linda Stanbridge, fired ceramic, quarter-inch aluminum plate, powdercoated, welded aluminum support, 2007, 72" x 26"
Summer 2007 Galleries West 49
LEFT: Touchstones (at left) in Nelson, B.C.
RIGHT: Marlene Bowman,
Alderboard Teapot, raku fired teapot with aldercone and motherboard impressed designs, from the Stinking Fish Studio Tour
BELOW: The coastline at Sooke, B.C.
FIND A SUMMER’S WORTH OF GREAT GALLERY DESTINATIONS, FROM SOOKE TO WINNIPEG BEACH
BY JILL SAWYER Summer is road trip season, a time to explore beyond urban borders and discover destinations further off the beaten path. There are cultural gems in all corners of the western provinces, many of them maintained by gallerists passionate about their regions and their hometowns. Here is a short list of farther flung galleries and studio spaces that put road trippers in touch with local culture.
BRITISH COLUMBIA A very short drive northwest of Victoria, along the scenic west coast of Vancouver Island, the towns of Metchosin and Sooke have long been magnets for arts and culture. Artists have been drawn to the slower pace of the Island, and the sheer beauty of a studio surrounded by rainforest. One of the highlights of the region’s summer cultural calendar is the Stinking Fish Studio Tour July 28 to August 6, which winds its way through the artists’ studios of East Sooke and Metchosin. More than 20 artists are featured on the Tour, including potters, artisanal jewellery-makers, textile artists, metalworkers, wood turners, painters, photographers and printmakers. A bi-annual event (the Fall tour gets underway at the end of November), artists are peer-juried before acceptance, and this is a true studio tour — visitors will see inside working artists’ studios. While the Tour is on, artists’ locations will be well-marked with signage and the Tour’s fish logo. Find more information at www.stinkingfishstudiotour.com One of the most iconic spots in the region is the popular Sooke 50 Galleries West Summer 2007
PHOTO: COURTESY TOURISM VANCOUVER ISLAND
Harbour House, which maintains its own art gallery and collection of work by Vancouver Island artists and artisans. Named one of the top five hotels in North America by Travel & Leisure Magazine in 2006, the inn’s gallery repreFIND IT sents more than 60 artists. According to innkeeper Frederique Philip, most of the Drive northwest out artists are chosen for a sensibility that fits of Victoria on with the inn’s mandate for representing the Highway 1 and west best of Vancouver Island. on Sooke Road. On the other side of the province, deep in the Kootenay region, which is marked by the wooded peaks of the Selkirk mountain range, and a stretch of cold, clear lakes, the city of Nelson has also long been a draw for artists. Its own unique beauty can be seen in its exquisitely maintained heritage homes and commercial buildings, which cover the hill overlooking the narrow west arm of Kootenay Lake. Late last year, the city re-opened Touchstones Nelson Museum of Art and History, in the heritage stone former post-office building. Originally opened in 1955 in a much smaller space, the centre holds a history museum and art gallery, and hosts public readings, talks, and other events. A close connection with the students and faculty of the local Kootenay School of the Arts gives the centre access to shows of regular art and artisan work, and this summer the gallery will open River of Memory, a traveling multi-media exhibition by curator Bill Layman on the human and natural history of the Columbia River. Up the road and through the Monashee mountain range in the direction of Vernon, B.C., the tiny town of Cherryville has its own reason to celebrate the arts. A FIND IT vibrant arts community tucked into the mountains west of the Arrow Lakes region, From Vernon, drive east on Highway 6 to the town hosts the Cherryville Arts Cherryville, then Festival August 11 and 12, and also opens continue south on 6 to its small artisan shop through the summer. Highway 3A, which The shop is home to local work including travels east to Nelson. pottery, fibre arts, jewellery and art glass. www.gallerieswest.ca
LEFT: Highway 22 on the Cowboy Trail, south of Longview
ABOVE: The Leighton Centre, near Millarville outside Calgary
RIGHT: The highway near Waterton Lakes National Park
PHOTO: TRAVEL ALBERTA
ALBERTA West of Calgary, and south on Highway 22 (also known as the Cowboy Trail), the foothills stretch west to the peaks of the Rockies, and the region is home to jewelers and silversmiths, potters and saddlemakers. Commanding a particularly striking view is the Leighton Art Centre just outside the hamlet of Millarville off Highway 22. The historic home of painter A.C. Leighton, the Centre sits on 80 acres of foothills landscape, now home to regular art classes for adults and children, as well as art camps and special events. This summer, the Centre will host A Sense of Place, a Society of Canadian Artists juried show, May 12 to July 3. And June 3 marks Leighton’s Clothesline Sale, with the work of more than 70 Alberta artists pinned to clotheslines for sale, as well as music, kids’ events and artists’ demonstrations — it’s a particularly popular event in picnic-worthy weather. Further south on 22, in the western town of Black Diamond, the Terra Cotta Gallery provides a snapshot of the art and artisan work being done in the FIND IT foothills region. The Gallery carries blown From Calgary, drive and sculpted glass, pottery, painting, sculpsouth on Highway 2 ture and jewellery, and hosts regular exhibithen west on Spruce tions. From Highway 22, drive east to Meadows Trail to Highway 2 and south to Nanton, a small Highway 22 then grid of streets with preserved heritage buildsouth on Highway 773 ings that is home to the Antique and Art to the Leighton Centre Walk of Alberta, a selection of artisan (watch for the signs). shops and stores specializing in western and Return to 22, then prairie antiques. follow south to Black Further south on Highway 2, the city of Diamond, east of Lethbridge is an unlikely centre for fine conHighway 22 on temporary art in Canada, but it has become Highway 7 to a magnet for high-calibre touring shows, Highway 2, then artist residencies, and solo exhibitions. Part south on 2 to of this is attributed to the fine art departNanton and ment at the University of Lethbridge, Lethbridge. which has been temporary home to some of www.gallerieswest.ca
PHOTO: TRAVEL ALBERTA
the province’s, and the country’s finest contemporary artists, including Janet Cardiff, George Bures Miller, and David Hoffos. The University’s gallery hosts regular exhibitions, many of them with work from the school’s spectacular and little-seen permanent collection. On the campus grounds, the Papokan Sculpture Garden features work by artists including John McEwan, Clay Ellis and Sorel Etrog. Another elegant but unexpected space can be found in the offices of Savill Group Architecture. The Trianon Gallery (with a smaller space on another floor, the Petit Trianon), which has a regular schedule of contemporary art exhibitions, is maintained by local architect John Savill. Downtown Lethbridge is home to the Southern Alberta Art Gallery, a small but vibrant space on two levels that continues to build and attract the best in contemporary art exhibitions. SAAG’s summer schedule includes installation artist Karen Tam’s Orientally Yours through June 10, a photography show, Inhabiting, by Montreal-based artist Isabelle Hayeur, June 28 to September 26, and Places & Spaces: Landscapes from the Buchanan Collection June 28 to September 23. It includes a remarkable collection of art from the city of Lethbridge collection, including work by Arthur Lismer, A.J. Casson, David Milne and Toni Onley. For a different day and a different drive, the southeastern Alberta city of Medicine Hat is notable for its heat, its enormous teepee (the world’s largest) and its clay. Home of the historic commercial potteries Medalta and Hycroft, the region’s rich claybanks have drawn ceramic artists for 100 years. Today, the region’s history and culture have been incorporated into a destination gallery, museum and working pottery called the Clay Industries National Historic District. Home to the Medalta International Artists in Residence Program, directed by acclaimed ceramist Les Manning, the centre is open daily for tours. In June, public programming includes firing demonstrations, talks, and a series of exhibitions of contemporary ceramics from the residency program. FIND IT Also in Medicine Hat, the recently opened From Calgary, drive Esplanade Arts Centre houses a gallery three hours southeast with regularly scheduled temporary on Highway 1. exhibitions. Summer 2007 Galleries West 51
RIGHT: Yvette Moore, Mile After Mile, acrylic on canvas
FAR RIGHT: Sonny Assu, iPotlatch Ego at the Art Gallery of Southwestern Manitoba
BELOW LEFT: Southwestern Saskatchewan, near Grasslands National Park
BELOW RIGHT: Outside the Yvette Moore Gallery in Moose Jaw
PHOTO: TOURISM SASKATCHEWAN / DOUGLAS E. WALKER
SASKATCHEWAN When he opened his gallery in remote Assiniboia, Saskatchewan, Bill Shurniak attracted a lot of buzz. An inveterate art collector who had traveled the globe amassing a substantial collection, he decided to bring the work back to his hometown, a dot on the map on Highway 2 south of Moose Jaw. Today, the Shurniak Art Gallery is kept busy with revolving exhibitions from a collection that includes work by international artists, and by Canadians including A.Y. Jackson, Arthur Lismer, Allen Sapp, and many others. Assiniboia is on a scenic loop drive southwest of Regina that takes in a few cultural stops along the way. Driving due west of Regina, about 45 minutes away is the pretty prairie city of Moose Jaw, which despite a devastating recent fire that swept through many of its historic commercial buildings, maintains its heritage charm with stone architecture and a beautiFIND IT ful city park. Moose Jaw is also home to From Regina, drive the Yvette Moore Gallery, set in one such west on Highway 1 to historic space and devoted to Moore’s own Moose Jaw and Swift work. Known for her illustrative acrylic Current, then south portraits of prairie and country life, Moore’s from Swift Current on work is available at the gallery in original Highway 4, east on and limited edition print. Overlooking Highway 13 to Crescent Park downtown, the Moose Jaw Assiniboia, then north Museum and Art Gallery shows regular again to Moose Jaw on temporary exhibitions, and is home to an Highway 2. artist-in-residence program. The early part 52 Galleries West Summer 2007
of the summer features an exhibition by Saskatchewan-based mixed media artist Brian Ring. West from Moose Jaw on Highway 1, in the city of Swift Current you’ll find another local public gallery with a focus on western artists. The Art Gallery of Swift Current is one of a selection of small galleries in the prairie provinces and interior B.C. that share traveling exhibitions, bringing the work of lesser-known regional artists to a much wider audience. This summer, Swift Current will host the touring show Vestiges, by Manitoba-based artist Shirley Brown.
MANITOBA A province known for its thousands of lakes, Manitoba has an abundance of reasons to go for a drive outside the cities, not the least of which is a concentration of artists and artisans who have made the Interlake district north of Winnipeg home for the same reasons they’re drawn to Vancouver Island and the interior of B.C. Clustered around the southwestern tip of Lake Winnipeg, opposite the famous Grand Beach, a group of these artists gets together every year to host The Wave Artist Tour, which will run twice during the FIND IT summer — June 9 and 10 and September 1 and 2. Organized by the Winnipeg Beach From Winnipeg, drive Art & Culture Co-op, The Wave is a circuit north on Highway 8 of more than 30 galleries and artists’ studios to Lake Winnipeg and around the towns of Gimli and Winnipeg the Interlake towns of Beach. Painters, potters, fibre artists, sculpGimli and Winnipeg tors, jewelers, and artists working in most Beach. www.gallerieswest.ca
T H E A L I C AT GALLERY "Celebrating 20 years”
Spring Group Exhibition: May 25 - June 3
Michael O”Toole, "Bear Creek Run", A/C, 40” x 40”
Featuring: Michael O'Toole, Phil Buytendorp, Curtis Golomb, Marilyn Lambert-Gerwing and Jean Pederson.
