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SPRING | 2014


Winnipeg Art Gallery Switchboard 204.786.6641 Art Classes 204.789.1766 Clara Lander Library 204.786.6641 ext 237 Development 204.789.1768 Facility Rentals 204.789.1765 Gallery Shop 204.789.1769 Guided Adult Group Tours 204.789.0516 Membership 204.789.1764 School Tours 204.789.1762 en français 204.789.1763 Storm Bistro 204.948.0085 Hours Gallery Tues–Sun 11am–5pm, Fri 11am–9pm, Closed Mon Clara Lander Library Tues–Fri 11am–4:30pm • Selected Saturdays 11am–3pm • Closed Sun and Mon, other times by appointment only


New Exhibitions

2 7: Professional Native Indian Artists Inc • May 9–Sept 1

6 Inuit Fantastic Art • May 31–Oct 12

8 The Winnipeg Sketch Club: A Look Back • May 17–July 27

10 Decorative Arts • August 9–November 15

12 Continuing Exhibitions COVER:

Alex Janvier. The Four Seasons of '76, 1977 [detail]. Acrylic on masonite. Courtesy of Janvier Gallery. Photo: Don Hall

12 Lynne Cohen: Between Something and Nothing • April 12–August 18 14 Micah Lexier: This, That, Those • April 19–August 4 The Permanent Collection Gallery 1

Renaissance and Baroque Art, 1500-1700

Gallery 2

The Academic Tradition in Europe and Canada, 1700-1900

Gallery 4

Modernist Traditions, 1870-1950

MRA Gallery

Highlights of Inuit Sculpture


Upcoming Exhibitions

16 Masterworks from the Beaverbrook Art Gallery • September 27–January 25, 2015 20 Dali Up Close • September 27–January 25, 2015 22 Inuit Art Centre 24 Programming and Events 32 Volunteer Associates 34 Support Kids programming symbol • Indicates programs for children.

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St Mar



exercise. I would like to think that the WAG plays an important part in this exercise.

It was the great communicator, Marshall McLuhan, who said: “Art at its most significant is a distant early warning system that can always be relied on to tell the old culture what is beginning to happen.” Art is one of our oldest languages, one of the first and last ways we communicate with each other. Before words, before the assemblage of vocabularies, there has been a visual means in which thoughts and emotions are made known. For centuries art has been the cultural expression of humankind, central to our survival and well being. The material we call art is an integral part of the history of civilization—tied to the idea of living. Art penetrates all sectors of our society. We may only see or understand part of the work, but we cannot deny its impact and place. Beyond the idea of beauty, meaning, or even truth—art is an expression of the human spirit. Albert Einstein once said he was enough of an artist to draw freely upon his imagination. Left to our own imagination, we tend to thrive, and art is part of this life-giving

Our blockbuster exhibition 100 Masters: Only in Canada, which ran from May to September, 2013, is just one example of what an exhibition can do for a community in the expression of the human spirit. Featuring 100 artworks borrowed from 30 museums across the country, and spanning 500 years of artmaking, the exhibition was the most successful in the WAG’s 100-year history, attracting over 60,000 visitors— and a few awards! On April 9 in Toronto, I had the honour of accepting the Canadian Museum Association’s (CMA) national award for Outstanding Achievement in Marketing for the 100 Masters exhibition. Also in April the 275-page illustrated publication accompanying the exhibition received the Manitoba Book Award’s Manuela Dias Book Design of the Year Award. In May, the WAG exhibition was announced as the runner-up for a Winnipeg Tourism Award of Distinction in Marketing. It was also the runnerup for the Winnipeg Free Press Entertainment Story of the Year, as voted by WFP readers, coming in second to the Paul McCartney concert at the new stadium in Winnipeg. Beyond the record attendance, school outreach, membership growth, huge revenues, and national media attention and honours for 100 Masters, what

was most rewarding for me was to see how the public responded to seeing and experiencing the original works of art. In an era filled with reproductions and replicas of all kinds in all places, it is a powerful reminder that people still want to see the real thing— masterworks created by men and women over the ages. As you read about the current and upcoming exhibitions and programs in this issue of myWAG, you’ll see that the WAG is at the heart of the communities we call Winnipeg and Manitoba. Being central to the cultural life of the city and province means being current, relevant and meaningful to the people, groups, and institutions—all the stakeholders—who make up each community. If I had to pick one exhibition that stands out as a project that truly personifies this enterprise of engagement and the notion of relevance, it would have to be 7: Professional Native Indian Artists Inc. Come to the WAG this summer and I think you’ll see what I’m talking about. To make this a little easier, at least for the youth around us, I am pleased to offer free gallery admission to youth 18 and under for the months of May and June.