ABOVE: Outside the Mermaid’s Kiss Gallery in Gimli, Manitoba
RIGHT: A view south of the beach in Winnipeg Beach, Manitoba
PHOTO: LINDA VERMEULEN
403-949-3777 • Toll-free 1-888-949-3777 www.alicatgallery.com
other genres participate, each one flying a blue wave logo to guide visitors through the Tour. Along the way, and throughout the busy summer months, small local galleries can be found with a variety of local and national work on exhibition. In Gimli, the Mermaid’s Kiss Gallery carries work by artists including Terry Lacosse, premier Manitoba glass artist Ione Thorkelson, and works from the estate of painter Kenneth Gordon. In neighbouring Winnipeg Beach, the Fishfly Gallery shows work by local and prairie artisans in fibre, ceramics, and glass. For another day’s drive, west of Winnipeg on Highway 1, the city of Brandon is home to the Art Gallery of Southwestern Manitoba, an important stop for touring contemporary art exhibitions and a generator of highly regarded curated shows of local and regional artists. This summer, the Gallery features a show called Do Not Park Bicycles May 3 to June 9, a focus on the bicycle as an alternative means of transportation, with work by Aboriginal and Metis artists from Canada and the United States. From July 5 to August 18, the Gallery will show Shadow Princesses by Deborah Forbes, a painter based in Medicine Hat whose inspiration for her work on the image of the princess comes from the Spanish portraitist Diego Velazquez. The small but vibrant Brandon University also houses several main and offshoot galFIND IT leries, each with a revolving roster of public From Winnipeg, exhibitions and programming, including the drive due west on recently opened Glen P. Sutherland Highway 1. Gallery of Art. www.gallerieswest.ca
The Alicat Gallery has been in operation since 1987, and specializes in Western Canadian art. Located about 30 minutes west of Calgary in Bragg Creek, Alberta.
APRIL 6 – OCTOBER 8, 2007 Vaughan Grayson: Adventures of an Artist in the Canadian Rockies
AFA Collects: Works by First Nations Artists
Charles John Collings: Untamed Landscapes
Margaret Shelton: Alberta Memories
CONTINUING IN THE HERITAGE GALLERY
Peter and Catharine Whyte: Their Story
Vaughan Grayson, Mirror Lake, c.1944, oil on canvas, MJM&AG Collection. Photo Credit: Don Hall
111 Bear St. Banff, AB | T: 403-762-2291 | www.whyte.org
Spring 2007 Galleries West 53
Saskatoon-based abstract painter Jonathan Forrest, at work in his studio
54 Galleries West Summer 2007
PLAYING THE ANGLES WITH A CUSTOMIZED COLOUR MIX, ABSTRACT PAINTER JONATHAN FORREST IS SEARCHING FOR THE AESTHETIC ESSENCE OF HIMSELF
The rectangle has become Jonathan Forrest’s primary shape — beds of vibrant acrylic colour that he lays on the canvas with varying degrees of thickness and texture. “The rectangle is a neutral container for the colour,” he says, “there’s no meaning or vested interest in the rectangle.” He feels that the rectangle allows the viewer a direct relationship with the painting and its coloured surfaces within, of course, the rectangular canvas. For a show this summer at Calgary’s Newzones Gallery, Forrest’s canvases range in size from 24 by 32 inches to 5.5 by 7.5 feet. While Forrest has previously painted in what he calls “splotches” — soft-edged stripes and other shapes with an almost organic feeling — it is his adherence to hard-edged forms over the past seven years that make his paintings readily identifiable. The Saskatoon-based artist started using the rectangle as a purely practical device in 2000. Paintings were based on one big thick shape floating on a field. He taped off clean blocks, and filled them with paint, heightening the contrast between the flat canvas and the thick glossy colour. “Physicality is what my paintings are about,” Forrest says. “I like the sense of a slab of paint.” By choosing a ‘given’ — the automatic layout the shape provides — he is able to focus on the colour and paint. “Sticking with the rectangle has made me personalize it,” he says. Forrest’s deployment of a common element has evolved to introduce complexity and radiate a painterly confidence. He imbues his flat expanses with motion and optical shifts — his sophisticated palette and eye juxtapose dazzling colours, enabling them to influence each other and move and dance in space. Colours seem to move forward from the canvas or recede deep into it. Forrest calls the colour range in his current paintings “more personal” than in the past. His work of three or four years ago used primary colours straight out of the tube. In recent work he’s refined his colour palette and he mixes all the colours himself, though he still uses straight black. Forrest makes much of black by using varying degrees of gloss and thickness. His slabs may be up to a quarter-inch thick, and may have a glossy sheen or a soft matte finish. Against this, he places translucent blues, radiant reds, murky greens, soft yellows, pink, chocolate and more.
BY STEVEN ROSS SMITH www.gallerieswest.ca
Summer 2007 Galleries West 55
“PHYSICALITY IS WHAT MY PAINTINGS ARE ABOUT,” FORREST SAYS. “I LIKE THE SENSE OF A SLAB OF PAINT.”
Red Plane, acrylic on canvas, 2006, 48" x 66"
Forrest achieves a bold, playful quality by creating rectangles that are slightly “off” — with a bit of a tilt here, a leaning edge there, he creates a mischievous, unsettling quality. “I like playing with the knowns, the givens,” he says. “And then I throw a small wrench into that order. I like to be ordered, but not too ordered.” “Essence”, “offness”, and “undeniable” are words that occur when Jonathan Forrest speaks about his work, which grows, he says, from the Modernist tradition — a range of painting from Braque to Pollock. It’s a tradition that has had a strong base in Saskatchewan, after the first wave of Canadian abstract painters in the 1940s. The province had a particularly strong showing with the emergence of collectives and the formation of The Regina Five (Kenneth Lochhead, Arthur McKay, Douglas Morton, Ted Godwin, Ronald Bloore, and near-members, Roy Kiyooka and architect Clifford Wiens). By the 1960s, other forms such as installation and performance art had taken the foreground, and the attention of patrons and the media. But abstract work never really disappeared, and the form has continued to evolve and redefine itself and grow beyond its modernist footings. Saskatchewan painter William Perehudoff has been dedicatedly pursuing abstraction since the early 1950s, acquiring an international reputation. There’s a direct line between the work of these artists and Forrest’s inspiration, and in fact today Forrest often shares billing with Perehudoff and with painter Robert Christie. Their notable group shows have included the Three Generations exhibitions at the Kenderdine Gallery in Saskatoon in 2004, at ATP Gallery in London, England in 2005, and at The Gallery / Art Placement this past April. Forrest did not simply spring from the grasses of Saskatchewan as an abstract painter. He was born in Scotland, and emigrated with his family to Saskatchewan when he was 15. As a child he liked drawing, painting and music, and a high school art teacher recommended that he study art at the University of Saskatchewan. It was there that his path was set. In 1979 and 1980 he studied with Robert Christie, who was a professor there and would become Forrest’s most important mentor. “In his teaching style, he brought out what you already had in you,” 56 Galleries West Summer 2007
Forrest says. He completed both this BFA and Masters degrees at the University of Saskatchewan, and the professional relationship between Christie and Forrest has continued to grow. Christie is his ‘day-job’ employer, at The Gallery / Art Placement Inc. in Saskatoon, where Forrest is the general manager. Keenly involved with the University’s Emma Lake Art Workshops in boreal Saskatchewan since the 1980s, Forrest was first a participant, and in 2001 became the co-ordinator. Prairie abstraction continues to thrive at Emma Lake as well, and has since the legendary visit of Clement Greenberg in 1962, and his affirmation of Saskatchewan abstract art. Forrest hopes that the next generation will take over to keep the tradition of Emma Lake alive. Though this summer’s exhibition at Newzones is not Forrest’s first solo show, it is significant. “A full show is where both the viewer and the artist really get into the full range of the work — into the real substance,” he says. “My feeling is that I have been drilling down to what I’m about as a painter over the last couple of years and this show is a continuation of that process. I’m trying to get to the core of what I’m about, in colour. I’m mining the colour to get to the core of a personal colour experience.” This is the essence he speaks of. Forrest claims no meaning or message in his paintings — the message, transmitted from painter to viewer, is the aesthetic experience itself. While a love of the painter’s materials calls him, laying in of paint fascinates him, and the process compels him, Forrest doesn’t worry about fashion or trends. He acknowledges that painting itself, regardless of ‘genre’ goes in and out of fashion, and that abstract painting continues to have detractors and fans. What interests him more than trends is in making his paintings “undeniable.” He says he hopes that the viewer “can love one of my paintings or hate it, but cannot deny it.” George Moppett, a curator at Saskatoon’s Mendel Gallery, sees Forrest as an inventive, committed painter who well understands colour and surface and who has worked hard to create his own distinctive and evolving style. “He’s a formidable young painter,” Moppett says. “He’ll continue to produce stunning works.” Jonathan Forrest: Recent Paintings, is on May 12 to June 30 at Newzones Gallery in Calgary. Steven Ross Smith is an arts journalist and creative writer based in Saskatoon. He is the author of Celebrating Saskatchewan Artists. www.gallerieswest.ca
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Spring 2007 Galleries West 57
BY BEVERLY CRAMP
THE ART OF CRAFT If recognition of fine craft is still languishing behind fine art in Canada, this year may help the genre step out further from the shadows. Led by the Canadian Crafts Federation, 2007 marks the official Craft Year, a countrywide umbrella of awareness and events that’s giving artisanal work a boost. It’s an idea that has easily found a home in western Canada. Many craft genres, including ceramics, glass art, jewellery and fibre art, continue to reach fresh audiences and attract new collectors in the west, with some geographical locations becoming hotspots for artisans, such as the proliferation of glass artists in Alberta. “Glass is really strong in Alberta,” says Tom McFall, executive director of the Alberta Craft Council, based in Edmonton. “We have a lot of hot glass people working here. Partly that has to do with natural gas, a fuel for hot shops where glass is blown, being historically cheap.” He adds that the strong glass program at the Alberta College of Art and Design (ACAD) also helps glass artists. “The college has great affiliations with Pilchuck, which
ABOVE: Erin Dolman, Moontide (brooch/ pendant), sterling, etched copper, 18k gold, text from vintage copy of the Tempest, clematis seeds, shell, cast twigs, acrylic, 2003, 2.75" x 1.25" x .5"
RIGHT: Bill Boyd, zinc silicate crystalline glazed bowl pedestal vase with 22k gold trim, 2007, 20.5" 58 Galleries West Summer 2007
creates a lively international perspective,” says McFall, referring to the Washington State glass school founded in 1971 by internationally renowned glass artist Dale Chihuly. Red Deer College is also widely recognized for its glass program. Alberta’s glass art stars include Tyler Rock, Darren Petersen, Bonny Houston, Jeff Holmwood and Martha Henry, one of the first hot glass artists to establish a studio and a career in Alberta. “I built my first studio in my backyard in 1978,” says Henry. “I had a tiny furnace and of course I made very small things. Then, in 1979, I started Skookum Art Glass with my partner Bob Held. At the time there were probably only three main people working here in hot glass — Bob, myself and Norman Faulkner. “Bob and I did a lot of exhibitions to educate people about glass,” she continues. “We did it because there was lots of ceramic around at the time but not much glass art.”
WITH A YEAR-LONG CELEBRATION, WESTERN CANADIAN ARTISANS STEP INTO THE SPOTLIGHT When Henry and her partner Bob Held split in 1989, (Held moved to Vancouver, B.C. to establish Robert Held Art Glass studio and Henry built her own glass studio in Calgary), she had become famous in her own right. “1990 was when I built my own studio,” she says. “I had my own name by then, my own reputation.” Henry’s artwork is now owned by international luminaries including Queen Elizabeth II, the Rolling Stones and Garth Brooks. She received the Alberta Craft Council’s Award of Excellence in 2005. Her practice has undergone a vast change recently. “I’m not blowing glass anymore,” she says. “I’m making glass beads, necklaces and glass sculpture using soft glass. I’ll be going to Murano [Italy] in May to learn about figurative glass sculpture. There’s always so much to learn. After 30 years, I’ve found a whole new area. I’m really excited about it.” One of the retail outlets carrying Henry’s glass bead jewellery is Influx Gallery, a Calgary-based fine craft dealer that is host to a diverse collection
Martha Henry, red glass bead bracelet with freshwater pearls, labourite and silver.
of contemporary art jewellery and wearable art. Influx was founded in 2004 by three ACAD jewellery graduates and another artist who works in fine furniture design. “We established a following for our work, which is more sculptural and artistic than most commercial jewellery,” says Devon Clark, one of the coowners. “We’re finding that we’re getting a lot of people buying one-of-akind pieces for their engagement rings — funky rings that are the furthest things from the typical engagement ring.” Influx now represents more than 40 artists, and hosts presentations by ACAD professors. Influx’s success has fine craft artists from all over the world submitting their work for representation by the gallery. “We’ve had submissions from Korea, Iran and the States,” Clark says. “So far, we’re only carrying Canadian work.” Clark singles out two artists who particularly impress her with their work: Jackie Anderson and B.C.-based Erin Dolman. “Erin’s work is very
CRAFT YEAR 2007 IN THE WEST Many events across the Western provinces and the North showcase the best of fine craft. This year, the Canadian Crafts Federation is backing them as part of the national celebration Craft Year 2007. Here are some recommendations: ■ All About Alberta is a major show of fine craft practitioners from Alberta organized by the Alberta Craft Council. The exhibitors were asked to share their impressions of the province in a medium of their choice. The show was exhibited at the Canadian Embassy Gallery in Washington D.C. last year and will be in Calgary from July 21 - October 6 at the Nickle Arts Museum at the University of Calgary. ■ Brew Ha-Ha, also organized by the ACC, is an exhibition of teapots in all media to be shown in the ACC Edmonton Gallery through July 14. This exhibition will focus on perspectives of the ritual of tea — historic, social and emotional. ■ Dimensions 2007, an annual juried show of Saskatchewan’s high www.gallerieswest.ca
profile fine craft, will kick off at Regina’s Mackenzie Gallery this year before touring other Saskatchewan galleries and the Alberta Craft Council Gallery. Organized by the Saskatchewan Craft Council. ■ The Saskatchewan Handcraft Festival, established in 1976, is the ‘granddaddy’ of the province’s fine craft events, held in the city of Battleford’s Alex Dillabough Centre, July 13 to 15. ■ The Nunavut Arts Festival 2007, now in its eighth year, brings together visual artists from many Nunavut communities to exhibit and sell their work. This year there will be 40 to 50 artists attending the show in Iqaluit from June 20 to 27. ■ The Alianait! Arts Festival, will be presented for the third time in Iqaluit by a coalition of arts organizations from across the north including the Nunavut Arts & Crafts Association. Alianait showcases traditional arts and new artists from Nunavut, Yukon, the North West Territories and across Canada from June 21 to July 1, featuring art,
music, film, storytelling, dance and theatre. ■ Something to Crow About is an exhibition of textile work by the Mid-Island Surface Design Group at FibreEssence Gallery at 3210 Dunbar Street, Vancouver B.C. from May 14 to June 17. ■ Mosaic, opening May 12 at the Manitoba Crafts Museum & Library in Winnipeg, features 75 objects from their collection in celebration of their 75th anniversary, accompanied by publication of an art book called Crafting the Mosaic. The Museum will also open a juried show of contemporary craft inspired by Manitoba history called By Design on September 27. ■ Contemporary Craft in B.C.: Excellence Within Diversity opens September 11 to 26, organized by The Craft Association of British Columbia. This juried show will be held at the Roundhouse Community Arts and Recreation Centre in Vancouver. The show will also include public programming and community initiatives.
TOP: Mel Bolen, Estrella, stoneware, 2006. From the Saskatchewan Craft Council show Dimensions 2007
ABOVE: Carol and Richard Selfridge, Rooster Romance, woodfired teapot. From the Alberta Craft Council show Brew Ha Ha Summer 2007 Galleries West 59
COURTESY PRIME GALLERY
have seen: crystals in glaze,” he explains. “It’s a big plus for me. Crystal glazes are very elusive and difficult to control. Only about one quarter of my production is good enough for the galleries. I’m very fussy about this.” Calvin Taplayof the Craft Association of British Columbia agrees that there are too few local collectors for B.C. ceramics. “Our major market is still out of B.C. — Ontario, the U.S. and other international places such as England. We don’t feel there are enough locals who appreciate fine craft. Bill Boyd’s exhibit was a pleasant surprise.” Recently, B.C. ceramist Paul Mathieu received the Saidye Bronfman Award for excellence in fine craft, part of the Governor General’s Awards for Visual and Media Arts. Other rising ceramists cited by CABC include Alwyn O’Brien, who opens a show at Toronto’s Prime Gallery in June, and Tanis Saxby, whose works in porcelain are influenced by shadows cast on the clay. Injecting new ideas into the promotion of craft has worked well in Saskatchewan, according to Mark Stobbe, executive director of the Saskatchewan Craft Council. “We had a few years of stagnation but in the
PHOTO: REBECCA CITTADINI, COURTESY MENDEL ART GALLERY
sculptural, very three-dimensional,” she says. “She uses a lot of mixed media and is very good with textural metal. And Jackie is an established artist.” Dolman is one of the 31 artists chosen to represent Canada at the 31st annual Philadelphia Museum of Art Craft Show, a major North American fine craft exhibition. Ceramic, historically a craft with strong presence, has built into a robust genre in the west, though serious local collectors are still scarce. “I see a lot of growth in terms of the amount of people doing good work, I see ceramics evolving,” says Bill Boyd, a potter since 1970. He now lives and works on Galiano Island off B.C.’s west coast. “But there usually isn’t much recognition for ceramics locally,” he adds. “Potters don’t get the kind of support here that they do in other parts of eastern Canada.” However, this past March, much to his astonishment, Boyd’s show called Crystal Magic virtually sold out at the Crafthouse Shop in Vancouver — many of the buyers were local. Boyd credits his success to his unique method of making pots. “I’m working with something that not many people
TOP: Alwyn O'Brian, Teacup, hand built and slip cast, porcelain, 2006
ABOVE: Michael Hosaluk's recent installation Containment at Saskatoon's Mendel Gallery
RIGHT: Tanis Saxby, Shadow Form, porcelain clay, 2006, 26"(w)x 10"(h)
60 Galleries West Summer 2007
MANY CRAFT GENRES, INCLUDING CERAMICS, GLASS ART, JEWELLERY AND FIBRE ART, CONTINUE TO REACH FRESH AUDIENCES AND ATTRACT NEW COLLECTORS IN THE WEST last year that has turned around,” he says. “There’s a better climate for craft and we have better craft promotions. A new appreciation for craft is slowly growing here.” A major sign of recognition for craft in Saskatchewan comes from fine art galleries. “There’s more interest in craft from the major visual arts galleries,” Stobbe continues, citing Regina’s MacKenzie Gallery and Saskatoon’s Mendel Art Gallery. “They’re finding that fine craft shows draw some of their biggest crowds. The Mendel’s show of Michael Hosaluk work earlier this year had one of the gallery’s highest attendances. Michael was originally a wood turner but he’s branched out. Michael was also the 2005 Saidye Bronfman Award winner.” Stobbe points to commercial art galleries like the Verve Gallery in Regina and the Darrell Bell Gallery in Saskatoon — which are also exploring possibilities in exhibiting and selling fine craft. Saskatchewan artisans are also benefiting from better marketing of the province’s bigger fine craft shows like Saskatoon’s Waterfront Art and Craft
MODERN HANDCRAFT: THE QUILT OF BELONGING COMES TO THE GLENBOW MUSEUM In 1994, at age 42, Ontario visual artist Esther Bryan accompanied her father to Slovakia, a country he’d left behind 43 years earlier as a refugee. Visiting relatives she didn’t even know she had, and a land that had shaped her father as a young man, Bryan uncovered a side of her own identity that had been previously unknown to her. This discovery got her thinking about the connectivity of the world’s people. “How do we all fit together?” she asked herself. The answer would come to her as she managed the piecing together of a monumental work of fine craft. Featuring 263 handcrafted blocks representing the 71 Aboriginal groups and 192 nationalities found in Canada, The Quilt of Belonging is considered the country’s most comprehensive textile art project. It took Bryan, the spirited force behind the project, and hundreds of volunteers six years to complete. The diamond-shaped blocks were crafted by immigrants to Canada, including many refugees, and feature www.gallerieswest.ca
a range of materials — from African mud-cloth to embroidered silk. Each symbolizes a unique culture. The block representing Afghanistan features a miniature Afghan carpet. The block representing Vietnam shows a young woman in traditional dress, sitting by a river and playing a bamboo flute. The Chilean block features the country’s national flower, the bellflower, on velvet fabric, commonly used in traditional Chilean costumes. All along the bottom and both sides of the massive quilt are blocks representing First Nations. It’s a powerful metaphor for the vastness of our world and cultural diversity in Canada. “Canada was created from a great mosaic of people,” says Adrienne Horne, exhibition coordinator at the Glenbow Museum in Calgary, where the quilt will be on display from June 30 to September 30. Halfway through work on the project, a volunteer’s son died in the
Show, which started in 1997 as a joint collaboration between the Mendel Gallery and the SCC. “We’re taking these shows and turning them into more people-friendly events,” Stobbe says. “We want people to come for the fun of it as well as the shopping. This year, the Waterfront show is being renamed and we’re partnering with new people — we’re bringing in more entertainment and more food, making it a richer event to attend.” The outdoor show, now called Living Artfully on the Waterfront will be held on the grounds of the Mendel Art Gallery on the South Saskatchewan River and will include not only a market for visual artists and artisans, but organic farmers, environmental education, theatre, dance and music. The fine craft shows, better marketing and education initiatives, and increasing awareness of fine craft both from the public and the galleries have all created a more vibrant fine craft sector in the West. The added boost of Craft Year 2007, with hundreds of linked events, adds to the critical mass of craft awareness in Canada, throwing a spotlight onto a genre that has previously been considered mostly decorative.
September 11 terrorist attack on the World Trade Center. After the shock of that day subsided, Bryan and her crew were left with a renewed resolve. “9/11 left us with images of a broken world,” she says. “We thought that if our children could see a vision of what the world could be like, they’d have something to keep walking towards.” The Quilt of Belonging was unveiled on April 1, 2005, at the Canadian Museum of Civilization. It has traveled the country from Nova Scotia to B.C. On a trip across the Arctic, it was blessed by an Inuit elder. When it arrives at the Glenbow’s Gallery One, Horne says it will take up the entire 2,600 squarefoot space. Its size is representative of Canada’s geographic vastness. The quilt, Bryan says, tends to leave viewers humbled and changed, as it affected its creators. “It’s changed us enormously,” she says. “When you hear people’s stories from their side, what happened to them, it changes you,” she says. “You look at the world differently.” — Amber Bowerman
From the Quilt of Belonging exhibition at Calgary's Glenbow Museum.