Stephen Borys, PhD, MBA Director & CEO MyWAG | 1

7: Professional Native Indian Artists Inc. is organized by the MacKenzie Art Gallery.

7: Professional Native Indian Artists Inc. est organisée par la MacKenzie Art Gallery.

This project has been made possible through a contribution from the Museums

Ce projet a été rendu possible grâce à une contribution du Programme d’aide aux

Assistance Program, Department of Canadian Heritage. The MacKenzie receives

musées du ministère du Patrimoine canadien. La MacKenzie Art Gallery reçoit

ongoing support from the Canada Council for the Arts, the Saskatchewan Arts

l’appui continu du Conseil des arts du Canada, du Saskatchewan Arts Board, de

Board, SaskCulture, the City of Regina, and the University of Regina. 2 | SPRING2014

SaskCulture, de la Ville de Regina et de l’Université de Regina.


Related Programs

FREE admission for youth 18 and under from May 10-June 30. Organized by the MacKenzie Art Gallery • May 9–September 1 • Galleries 7 and 8 Curated by Michelle LaVallee, Associate Curator, MacKenzie Art Gallery

One of Canada’s most important artist alliances, the Professional Native Indian Artists Inc. (PNIAI) made history by demanding recognition for its members as professional, contemporary artists. In the words of Alex Janvier, they set out to “change the world, the art world, for Natives of Canada.” Gathering informally in the early 1970s, the group pushed for the recognition of contemporary First Nations art at a time when Indigenous artists were routinely invalidated, marginalized, and excluded by the dominant art world. By challenging old constructs and stimulating a new way of thinking about the lives and art of First Nations people, they signaled a new course for the exhibition and reception of contemporary Indigenous art. By the end of 1972, the “Group of Seven,” Jackson Beardy, Eddy Cobiness, Alex Janvier, Norval Morrisseau, Daphne Odjig, Carl Ray, and Joseph Sanchez, constituted the first self-organized, formally autonomous First Nations artists’ advocacy collective in Canada. It takes courage to make work that differs from those before you and not assimilate into the mainstream art world. The visual impact of these works will hopefully reacquaint viewers with the excitement and newness of the images and styles which these seven artists produced—an excitement shared by the many artists who built on their artistic innovations. Focusing exclusively on that crucial decade during which the seven artists were active as a group, the 84 works included in this exhibition exemplify the range and diversity of work being produced in the 1970s. The exhibition considers their collective artistic impact as well as the distinctive styles and experimentation of the individual artists.

Drop-in tours 2pm unless otherwise noted. May 25, June 1, 15, 22 July 6, 13, 20, 27 August 10, 17, 24 Workshop with Joseph Sanchez • Freeing the Creative Mind May 9, 10am-4pm Details: page 28 Artist/Curator Talk May 10, 2pm • A Conversation with Alex Janvier, Joseph Sanchez and exhibition curator Michelle LaVallee Flavours of Art Dinner at Storm Bistro, followed by a tour of the exhibition. Details: page 28 Art for Lunch Wed, May 21, 12:10pm • Exhibition tour. Details: page 28 Family Sunday Sunday, June 8 Details: page 24

7 provides a glimpse at a vision that flourished despite the struggles these artists faced within the context of mainstream Canadian society. Given their far ranging impact, it is important to honour and recognize the efforts and contributions of these seven artists to the development of First Nations aesthetic production and to the history of Canadian art. The term “Indian” is contentious, a misnomer associated with colonial subjugation. Today, descendants of the original inhabitants of North America prefer to be referred to by their First Nation, band, or even clan names, in their language. Nevertheless, at various times Indigenous peoples have gathered under the umbrella of various English terms in order to have a collective political voice.

Images of the artists courtesy of National Gallery of Canada Library and Archives, Dominion Gallery Fonds and Aboriginal Art Centre, Aboriginal Affairs and Northern Development Canada.

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The 7 in Brief JACKSON BEARDY (1944–1984) was born on the Garden Hill Reserve (Island Lake, Manitoba) and was of Cree ancestry. Beardy studied commercial art at the Winnipeg Vocational School (1963–64) and later took art classes at the University of Manitoba. Beardy has acted as art adviser and cultural consultant to a number of public institutions, including the Department of Indian Affairs and Northern Development (now Aboriginal Affairs and Northern Development Canada) (1981). Throughout his career, Beardy served as a member of numerous arts organizations, including National Indian Art Council and Canadian Artists Representation. Beardy has received recognition for his work in Canada and Europe, including the retrospective exhibition Jackson Beardy: A Life’s Work at the Winnipeg Art Gallery in 1993. He is the recipient of the Canadian Centennial Medal (1967), the Junior Achievement Award (1974), and the Outstanding Young Manitoban Award (1982). His work can be found in several prominent collections, including the Winnipeg Art Gallery, Glenbow Museum, and Canadian Museum of History. EDDY COBINESS (1933–1996), an Ojibway artist, was born in Warroad, Minnesota and raised on Buffalo Point Reserve, Manitoba. Between 1954 and 1957, Cobiness served in the United States Army, where he became a Golden Gloves boxer and continued to draw and sketch during his leisure time. In 1980 he served as chairman of the First Annual Great Peoples PowWow in Sprague, Manitoba. He has also published his illustrations in two books, Alphonse Has an Accident (1974) and Tuktoyaktuk 2-3 (1975). His works have also been included in two recent group exhibitions, Frontrunners, co-organized by Winnipeg’s Plug In Institute of Contemporary Art, and Urban Shaman Contemporary Art Gallery and Artist-Run Centre (2011); 4 | SPRING2014