Summer 2007 Galleries West 61
HOMAGE AFTER QUITTING HIS DAY JOB TO PAINT FULL TIME, THIS ALBERTABASED ARTIST COULD FINALLY GO DEEP INTO THE PRAIRIE LANDSCAPE
LES GRAFF Les Graff graduated from the Alberta College of Art in 1959 at age 23, and had his first solo exhibition, at the Edmonton Art Gallery, three years later. But it took a long time after that — 29 years to be exact — before he was able to fulfil his dream of painting full-time. In the meantime, the Camroseborn artist worked as an Alberta government cultural bureaucrat, building programs to support the province’s artists and arts organizations. “I needed a job,” Graff told The Globe and Mail in 1994, three years after resigning from Alberta Culture to move his artmaking off the back burner. “I’d done farming, logging, construction, the oil rigs. Then came the realization that, when you have a family, working for Alberta Culture was better than parking cars or working on a farm.” Married with four children, “a couple of cats, a couple of dogs, and a house,” Graff needed the steady income. From 1960 to 1967, Graff was able to work at his day job as director of arts and crafts for the province of Alberta, paint part-time, and have a solo show in Edmonton or Calgary every 18 months or so. The government job kept him busy organizing community art courses and exhibitions, and helping new galleries get established. In his spare time, he produced abstract paintings inspired by events that had happened on the farm near Bashaw, Alberta, where he lived with his mother and stepfather during the early 1950s. He recalled in a 1984 interview with curator George Moppett that watching wild grass blown by the wind was one of many events that gave him a strong sense of his intimate relationship with nature. “It seemed people could come and go, but this grass would continue blowing and changing with the seasons. It was there before we came; it Patio Plant / Red Rain, 2002, oil on canvas, 50" x 64"
BY BRIAN BRENNAN 62 Galleries West Summer 2007
Summer 2007 Galleries West 63
will be there after. One becomes very much aware of the fleeting aspect of one’s own existence.” Then, in 1968, Graff changed direction as an artist. After a year spent helping Alberta artists and galleries celebrate Canada’s centennial, he realized “it had been a good year for them but not a very good year for me, because I hadn’t done any art for myself.” Before 1967, he had been working in oils, producing semi-abstract paintings from motifs found in nature. He destroyed all but 12 of these works — many of them experimental abstract expressionist paintings from his student years — and started doing charcoal drawings of animal bones. “I turned the 12 paintings face to the wall so they were not a reminder,” he says in a telephone interview from his country home on Buffalo Lake, 15 km east of Bashaw, not far from where he spent his early years. “It was time to rethink things, to retrench.” He went back to square one in terms of his evolution as an artist. After “thrashing the past,” as he describes it, Graff found that devising structures and an appropriately organic environment for his bone drawings led him naturally in the direction of landscape. “He built them into mysterious monuments, altars, and signs of foreboding,” wrote Stanford Perrott, Graff’s former teacher at the Alberta College of Art. “Bones were to Les as apples were to Cezanne.” The bones triggered associations with the animal
BELOW: Bone Painting/Landscape, 1970, oil on canvas, 52" x 62" OPPOSITE PAGE: River/Carnival, 1983, oil on canvas, 52" x 62"
Yet, while Graff was pleased to see the government leading the way in buying and commissioning work by Alberta artists, he became increasingly frustrated by the fact that his success as an arts bureaucrat got in the way of his own development as an artist. In 1982, he pulled out of the Alberta exhibition scene because — with Alberta Culture giving grants to artists and public galleries — he felt it had become a conflict of interest for him to show there. Two years later, he had an 18-year retrospective of paintings and drawings at the Mendel Art Gallery in Saskatoon. It was to be his last major show for nine years. Curator George Moppett, writing in the catalogue for the Mendel exhibition, said that Graff’s work assumed a new urgency at around the time he pulled out of the Alberta scene. In his work of the 1960s and 1970s, Graff had found in nature motifs compatible with his rural background and artistic sensibilities — patterns and shapes that served to produce a gentle, sensuous world of atmosphere, rocks, plants, and landscape. In 1982, landscape developed a more architectonic structure in his work. “I was losing control,” Graff told Moppett. “The subjects, which I handled in a certain
THE BONES TRIGGERED ASSOCIATIONS WITH THE ANIMAL CADAVERS GRAFF HAD FOUND WHILE HUNTING WITH HIS STEPFATHER AS A CHILD cadavers Graff had found while hunting with his stepfather as a child, and with the carcasses in his stepfather’s butcher shop. “The dorsal vertebra of a buffalo became a mace,” he recalled. “It became a cross like a crucifixion.” Still, the government job gave him great satisfaction for many years. In an interview for Dreamers and Doers, a 2005 television documentary about 100 years of arts and culture in Alberta, Graff said it was most gratifying to work for a government that viewed art as important. This was particularly true during what broadcaster Fil Fraser has dubbed the Camelot Years, between 1971 and 1985 when Peter Lougheed was premier. The walls of provincial government offices were lined with Alberta art. Lougheed gave gifts of art to government leaders around the world. The provincial government commissioned numerous portraits of lieutenant-governors, premiers, and speakers of the house. “Alberta House came into being in London, England, and it was decorated with art from top to bottom. Alberta House came into being in New York, and it was decorated with art. Tokyo was decorated with art. Those were the Camelot Years.” 64 Galleries West Summer 2007
way, didn’t have the impact they had before. I needed to come through another door to get at my subject.” “The paintings of 1983 and 1984 are aggressive, and show a marked increase in surface variation,” wrote Moppett. “Regardless of the fluctuations of external appearances, and no matter whether the subject is thistle, bone, river or garden, the content — that part of himself that Graff brings to his subjects — gets to the very quick, awakening our consciousness at an elemental level.” Graff resigned as director of visual arts at Alberta Culture in 1991 to paint full time. After 31 years, it seemed like a good time to leave. The government had eliminated the provincial agency that funded the visual arts, as well as the agencies that funded the literary arts and the performing arts. It replaced them with one umbrella organization, the Alberta Foundation for the Arts. The AFA was to be funded by lottery revenues, not by provincial tax dollars. That way the government could assure Albertans that it was not “wasting” their “hard-earned” tax dollars on “frills.” Graff was offered a new www.gallerieswest.ca
job as manager of artist development for the AFA. Instead, at age 55, he opted to take early retirement. “It was time to move on.” Artmaking became the guiding focus of Graff’s life after that. His output more than doubled, and flowed without interruption because he no longer had to deal with the demands of the civil service. “My work is about what seems most real to me — the anxiety at night, heat, cold, fear,” he told John Bentley Mays of The Globe and Mail in 1994. Graff said he felt a direct link from his childhood to the way he currently expressed himself: “I am from the land. I see with those eyes.” After viewing a show of Graff’s paintings and drawings at the Edmonton Art Gallery, Mays wrote that the exhibition was a “wildly exuberant cheer of freedom from the professional constraints that had separated the artist from his public.” The “exalted enthusiasm” of Graff’s work “made it a celebratory moment.” Since that time, Graff has had solo shows in Edmonton, St. Albert, Banff and the Virginia Christopher Gallery in Calgary, which regularly represents www.gallerieswest.ca
his work. He has also been exhibiting in available commercial spaces in hotels and retail stores, which he describes as “a fun thing to do, because you get new audiences and see your work in a new light.” His next major exhibition will be in the main gallery of Banff’s Whyte Museum of the Canadian Rockies from October 26, 2007 to January 13, 2008. The front two-thirds of the gallery will feature a retrospective from all phases of Graff’s career. The back section of the gallery will feature 100 unframed mountain studies and sketches that Graff has donated to the gallery. Curator Sheila Perry says she was most excited to receive these, and to be able to put them on public display, because they “show the working mind of the artist.” Les Graff is represented by Virginia Christopher Fine Art in Calgary. Brian Brennan is a Calgary author and journalist whose profiles of Western Canada’s distinguished senior artists appear regularly in Galleries West. Summer 2007 Galleries West 65
What’s the buzz at the galleries? Up-to-date reviews of current exhibitions are available exclusively at www.gallerieswest.ca Read about new shows within days after they open. Stay informed by signing up for our free online review alerting service at www.gallerieswest.ca/Departments/ExhibitionReviews/#signup. ONLINE REVIEWS OF RECENT EXHIBITIONS CONEX-US
BEHIND THE ABSTRACT
WORKS ON PAPER
Jan 19 - Mar 25, 2007 MENDEL GALLERY, Saskatoon Cathryn Miller writes about this 12-artist examination of the interconnectedness between artists, curators, and the wider cultural world. (continued)
Jan 16 - Feb 11 MALASPINA PRINTMAKERS GALLERY, Vancouver Beverly Cramp discovers the most modern of techniques behind this BC-based collective’s latest show - including work by Deborah Koenker, Davida Kidd, Maria Anna Parolin, and four others. (continued)
Feb 15 - Feb 28, 2007 Jose Angel Vincench, AXIS CONTEMPORARY ART, Calgary As Wes Lafortune discovers, this Havana-based artist has discovered a fresh technique for simultaneously showing and obscuring the faces of his country’s persecuted citizens. (continued)
Mar 8 - Mar 31, 2007 Douglas Smith, KEN SEGAL GALLERY, Winnipeg This artist’s complex and chaotic drawings trace the underpinnings of a global age. Lorne Roberts finds the connections here between modern technology and the abstraction of Smith’s graphite-on-paper series. (continued)
MEMENTI MORI Jan 6 - Jan 27, 2007 Marilyn McAvoy, WINCHESTER GALLERIES, Victoria Allan Antliff reports on this artist’s inspiration in 17th century Dutch still life, depictions of near-decay and their comment on the fleeting nature of life. (continued)
FAR AND WIDE: ALBERTA LANDSCAPES Dec 9 - Feb 19 David Alexander and John Hartman, ART GALLERY OF ALBERTA, Edmonton As Douglas Maclean finds, these two senior artists are challenging the conventions of landscape painting, producing something he describes as “fresh and brilliant”. (continued)
PLANT PLANET Feb 1 - Feb 18, 2007 Makoto Kanaya, JACANA ART GALLERY, Vancouver Beverly Cramp views the lush, alien landscapes in this Japanese realist artist’s current series of still life paintings, describing a unique filtering of light through tropical plants. (continued) 66 Galleries West Summer 2007
RECORD KEEPING Dec 8, 2006 - Feb 17, 2007 Sarindar Dhaliwal, PLUG-IN, ICA, Winnipeg Lorne Roberts describes the 11 works in this popular traveling show, including watercolour paintings and collage, as well as several large-scale installation pieces, all documenting the slow process of cultures bleeding into, overlapping and erasing one another. (continued)
SHORTCUT TO HEAVEN Mar 15 - Apr 20, 2007 Lynne Allen, MARTHA STREET STUDIO, Winnipeg Amy Karlinsky investigates two strong shows that emerged from printmaker Allen’s early-2007 working visit to Winnipeg, Shortcut to Heaven, and Across a Divide: Two Master Printmakers, a coexhibition with Ahmoo Angeconeb, Mar 16 to Apr 28 at Winnipeg’s Urban Shaman Gallery. (continued)
LAND FORMS Mar 10 - Mar 24, 2007 David Edwards, AGNES BUGERA GALLERY, Edmonton Amy Fung discovers a mysterious light at the centre of this Vancouver-based painter’s broad landscapes, one that mixes reality and nostalgia that evokes “a sense of lost tranquility sealed and preserved for further study.” (continued)
BISON HEART Feb 23 - Mar 17, 2007 Adrian Stimson, NOUVEAU GALLERY, Regina Jack Anderson reviews this first solo show for Stimson, an investigation into the traditional modern symbolism of the plains bison, through paintings and mixed-media work. (continued)
THE MAGIC HOUR PART TWO Apr 5 - Apr 28, 2007 Chris Woods, DIANE FARRIS GALLERY, Vancouver Beverly Cramp meets this realist painter, whose work considers the icons of the advertising world and a consumer society, and heroic and cultural symbolism. The result is an off-kilter view of our all-consuming car culture. (continued)
DAY BY DAY Apr 6 - May 12, 2007 Mowry Baden, DELUGE CONTEMPORARY ART, Victoria Subtitled Drawings from the Journals of Mowry Baden, 1959-2007, Brian Grison examines this comprehensive show of almost 50 years of sketches and notes from the long and brilliant career of this BC-based sculptor. (continued)