and My Winnipeg: There’s No Place Like Home, Plug In Institute of Contemporary Art (2012). His work is held in many prominent private and public collections worldwide, including those of former Prime Minister Jean Chrétien and Queen Elizabeth II, as well as the Winnipeg Art Gallery, National Gallery of Canada, and Royal Ontario Museum. ALEX JANVIER (b. 1935) was born at Cold Lake First Nations, Alberta, and is of Dene Suline and Saulteaux heritage. He studied fine art at the Alberta College of Art in Calgary before working as an art instructor at the University of Alberta (1961). Janvier was later hired as a cultural adviser to the Department of Indian and Northern Affairs (now Aboriginal Affairs and Northern Development Canada) and was also appointed to the Aboriginal Advisory Committee for the Indians of Canada pavilion at Expo 67 in Montreal. Janvier has been the recipient of multiple honours, including the Order of Canada (2007) and the Governor General’s Award in Visual and Media Arts (2008). He holds three honorary doctorates. His work has been exhibited in many solo and group exhibitions, such as ALEX JANVIER, Art Gallery of Alberta (2012) and Land Spirit Power, National Gallery of Canada (1992). His work can be found in several prominent collections, including the Winnipeg Art Gallery, Montreal Museum of Fine Arts, and National Gallery of Canada. NORVAL MORRISSEAU (1932–2007) was raised on the Sand Point Reserve near Lake Nipigon and was of Ojibwa descent. His first solo exhibition was held at Toronto’s Pollock Gallery in 1962. Morrisseau was the only painter from Canada invited to exhibit in the Magiciens de la Terre / Magicians of the Earth exhibition at Centre Georges Pompidou in Paris (1989). He was the first artist of First Nations descent to have a retrospective exhibition at the National Gallery of Canada (2006). Morrisseau received the Canadian Centennial Medal (1968), was elected to



Joseph Sanchez. Ghost Shirt, 1979-80. Stone lithograph. Courtesy of the artist.

Daphne Odjig. So Great Was Their Love, 1975. Acrylic on canvas. Private Collection.

Jackson Beardy. Flock, 1973. Oil on canvas. Collection of Aboriginal Affairs and Northern Development Canada. Courtesy of Aboriginal Art Centre, Aboriginal Affairs and Northern Development Canada.

Eddy Cobiness. Watering the Horse, 1974. Pen and ink. Courtesy of Woodland Cultural Centre. 975.15.2 Alex Janvier. Wounded Knee Boy, 1972. Courtesy of Janvier Gallery.

Carl Ray. Medicine Bear, 1977. Acrylic on Photos: Don Hall canvas. Collection of Sunita D. Doobay.

the Royal Canadian Academy of Art (1973), and was inducted into the Order of Canada (1978). In 1980 he was awarded an honorary doctorate by McMaster University. He was acknowledged as Grand Shaman of the Ojibway in Thunder Bay (1986) and honoured by the Assembly of First Nations Chiefs Conference in Ottawa (1995). His work has been exhibited nationally and internationally, and is held in numerous collections, including the Winnipeg Art Gallery, National Gallery of Canada, Art Gallery of Ontario, and Montreal Museum of Fine Arts. DAPHNE ODJIG (b. 1919) was born on Wikwemikong (Manitoulin Island) and is of Potawatomi and Odawa heritage. In 1970 she established Odjig Indian Prints of Canada Limited in Winnipeg. In 1973 Odjig received a Swedish Brucebo Foundation Scholarship and travelled as a resident artist to Sweden. In 1974 she opened the New Warehouse Gallery, the first gallery owned and operated by an Aboriginal person in Canada. Odjig has been the recipient of several awards and honours, including the Canadian Silver Jubilee Medal (1977), Order of Canada (1986), and the Governor General’s Award in Visual and Media Arts (2007). She has been awarded eight honorary doctorates. Several major exhibitions of her work have been organized, including the recent internationally touring retrospective, The Drawings and Paintings of Daphne Odjig, Art Gallery of Sudbury and National Gallery of Canada (2007). Odjig’s work has been exhibited nationally and internationally, and is held by major collections such as the Winnipeg Art Gallery, National Gallery of Canada, and Art Gallery of Ontario. CARL RAY (1943–1978) was born on the Sandy Lake Reserve, Ontario, and was of Cree heritage. Ray completed commissioned work (alongside Norval Morrisseau) for the Indians of Canada pavilion at Expo 67, later receiving grants from the Canada Council (1969) and the Department of Health and Welfare,