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ALBERTA INDEX Banff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Black Diamond . . . . . . . . . . . . . . . . . . . . . . . . . 68 Blairmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Bragg Creek . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Calgary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Camrose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Canmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Cochrane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Didsbury. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Donalda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Drumheller . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Edmonton . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Fort MacLeod . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Fort McMurray . . . . . . . . . . . . . . . . . . . . . . . . . 76 Grande Prairie. . . . . . . . . . . . . . . . . . . . . . . . . . 76 High River. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Jasper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Lacombe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Lethbridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Medicine Hat . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Okotoks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Red Deer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Rosebud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Waterton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Wetaskiwin. . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Wildwood . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 BRITISH COLUMBIA INDEX Abbotsford. . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Cherryville. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Courtenay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Duncan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Galiano Island . . . . . . . . . . . . . . . . . . . . . . . . . 78 Golden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Grand Forks . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Invermere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Kamloops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Kelowna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Nanaimo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Nelson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Oliver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Penticton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Prince George. . . . . . . . . . . . . . . . . . . . . . . . . . 80 Qualicum Bay/Beach . . . . . . . . . . . . . . . . . . . . . 80 Salmon Arm . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Salt Spring Island . . . . . . . . . . . . . . . . . . . . . . . 80 Sechelt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Sidney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Silver Star Mountain . . . . . . . . . . . . . . . . . . . . . 81 Tofino. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Vancouver . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Vernon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Victoria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Wells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Whistler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 MANITOBA INDEX
Brandon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Gimli. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Winnipeg . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Winnipeg Beach . . . . . . . . . . . . . . . . . . . . . . . 91 SASKATCHEWAN INDEX
Assiniboia . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Estevan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Lumsden. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Meacham . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Melville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Moose Jaw . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 North Battleford . . . . . . . . . . . . . . . . . . . . . . . 92 Prince Albert . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Regina. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Saskatoon. . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Swift Current . . . . . . . . . . . . . . . . . . . . . . . . . 93 Yorkton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 NORTHERN TERRITORIES INDEX Dawson City . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Whitehorse. . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Yellowknife . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
ALBERTA GALLERIES BANFF Commercial Galleries ABOUT CANADA GALLERY 105 Banff Ave (PO Box 1507), Banff, AB T1L 1B4 T. 403-760-2996 F. 403-760-3075 Toll Free: 800-760-9872 firstname.lastname@example.org www.aboutcanada.ca About Canada recently extended its fine art gallery area. Specializing in authentic Canadian art, sculp-
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ture, jewellery and giftware the extended gallery provides the opportunity to offer the stunning original works of local photographers Bruno Engler and Doug Leighton, the bold modern oil paintings of Mark Sharp and the captivating watercolours of Thep Thavonsouk. Daily 10 am - 9 pm. CANADA HOUSE GALLERY PO Box 1570, 201 Bear St, Banff, AB T1L 1B5 T. 403-762-3757 F. 403-762-8052 Toll Free: 800-419-1298 email@example.com www.canadahouse.com A Banff destination since 1974, just a short drive from Calgary. This friendly and fresh gallery represents a large collection of current Canadian art — paintings and sculpture from Canada’s best landscape, contemporary and Native artists. Check website for daily updates. Member of Art Dealers Association of Canada. Open daily. MOUNTAIN GALLERIES AT THE FAIRMONT Banff Springs Hotel, 403 Spray Ave, Banff, AB T. 403-760-2382 Toll Free: 800-310-9726 firstname.lastname@example.org www.mountaingalleries.com New to Banff — Mountain Galleries was founded in 1992, a favourite stop for collectors of Canadian Art. Now with three locations and 5,000 square feet of exhibition space. The mission of the gallery is to support Western Canadian artists, both wellestablished and mid-career. This commercial gallery features a museum quality collection of painting, sculpture and other treasures. Daily 10 am - 10 pm. SUMMIT GALLERY OF FINE ART 120 Banff Ave, Banff, AB T. 403-762-4455 Toll Free: 888-358-4455 email@example.com www.summitfineart.com This welcoming, spacious gallery features the Canadian landscape through painting, photography and sculpture and offers a large selection of art jewellery, ceramics and hand-blown glass — all informed by nature. Large selection always available even during solo exhibitions. Private viewing room provided. Centrally located at 120 Banff Ave up the stairs. Daily 10 am - 9 pm. THE QUEST GALLERY 105 Banff Ave, Box 1046, Banff, AB T1L 1B1 T. 403-762-2722 F. 403-760-2782 firstname.lastname@example.org Public Galleries WALTER PHILLIPS GALLERY 107 Tunnel Mountain Road, Box 1020 Stn 40 Banff, AB T1L 1H5 T. 403-762-6281 F. 403-762-6659 email@example.com www.banffcentre.ca/wpg/ WHYTE MUSEUM OF THE CANADIAN ROCKIES PO Box 160, 111 Bear St, Banff, AB T1L 1A3 T. 403-762-2291 F. 403-762-8919 firstname.lastname@example.org www.whyte.org Located on a spectacular site beside the Bow River in downtown Banff. Discover the rich natural and cultural heritage of the Canadian Rockies. The Museum offers guided tours of Banff’s heritage log homes and cabins; historic walking tours of the Banff townsite; and exhibition tours of the galleries. Open daily, 10 am - 5 pm. BLACK DIAMOND Commercial Gallery TERRA COTTA GALLERY 110 Centre Ave, Box 689 Black Diamond, AB T0L 0H0 T. 403-933-5047 email@example.com www.terracottagallery.ca Begun as an outlet for their own ongoing work as potters, the ‘dudes’, Evonne and Robert Smulders have created a formidable gallery showing art in diverse media created primarily by artists living in southern Alberta. Wed to Sat 11 am - 5 pm, Sun noon - 4 pm or by appt.
BLAIRMORE Public Gallery CROWSNEST PASS PUBLIC ART GALLERY 14733 20 Ave, Crowsnest Pass, AB T0K 0E0 T. 403-562-2218 F. 403-562-2218 firstname.lastname@example.org www.telusplanet.net/public/cnpaaa/ BRAGG CREEK Commercial Galleries SUNCATCHER’S DESIGN STUDIO 4-Old West Mall, PO Box 840 Bragg Creek,, AB T0L 0K0 T. 403-265-6200 F. 403-278-6299 email@example.com www.suncatchersdesigns.com Recently relocated to Bragg Creek, SunCatcher’s has provided residential and commercial custom stained glass and sandcarved glass to the Calgary area since 1979. They are pleased to offer in-home consultation for custom work. The gallery features an ever-changing variety of leaded windows, vintage paintings, lithos, blown glass, raku, new and vintage jewellery, and various artists works. Tues to Sun 11 am - 5 pm or by appointment. THE ALICAT GALLERY PO Box 463, Bragg Creek, AB T0L 0K0 T. 403-949-3777 F. 403-949-3777 firstname.lastname@example.org www.alicatgallery.com Located about 30 minutes west of Calgary, the gallery opened in 1987. It represents more than 100 local and Western Canadian artists and artisans working in oils, acrylics and watercolours. Native art, ceramics, carvings, sculpture and ironwork of the finest quality are also shown. Daily 11 am - 5:30 pm.
T. 403-543-9900 email@example.com www.artcentral.ca This landmark building on the NW corner of 7th Ave and Centre St SW in downtown Calgary has been renovated to house artist studios, galleries, and ancillary retail businesses. Centrally located opposite Hyatt Regency Hotel, only one block from Stephen Avenue Walk. For more information or leasing inquiries visit website or call for Sandra Neil. ART MODE GALLERY 399 17 Ave SW, Calgary, AB T2S 0A5 T. 403-508-1511 F. 403-508-1510 Calgary@artmode.com www.artmode.com Located just minutes from the downtown core, this 3,000 square foot gallery is home to more than 50 Canadian artists and several internationallyrenowned artists. Many styles and media are represented including eastern and western Canadian landscapes. Also located in Edmonton and Ottawa. Open every day. ARTFIRM 617 11 AVE SW, Lower Level, Calgary, AB T2R 0E1 T. 403-206-1344 F. 403-206-1399 firstname.lastname@example.org www.artfirm.ca Artfirm presents an expanding group of artists working in a full range of media including painting, sculpture, and innovative media. Artfirm is committed to the sale of exceptional, contemporary artwork by local, Canadian and international artists. Tues to Sat 10 am - 5 pm. ARTHOUSE 1043 19 Ave SE, Calgary, AB T2G 1M1 T. 403-263-8114 email@example.com galleries.absolutearts.com/galleries/arthouse/
CALGARY Artist-run Galleries EMMEDIA GALLERY & PRODUCTION SOCIETY 203-351 11 Ave SW, Calgary, AB T2R 0C7 T. 403-263-2833 F. 403-232-8372 firstname.lastname@example.org www.emmedia.ca EMMEDIA encourages and supports independent video, audio and digital media production and provides access to broadcast quality video and audio production and post-production facilities. The gallery promotes exploration and expression of personal, artistic, social, formal or technical issues and ideas with active programming and both theoretical and technical workshops and scholarship programs. Mon to Sat 9:30 am - 5:30 pm. STRIDE GALLERY 1004 Macleod Tr SE, Calgary, AB T2G 2M7 T. 403-262-8507 F. 403-269-5220 email@example.com www.stride.ab.ca THE NEW GALLERY 200 Barclay Parade SW, Eau Claire Market PO Box 22451, Bankers Hall RPO Calgary, AB T2P 5G7 T. 403-233-2399 F. 403-290-1714 firstname.lastname@example.org www.thenewgallery.org Calgary’s oldest artist-run centre is committed to providing a forum for a wide spectrum of critical discourse and multi-disciplinary practices within the contemporary visual arts. Tues to Sat 11 am - 5 pm. TRUCK 815 1 St SW, lower level, Calgary, AB T2P 1N3 T. 403-261-7702 F. 403-264-7737 email@example.com www.truck.ca/ A non-profit artist-run centre dedicated to promoting hybrid and emerging forms of contemporary art through the public presentation of work by regional, national and international artists. TRUCK contributes to the development and understanding of contemporary art within the Calgary community. Free admission. Tues to Sat 11 am - 5 pm. Commercial Galleries ART CENTRAL 100 7 Ave SW, Art Central, Calgary, AB T2P 0W4
ARTISTS OF THE WORLD 514 11 Ave SW, Calgary, AB T2R 0C8 T. 403-244-8123 F. 403-229-9687 firstname.lastname@example.org www.artistsoftheworld.com Calgary’s largest and most eclectic art destination, this beautifully-renovated 20,000 sq. ft. heritage building features a vast fine art display, memorabilia and rare custom and vintage motorcycles. The facility boasts a dance floor, theatre room and multiple plasma screens as well as being fully equipped to host events for up to 800 people. Mon to Fri 10 am - 6 pm, Sat 11 am - 5 pm, Sun noon - 5 pm. ARTS ON ATLANTIC GALLERY 1331 9 Ave SE, Calgary, AB T2G 0T2 T. 403-264-6627 F. 403-264-6628 email@example.com www.artsonatlantic.com The gallery showcases an eclectic mix of fine Canadian art and craft. Five minutes from downtown, it is a warm, intimate space in historic Inglewood. Mediums include painting, copper, glass, jewelry, wood, specialty cards, photography and native leather and beading. The book arts and classes are a specialty. Wed to Fri 11 am - 5 pm, Sat 10 am - 5 pm, Sun noon - 5 pm and by appt. ARTSPACE GALLERY 1235 26 Ave SE, Crossroads Market, 2nd level Calgary, AB T2G 1R7 T. 403-269-4278 F. 403-291-0356 firstname.lastname@example.org www.artspace.ca Located in an historical building 5 minutes from downtown, the gallery showcases established and emerging Canadian artists with an ever-changing kaleidoscope of paintings, sculptures, prints and photography, as well as fine craft media such as glass, ceramics and metals. Fri 4 pm - 9 pm, Sat, Sun 10 am - 5 pm. AXIS CONTEMPORARY ART 107-100 7 Ave SW, Calgary, AB T2P 0W4 T. 403-262-3356 email@example.com www.axisart.ca Represents professional Canadian and International artists working in diverse media including painting, sculpture, printmaking, drawing and photography. The artists represent distinctive artistic practices in terms of their approach, technique and themes. The
result: work that is compelling, fresh and engaging. Mon to Fri 10 am - 6 pm, First Thurs till 8 pm, Sat noon - 6 pm. COLLAGE 206-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-265-3330 www.artcentral.ca COTTAGE CRAFT 8330 Macleod Trail S, Calgary, AB T2H 2V2 T. 403-252-3797 F. 403-252-6002 firstname.lastname@example.org www.cottage-craft.com THE CROFT 2105 4 St SW, Calgary, AB T2S 1W8 T. 403-245-1212 F. 403-214-1409 email@example.com www.croftgallery.com Showcases fine art and crafts by 150 regional artists and artisans. Works on exhibit include both decorative and functional pottery, glass, jewellery, turned wood, journals, wood sculpture and paintings. Mon to Wed and Sat 10 am - 6 pm, Thur, Fri to 8 pm, Sun to 5 pm.
NEW SPACES Nina Rogers has relocated her Diana Pauls Galleries to 737 2 ST SW with a street entrance in the Lancaster Building. DASHWOOD GALLERIES 203-100 7 Ave SW, Calgary, AB T2P 0W4 T. 403-261-7705 firstname.lastname@example.org www.dashwoodgalleries.com Dashwood Galleries aims for a new standard in the world of craft, design and studio ceramics and glass. With simplicity and elegance, combining state-of-the-art technology with the ancient mediums of glass and ceramics, the gallery sets out to enrich contemporary living, and bring pleasure and art into urban lives. Mon to Fri 10 am - 6 pm, Sat noon - 6 pm. DIANA PAUL GALLERIES 737 2 ST SW, Calgary, AB T2P 3J1 T. 403-262-9947 F. 403-262-9911 email@example.com www.dianapaulgalleries.com Recently relocated from 4th Avenue. Specializing in high quality fine art — small and large format works — in styles from super-realism to impressionism to semi-abstract. Featuring the work of emerging and well-established artists. Tues to Sat 11 am - 5 pm. DOUGLAS UDELL GALLERY CALGARY 725 11 Ave SW, Calgary, AB T2R 0E3 T. 403-264-4414 F. 403-264-4418 firstname.lastname@example.org www.douglasudellgallery.com In the art business in Edmonton since 1967, and Vancouver since 1986, and now in Calgary, Douglas Udell Gallery represents many of Canada’s leading contemporary artists as well as some of the leading young artists gaining momentum in the international playing field. The gallery also buys and sells in the secondary market in Canadian historical as well as international. Tues to Sat 9:30 am - 5:30 pm, Mon by appt.
tion of contemporary photography from several established local photographers. All photographs are processed to archival standards. The gallery’s mission is to participate in the education and understanding of the collection of photography as art. Mon to Fri 9 am - 5 pm, Sat 11 am - 4 pm. FRAMESWEST 1221 9 Ave SE, Calgary, AB T2G 0S9 T. 403-265-8338 email@example.com www.frameswest.com Long-known for their collector quality framing, the gallery has extended its ‘artful living’ theme at its location in Inglewood with paintings by Lisa, exclusive leather furniture by Selene, glass by Starfish Glassworks, pottery accessories by Jonathan Adler, leather rugs by Saas and resin works by Martha Sturdy. Mon to Sat 10 am - 5:30 pm. FUSION ART AND DESIGN INC 208-1235 26 Ave SE, Calgary, AB T2G 1B7 T. 403-235-0250 F. 403-265-0194 firstname.lastname@example.org fusionartanddesign.com GAINSBOROUGH GALLERIES 441 - 5 Ave SW, Calgary, AB T2P 2V1 T. 403-262-3715 F. 403-262-3743 Toll Free: 866-425-5373 email@example.com www.gainsboroughgalleries.com Extensive collection of fine artists including Tinyan, Raftery, Wood, Desrosiers, Lyon, Hedrick, Min Ma, Simard, Brandel, Schlademan, Anderson, Cameron, Crump and Degenhart. Calgary’s largest collection of bronze — by Stewart, Cheek, Lansing, Taylor, Danyluk and Weaver. Gemstone carvings by Lyle Sopel. Mon to Wed 10 am - 5:30 pm, Thur and Fri till 6 pm, Sat till 5 pm. GALLERY OF CANADIAN FOLK ART 2206A 4 St SW, Calgary, AB T2S 1W9 T. 403-229-1300 www.galleryofcanadianfolkart.com A surprising and unique gallery that exhibits and sells Canadian folk art: furniture, paintings, carvings, textiles, antiques and artifacts gathered from across the country. Presents “uncommon art of the common people.” Wed to Fri 11 am - 6 pm, Sat, Sun 11 am - 5 pm.
Y o u r
Jamha Barbara Goodman Arthur Evoy F i g u r a t i v e
Pearce Kensington Fine Art Gallery LOCATED IN THE DESIGN DISTRICT
G a l l e r y o n 1 1 t h
102-628 11 Avenue SW Calgary Alberta T2R 0E2 403-228-2111 www.kensingtonfineart.com
GOGO THOMAS GALLERY 602 11 Ave SW - lower level, Calgary, AB T2R 1J8 T. 403-265-1630 F. 403-265-1634 HARLEKIN GALLERIES 8330 Macleod Trail S, Calgary, AB T2H 2V2 T. 403-253-4046 firstname.lastname@example.org www.harlekingalleries.com An eclectic gallery bringing a fresh new look to the art scene in the southwest part of Calgary, Harlekin showcases original works of art by well-known and emerging artists in a friendly, relaxed atmosphere. Professional framing onsite. Located in Heritage Plaza at the corner of Macleod Tr and Heritage Dr. Mon to Fri 10 am - 5:30 pm, Sat 10 - 5 pm.
NEW GALLERIES Marlowe Goring will open his Executive Art Gallery this summer in the historic and newly-renovated Lougheed Block bringing many west coast artists from his Qualicum Beach Gallery.
EXECUTIVE ART GALLERIES 604 1 St SW, Calgary, AB T2P 1M7 T. 403-237-9222 email@example.com www.coastgalleriescalgary.com Opening this summer in the historic Lougheed Block, one of Calgary’s most extensive collections of fine art — representing established and emerging West Coast artists from Ken Kirkby’s powerful, patriotic Inukshuks to D.F. Gray’s riveting pastels to Joe Rosenblatt’s playful oils to the landscapes of Bill Townsend and Allan Dunfield, and the remarkable works of Norval Morrisseau.
HARRISON GALLERIES 709 A 11 Ave SW, Calgary, AB T2R 0E3 T. 403-229-4088 F. 403-920-0494 firstname.lastname@example.org www.harrisongalleries.com/ The gallery carries a select collection of traditional and contemporary artwork representing local, regional and internationally renowned artists. Tues to Thurs 11 am - 6 pm, Fri and Sat 11 am - 5 pm and by appointment. Other location in Vancouver.
FOURBYFIVE GALLERY OF PHOTOGRAPHIC ART 14-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-263-1515 email@example.com www.fourbyfive.com Dedicated to the establishment of photography as a collectible art form, the gallery displays a collec-
HERRINGER KISS GALLERY 101, 1111 - 11 Avenue S.W. Calgary, AB T2R 0G5 1111 11 Avenue SW, Calgary, AB T2R 0G5 T. 403-228-4889 F. 403-228-4809 firstname.lastname@example.org www.herringerkissgallery.com The Herringer Kiss Gallery represents provocative
Summer 2007 Galleries West 69
© 2007 T2Media Inc.
NOTE: Some numbers on the Map may refer to more than one gallery in close proximity, or in the same direction by arrow. 1 2 2 2 2 2 2
Alliance Française Gallery Art Central Axis Contemporary Art Bracken Studio Gallery Collage Dashwood Galleries Fourbyfive Gallery
2 2 2 2 2 2 3 4 5 6 7 8 9
INFLUX Jewellery Gallery Keystone Art Gallery Nova Scotian Crystal Quab Gallery Swirl Fine Art & Design Tyrrell Clarke Gallery Art Gallery of Calgary Art Mode Gallery artfirm Artists of the World artpoint Gallery Arts on Atlantic Gallery Artspace Gallery
and innovative artwork by emerging and mid-career Canadian artists. Artists include Harry Kiyooka, Bill Laing, Marjan Eggermont, Ken Webb, Reinhard Skoracki, David Burdeny, Charles Malinsky, Jeremy Herndl and Elizabeth Barnes. Tues to Fri 11 am 5:30 pm, Sat 11 am - 5 pm. INFLUX JEWELLERY GALLERY 201-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-266-7527 F. 403-266-7524 email@example.com www.influxgallery.com Representing over 30 Canadian and international artists, from emerging to established, INFLUX offers a unique collection of contemporary art jewellery and wearable art. Work ranges from rings and brooches to hand bags and scarves while materials span from precious metals and gemstones to rubber, steel, wood and found objects. Exhibitions change monthly. Mon to Fri 10 am - 6 pm, Sat 11 am - 6 pm. KENSINGTON FINE ART GALLERY 102-628 11 Ave SW, Calgary, AB T2R 0E2 T. 403-228-2111 F. 403-228-0640 firstname.lastname@example.org www.kensingtonfineart.com In Calgary since 1968, Kensington Fine Art Gallery features original 21st century Canadian art, including bronze and raku pieces, presented in a relaxed and friendly atmosphere. Recently relocated to 11th Ave SW between 5th St and 6th St. Tues to Sat 10 am - 5:30 pm.
70 Galleries West Summer 2007
9 9 10 11 12 12 12 13 14 15 16 17 18
Fusion Art and Design Inc Vanishing Point Gallery BRiC Gallery Centennial Gallery Cottage Craft Harlekin Galleries Leighton Art Centre The Croft Devo Art Gallery Diana Paul Galleries Douglas Udell Gallery EMMEDIA Gallery Executive Art Galleries
KEYSTONE ART GALLERY 207-100 7 Ave SW (Art Central) Calgary, AB T2P 0W4 T. 403-237-6637 email@example.com www.keystoneartgallery.com The Keystone Gallery promotes art created by Canadian emerging to established artists with art in all media and a focus on regional artists. There are regularly scheduled solo, group and themed exhibitions. Custom framing and installation services, design and art consultation. Mon to Sat 10 am 5:30 pm and by appt.
RE-OPENING With Penny Lane closed, look for Fosbrooke Fine Arts to re-open in a new location in the fall. LOCH GALLERY 1516 4 St SW, Calgary, AB T2R 1H5 Toll Free: 866-202-0888 firstname.lastname@example.org www.lochgallery.com Established in 1972 and recently opened in Calgary, the Loch Gallery specializes in building collections of quality Canadian, American, British and European paintings and sculpture. It represents original 19th and 20th century artwork of collectable and historic interest, as well as a select group of gifted profes-
19 FramesWest 20 Gainsborough Galleries 21 Gallery of Canadian Folk Art 22 Glenbow Museum 23 Gogo Thomas Gallery 24 Harrison Galleries 25 Herringer Kiss Gallery 26 Illingworth Kerr Gallery 26 Marion Nicoll Gallery 26 Mezzanine Gallery 26 Peters Gallery 26 Ruberto Ostberg Gallery
26 27 28 29 30 31 32 33 34 35 36 37
The Nickle Arts Museum Kensington Gallery Loch Gallery Masengo Gallery Masters Gallery Micah Gallery Museum of the Regiments Galleries Newzones Gallery Paul Kuhn Gallery Rowles & Company Ltd Skew Gallery Stephen Lowe Art Gallery
sional artists from across Canada including Ivan Eyre, Leo Mol, Peter Sawatzky, Anna Wiechec, Philip Craig and Carol Stewart. Also located in Winnipeg and Toronto. Mon to Fri 9 am - 5:30 pm, Sat 9 am - 5 pm. MASENGO GALLERY 1216a 9 Ave SE, Calgary, AB T2G 0T1 T. 403-262-8889 email@example.com www.masengogallery.com Masengo Gallery located in Inglewood is Calgary’s first gallery specializing in contemporary and classical Shona sculpture from Zimbabwe in Africa. These highly-prized sculptures are carved from semi-precious verdite, serpentine, opal and spring stone. Look for one-of-a-kind Shona stone sculpture, along with home dÈcor and accent pieces. Tues to Sat 11 am - 5 pm, Sun 11 am - 4 pm. MASTERS GALLERY 2115 4 St SW, Calgary, AB T2S 1W8 T. 403-245-2064 F. 403-244-1636 firstname.lastname@example.org www.mastersgalleryltd.com Celebrating more than 30 years of quality Canadian historical and contemporary art. Tues to Sat 10 am - 5:30 pm. MICAH GALLERY 110 8 Ave SW, Stephen Ave Walk Calgary, AB T2P 1B3 T. 403-245-1340 F. 403-245-1575 email@example.com www.micahgallery.com
38 39 40 41 42 43
Stride Gallery The Collectors’ Gallery TrépanierBaer Triangle Gallery Truck Virginia Christopher Fine Art 44 Wallace Galleries 45 Webster Galleries
The gallery specializes in unique First Nations art and jewellery from across North America. Featured artists include Ernie Whitford, local wood carver; Nancy Dawson, West Coast jeweller; Ernie Scoles, Cree painter; as well as a large selection of Navajo sandpaintings, Inuit soapstones and traditional and contemporary turquoise jewellery. Mon to Wed 10 am - 6 pm, Thur - Fri 9 am - 7 pm, Sat 10 am - 5:30 pm, Sun 11 am - 5 pm. Seasonal hours may be in effect, please call.
NEW GALLERY Daniel Lindley, formerly at Image 54, has opened Keystone Art Gallery located in Art Central. NEWZONES 730 - 11 Ave SW, Calgary, AB T2R 0E4 T. 403-266-1972 F. 403-266-1987 firstname.lastname@example.org www.newzones.com/ Opened in 1992, Newzones represents leading names in contemporary Canadian art. The gallery has developed strong regional, national, and international followings for its artists. The focus has been a program of curated exhibitions, international art fairs and publishing projects. Services include consulting, collection building, installation and appraisals. Tues to Sat 10:30 am - 5:30 pm and by appointment.
Ferns, Creekbed, Kokanee Glacier, British Columbia
bracken studio Art Central Upper Level Studio 202 100 - 7th Ave. SW Calgary, Alberta T2P 0W4 Canada 403-554-1523 www.brackenstudio.com
A delightful blend of rich colour "blowing in the wind". ”Feathers”, Oil on Stretched Canvas, 30" x 30" by Marilynn Bracken
Hours: Tue. to Fri, 11 am until 6 pm Sat. Noon until 4 pm Sun. if you are lucky Gladly open by appointment 1st Thur. open late until 9 pm
Dedicated to the establishment of photography as a collectible art form, the gallery displays a collection of photography from several contemporary photographers in a variety of formats, techniques and styles. All work is printed to archival standards and is presented with attention to detail. Remember, there is no substitute for seeing original photography ﬁrst hand so be sure to stop by the gallery to see our inventory of ﬁne prints. HOURS:
Monday thru Friday: 9am-5pm
#L14, Art Central, 100 - 7th Ave SW, Calgary, AB T2P 0W4 [t] 403.263.1515 www.fourbyﬁve.com
Art with Feel...
Representing Local & Regional Artists Art Central, #104, 100 7th Ave SW, Calgary (403) 266 - 5337
Summer 2007 Galleries West 71
Dean Francis at Sagebrush Studio For Collectors of Original Art Work
“A September Morning”, 20” x 60”, oil on canvas
“Running Bison” 11” tall, clay
Dean Francis, paintings & Fran Hartsook, pottery
NOVA SCOTIAN CRYSTAL 112-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-237-8003 F. 403-237-8069 Toll Free: 888-977-2797 email@example.com www.novascotiancrystal.com At NovaScotian Crystal, traditional mouth-blown, hand-cut glassware is not so much a craft as a way of life. Running counter to a world-wide trend to mechanization, a small band of craftsmen took matters into their own skilled hands and in 1996 NovaScotian Crystal was born on the Halifax Waterfront — the only maker of handcrafted crystal in Canada. Drop by the new Calgary showroom to experience the beauty of handmade masterpieces. Mon to Sat 10 am - 6 pm.
tions, with a focus on presenting topical art in an informed context. Monthly rotation of shows. Tues to Sat 10 am - 5 pm and by appt.
PAUL KUHN GALLERY 724 11 Ave SW, Calgary, AB T2R 0E4 T. 403-263-1162 F. 403-262-9426 firstname.lastname@example.org www.paulkuhngallery.com Focuses on national and regional contemporary Canadian paintings, drawings, prints and sculpture; also shows contemporary American prints. Exhibitions change monthly featuring established and emerging artists along with themed group shows. Tues to Sat 10 am - 5:30 pm.
SWIRL FINE ART & DESIGN 104-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-266-5337 email@example.com www.swirlfineart.com Tracy Proctor launched Swirl in June 2006, in order to promote other independent artists. The vibrant and diverse artwork draws art lovers from Calgary and further afield. Currently representing ten established and aspiring artists, all from Western Canada, the gallery showcases an abundance of talent with a broad range of styles. Consultations and commissions are available. Mon to Fri 10 am - 6 pm, Sat 11 am ñ 4 pm.
QUAB GALLERY 212-100 7 Ave SW, Art Central Calgary, AB T2P 0W4 T. 403-261-2855 F. 403-261-4855 Scotty@quab.ca www.quab.ca An intriguing art gallery environment with edgy surroundings where the work of Canadian artists is exhibited in an atmosphere of unobtrusive intimacy. With a special Quebec/Alberta connection, Quab wants the viewer to delve into the mind of the artist and be transported into a world that has been created just for them. Mon to Fri 10 am - 6 pm, Sat noon - 6 pm, Sun by appt.
ANNIVERSARY Helen and Tamar Zenith celebrate celebrate the fifteenth anniversary of Newzones this summer. ROWLES & COMPANY LTD 311 6 Ave SW - Plus 15 Level Calgary, AB T2P 3H2 T. 403-290-1612 F. 403-290-1942 firstname.lastname@example.org www.rowles.ca Features over 100 western Canadian artists in original paintings, bronze, blown glass, metal, scrimshaw on moose antler, marble and soapstone. Specializing in corporate collections and gifts, the gallery offers consultation for special commissions, packaging and complete fulfillment for a wide variety of corporate projects. Mon to Fri 9 am - 5 pm. RUBAIYAT GALLERY 722 17 Ave SW, Calgary, AB T2S 0B7 T. 403-228-7192 email@example.com From its inception in 1973, Rubaiyat has been a purveyor of the finest quality handcrafts. Whether it be the sumptious color of an off-hand blown glass piece, the grain of exotic wood, or the brilliant combinations of precious metals and stones in its jewellery collection, their aim is to inspire the visitor and craftsman alike. Mon to Sat 10 am - 5:30 pm.
All Canadian • Hand Crafted
POTTERY • JEWELLERY • GLASS • WOOD • GIFTS
2105 - 4 Street SW • 245-1212 www.thecroft.ca 72 Galleries West Summer 2007
RUBERTO OSTBERG GALLERY 2108 18 St NW, Calgary, AB T2M 3T3 T. 403-289-3388 firstname.lastname@example.org www.ruberto-ostberg.com This bright exhibition space in the residential community of Capitol Hill shows a variety of contemporary art styles and media in an inner city location for artists and art lovers to meet and interact. Some of the work is produced on-site by artists working in the adjoining Purple Door Art Studio space. Tues to Sat noon - 5 pm. SKEW GALLERY 1615 10 Ave SW, Calgary, AB T3C 0J7 T. 403-244-4445 email@example.com www.skewgallery.com A recently-opened contemporary art gallery, offering an opportunity for both the uninitiated and the seasoned collector to view or acquire a dynamic range of painting, sculpture and photography from across Canada. Specializing in theme group exhibi-
STEPHEN LOWE ART GALLERY 2nd level, Bow Valley Square III, 251, 255 - 5 Ave SW, Calgary, AB T2P 3G6 T. 403-261-1602 F. 403-261-2981 firstname.lastname@example.org www.stephenloweartgallery.ca Specializing in fine art orginals by distinguished Canadian artists of national and international acclaim for over 25 years. Offers an excellent selection of outstanding paintings and sculptures in landscapes, florals, still life, and figurative in contemporary and traditional styles. Mon to Sat 10 am - 5 pm.
THE COLLECTORS’ GALLERY OF ART 1332 9 Ave SE, Calgary, AB T2G 0T3 T. 403-245-8300 F. 403-245-8315 email@example.com www.collectorsgalleryofart.com Specializing in important Canadian art from the 19th to the 21st century including early topographical paintings, Canadian impressionists and Group of Seven. The Collectors’ Gallery represents over 30 prominent Canadian contemporary artists. Tues to Fri 10 am - 6 pm, Sat 10 am - 5:30 pm. THE PETERS GALLERY 1904 20 Ave NW, Calgary, AB T2M 1H5 T. 403-210-0078 F. 403-269-3475 firstname.lastname@example.org www.thepetersgallery.com Established in 1993, this eclectic gallery and framing studio represents important traditional and contemporary Canadian artists featuring quality original works of art — paintings, sculpture, glass and works on paper. They assist both first-time buyers and the seasoned collector to make informed choices for their personal or corporate collections. Mon - Fri 10 am - 5:30 pm, Thur till 6 pm, Sat 11 am - 4 pm. TRÉPANIERBAER 105, 999 8 St SW, Calgary, AB T2R 1J5 T. 403-244-2066 F. 403-244-2094 email@example.com www.trepanierbaer.com A progressive and friendly commercial gallery specializing in the exhibition and sale of Canadian and international art. In addition to representing well-known senior and mid-career artists, the gallery also maintains an active and successful program for the presentation of younger emerging Canadian artists’ work. Tues to Sat 11 am - 5 pm and by appointment. TYRRELL CLARKE GALLERY 213-100 - 7 Ave, Art Central Calgary, AB T2P 0W4 T. 403-245-4281 firstname.lastname@example.org www.tyrrellclarke.com VANISHING POINT ART GALLERY 210-1235 26 Ave SE, Crossroads Mkt Calgary, AB T2G 1R7 T. 403-693-0106 email@example.com www.artspace.ca Artist-owners Graham Fox (digital imagery and poetry) and Ron Robinson (mixed media and sculpture) have developed a space for contemporary art which is both original and affordable. As well as their own work, pieces from local guest artists are featured on a regular basis. One of the artists will be on hand to help you enjoy the gallery. Sat and Sun 10 am - 5 pm or by appointment. VIRGINIA CHRISTOPHER FINE ART 816 11 Ave SW, Calgary, AB T2R 0E5 T. 403-263-4346 firstname.lastname@example.org www.virginiachristopherfineart.com Established in 1980, the gallery has earned a national reputation among discerning collectors of
WALLACE GALLERIES LTD 500 5 Ave SW, Calgary, AB T2P 3L5 T. 403-262-8050 F. 403-264-7112 email@example.com www.wallacegalleries.com Specializes in Canadian contemporary original art. Features some of Canada’s leading artists including Ted Godwin, Kenneth Lochhead, Vivian Thierfelder, Alain Attar, Les Thomas, Brian Atyeo and Jeff de Boer. Mon to Sat 10 am - 5:30 pm. WEBSTER GALLERIES 812 - 11 Ave SW, Calgary, AB T2R 0E5 T. 403-263-6500 F. 403-263-6501 firstname.lastname@example.org www.webstergalleries.com Since 1980, Webster Galleries Inc. has been a leading specialist in stone sculpture and offers a large collection of Inuit sculpture, oils, watercolours, bronzes, pencil works, ceramics and hand-pulled prints within 10,000 square feet of gallery space. Mon to Sat 10 am - 6 pm; Sun 1 pm - 4 pm. Cooperative Galleries ARTPOINT GALLERY AND STUDIOS 1139 - 11 St SE, Calgary, AB T2G 3G1 T. 403-265-6867 F. 403-265-6867 email@example.com www.artpoint.ca Housed just behind the CPR tracks in Ramsay, the gallery is home to over 40 artists and members of the artpoint society. In the Upstairs and Downstairs Galleries, members and invited art groups show their work in monthly changing exhibitions — from painting to sculpture; photography to textiles. Turn E from 8 St onto 11 Ave SE and follow gravel road. Thurs & Fri 1 pm - 5 pm, Sat 11 am to 5 pm, Sun 1 pm - 5 pm, or by appointment. BRIC GALLERY 227 35 Ave NE, Calgary, AB T2E 2K5 T. 403-520-0707 firstname.lastname@example.org CENTENNIAL GALLERY 133-125 9 Ave SE, Calgary, AB T2G 0P6 T. 403-266-6783 email@example.com Public Galleries ALLIANCE FRANÇAISE GALLERY 1221 2 St SW, 2nd floor, Calgary, AB T2R 0W5 T. 403-245-5662 F. 403-244-3911 firstname.lastname@example.org www.afcalgary.ca/ Located in the heritage Memorial Park Building, the Alliance Française of Calgary offers a wide range of exhibitions in its new gallery. It promotes the visual arts and their multicultural aspects as an important expression of French civilization and also facilitates cultural activities offered in conjunction with French language classes. Mon to Fri 9:30 am - 1 pm, 2 pm - 5:30 pm; Sat 9:30 am - 1 pm. ART GALLERY OF CALGARY 117 - 8 Ave SW, Calgary, AB T2P 1B4 T. 403-770-1350 F. 403-264-8077 email@example.com www.artgallerycalgary.org DEVO ART GALLERY 317 7 AVE SW, 4TH FLR TD SQUARE, CALGARY, AB T. 403-221-4274
LEIGHTON ART CENTRE Box 9, Site 31, R.R. 8, By Millarville, 16 km south of Calgary off Hwy 22 west Calgary, Alberta T2J 2T9 T. 403-931-3633 F. 403-931-3673 firstname.lastname@example.org www.leightoncentre.org Situated on 80 acres of rolling foothills 15 minutes southwest of Calgary, the former home of landscape painter A.C. Leighton represents 50 years in Canadian landscape painting. Changing exhibitions and sales — workshops on painting techniques for various skill levels from beginners to accomplished artists. Located south on Macleod Tr to Spruce Meadows Tr west to 37 St (Hwy 773) and south (then west and south) to 266 Ave W (bottom of big hill, west and south on winding road) to Leighton Centre. Museum entrance 50 yds south of Centre. Tues to Sat 10 am - 4 pm. MARION NICOLL GALLERY Alberta College of Art & Design, 1407 14 Ave NW Calgary, AB T2N 4R3 T. 403-284-7625 F. 403-289-6682 email@example.com www.acad.ab.ca/galleries/mng/gate.cfm MEZZANINE GALLERY 2500 University Drive NW, Calgary, AB T2N 1T1 T. 403-220-4913 firstname.lastname@example.org mezzanine.ffa.ucalgary.ca
ANNIVERSARY The Calgary Contemporary Arts Society celebrates 25 years; its Triangle Gallery of Visual Art celebrates 19 years. MUSEUM OF THE REGIMENTS GALLERIES 4520 Crowchild Tr SW, Calgary, AB T3E 1T8 T. 403-240-9723 F. 403-686-1280 email@example.com www.museumoftheregiments.ca THE NICKLE ARTS MUSEUM University of Calgary, 434 Collegiate Bd NW Calgary, AB T2N 1N4 T. 403-220-7234 F. 403-282-4742 firstname.lastname@example.org www.ucalgary.ca/~nickle A broadly focused public gallery that is an integral part of the University of Calgary. 18 to 24 exhibitions per year focus on contemporary western Canadian art and on numismatics, reflecting the museum’s two major collections. Mon to Fri 10 am - 5 pm, Thur to 9 pm, Sat 1 pm - 5 pm (May through Aug, Mon to Fri 10 am - 5 pm only).
at the Calgary Stampede Western Showcase July 6 – 15
TRIANGLE GALLERY OF VISUAL ART 104-800 Macleod Tr SE, Calgary, AB T2G 2M3 T. 403-262-1737 F. 403-262-1764 email@example.com www.trianglegallery.com Dedicated to the presentation of contemporary Canadian visual arts, architecture and design within a context of international art, the gallery is engaged in the advancement of knowledge and understanding of contemporary art practices through a balanced program of visual art exhibitions to the public of Calgary and visitors. Admission fee: Adults $2.00; Senior/Students - $1.00; Family - $5.00; Members of the Triangle Gallery - Free. Annual Membership - $25.00. Free admission on Thursdays. Tues to Fri 11 am - 5 pm, Sat noon - 4 pm.
“Kananaskis Glory”, Oil on Canvas, 30” x 30”
contemporary Canadian art. Exhibitions change monthly, showcasing museum-calibre, original paintings, sculpture and ceramics by artists with well-established reputations. Representing the Estate of Luke O Lindoe (1913-1999). Gallery open Tues to Sat 11 am - 5:30 pm. The Vue CafÈ serves lunch 11 am - 4 pm. Inquiries invited for private functions.
CAMROSE GLENBOW MUSEUM 130 - 9 Ave SE, Calgary, AB T2G 0P3 T. 403-268-4100 F. 403-262-4045 firstname.lastname@example.org www.glenbow.org/ The colourful history of Canada’s West comes alive at Western Canada’s largest museum. Discover the diverse people, stories and events that shaped this region. Glimpse the world beyond Western Canada through special exhibitions and their own eclectic, international collections. Daily 9 am - 5 pm, Thur till 9 pm. Adult $12; Sen $9; Stu $8; under 6 free; family $37.50. Glenbow Shop open daily 10 am - 5:30 pm, Thur till 9 pm. ILLINGWORTH KERR GALLERY Alberta College of Art & Design, 1407 14 Ave NW Calgary, AB T2N 4R3 T. 403-284-7633 F. 403-289-6682 www.acad.ab.ca/ikg.html
Commercial Gallery CANDLER ART GALLERY 5002 50 St, Camrose, AB T4V 1R2 T. 780-672-8401 F. 780-679-4121 Toll Free: 888-672-8401 email@example.com www.candlerartgallery.com Fresh, vibrant and alive describe both the artwork and the experience when you visit this recently restored gallery. You will discover a diverse group of both emerging and established artists all well priced. Mon to Fri 9 am - 5:30 pm, Sat 9:30 am - 5 pm. Or by appt. CANMORE Commercial Galleries ELEVATION GALLERY 100-729 Main St, Canmore, AB T1W 2B2
www.kissfineart.com (403) 229-0045
Also represented by: The Artym Gallery, Invermere, BC White Rock Gallery, White Rock, BC Adele Campbell Gallery, Whistler, BC Tutt Art Galleries, Kelowna, BC Le Balcon d'art, Saint Lambert, QC
Summer 2007 Galleries West 73
Celebrating Visual Culture ROOTS group show with Brenda Kim Christiansen, Sherri Chaba, and Erin Schwab
Profiles Public Art Gallery
Brenda Kim Christiansen "Toxic Jill" acrylic, 4â€™ x 3â€™, 2006
19 Perron Street St. Albert AB T8N 1E5 P: 780.460.4310 â€˘ F: 780.460.9537 E: firstname.lastname@example.org www.artsheritage.ca
THE 6!!! 'ALLERY PRESENTS
Macbethâ€™s Horrible Imaginings May 17 - June 16, 2007
T. 403-609-3324 email@example.com www.elevationgallery.ca With new street-front location housing the works of more than 20 visual artists, the Elevation Gallery exhibits a constantly changing array of painting, jewellery, printmaking, sculpture, drawing, ceramic and glass. Artists range from emerging to established, all working with some elements of contemporary style. Daily 10 am - 6 pm. (Closed Mon in shoulder seasons.) THE AVENS GALLERY 104-709 Main St, Canmore, AB T1W 2B2 T. 403-678-4471 firstname.lastname@example.org www.theavensgallery.com Established in 1980, the Avens Gallery features original work by local senior artists: Zelda Nelson, Alice Saltiel, Elizabeth Wiltzen, Tony Bloom and Craig Richards. Paintings, photographs, glass, clay, wood and metal. Open daily 10:30 am - 5 pm, closed Mon in winter. THE CORNER GALLERY 705 Main St, Box 8110, Canmore, AB T1W 2T8 T. 403-678-6090 Toll Free: 800-649-7948 www.cornergallery.com Original works by Canadian artists â€” Elaine Fleming, Mike Svob, Tinyan, Min Ma and Vilem Zach. Paintings, pottery, bronze, soapstone, jade, photography and raku. Phone for hours. Public Gallery CANMORE LIBRARY GALLERY 950 8 Ave, Canmore, AB T1W 2T1 email@example.com www.caag.ca COCHRANE
Beating Heart, Wade Stout
6!!! 'ALLERY RD &LR 3TREET %DMONTON !"