Indian Affairs Branch (1971). Between 1971 and 1972, the Government of Ontario and the Department of Indian and Northern Affairs (now Aboriginal Affairs and Northern Development Canada) sponsored the Northern Art Tour, in which Ray and Norval Morrisseau visited reserves and communities of Northern Ontario. Ray illustrated James Stevens’ book, Sacred Legends of the Sandy Lake Cree (1971), and also illustrated the cover of Tom Marshall’s book The White City (1976). Major commissions include murals for the Sandy Lake Primary School, Ontario (1971) and the Sioux Lookout Fellowship and Communication Centre, Ontario (1973). His work is held in numerous public and private collections, including the Winnipeg Art Gallery, National Gallery of Canada, and Canadian Museum of History. JOSEPH SANCHEZ (b. 1948) was born in Trinidad, Colorado. He is an artist and curator of Spanish, German, and Pueblo descent currently residing in Santa Fe, New Mexico. Sanchez served in the United States Marine Corps before moving to Canada. He met Daphne Odjig in 1971 while living outside of Winnipeg, and was instrumental in the formation of the Professional Native Indian Artists Inc. In 1975 Sanchez settled in Arizona. In 1983 he founded ARTS, a service to design exhibitions, provide curatorial services, administer collections, and provide consulting for individuals, artists, and museums. From 1982 until 1984 he served as a board member of the National Association of Artist Organizations. Sanchez was the recipient of the Allan Houser Memorial Award for outstanding artistic achievement and community service in 2006 and was a curatorial partner for the 7th International Biennial at Site Santa Fe in 2008. In 2010 Sanchez retired as Deputy Director and Chief Curator of the Museum of Contemporary Native Arts (formerly the Institute of American Indian Arts Museum), where he had worked since 2002.

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Inuit Fantastic Art May 31–October 12 • Gallery 5 • Curated by Darlene Coward Wight The theme for this exhibition was inspired by a sculpture competition in Povungnituk (now Puvirnituq) in 1967 and a subsequent exhibition in Winnipeg in 1972. In 1967 an art competition was held in Povungnituk, sponsored by visiting American anthropologist Dr. Nelson Graburn. Carvers had complained to Graburn that buyers only wanted them to create realistic subjects. The competition was organized to encourage carvers to create works of originality and imagination, independent of the usual commercial production, with cash prizes being offered. A number of carvers responded with carvings of a fantastic, even surreal nature. Puvirnituq carvers have continued to create these imaginative works over the years.


Françoise Katalik Oklaga. Untitled (Scene with Spirits), 1978. Coloured pencil, graphite. Collection of the Winnipeg Art Gallery; Acquired with funds from The Winnipeg Art Gallery Foundation Inc. G-92-218. Eli Sallualu Qinuajua. Untitled (Spirits), c. 1968. Stone. Collection of the Winnipeg Art Gallery; Twomey Collection, with appreciation to the Province of Manitoba and Government of Canada. 1967.71 Eli Sallualu Qinuajua. Untitled (Spirits), 1978. Stone. Collection of the Winnipeg Art Gallery; Gift of Dr. Harry Winrob. 2006-392 Unidentified Artist (Greenland). Tupilak, 1960s. Ivory. Collection of the Winnipeg Art Gallery; Gift of Bob and Marlene Stafford. 2012134 FACING: Simon Tookoome. Shaman

1971. Graphite and coloured pencil on paper. Collection of the Winnipeg Art Gallery, The Swinton Collection. G-76-855 ©CARCC 2014

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Intrigued by the results of the 1967 contest, George Swinton organized a catalogued exhibition titled Eskimo Fantastic Art at the University of Manitoba’s Gallery 1.1.1 in 1972. His exhibition title became associated thereafter with bizarre and surreal artworks. Swinton was an influential writer, collector, and teacher at the University of Manitoba School of Art. In his catalogue he noted that “the fantastic carvings which came out of this competition are not isolated stylistic freaks, but are part of old oral and visual traditions not only common to Povungnituk and the Canadian Arctic but indeed to the entire arctic region from Siberia to Greenland.” This observation is borne out by early sculptures created by Cape Dorset artists in the 1950s and 1960s, also included in the exhibition. Swinton’s statement is also true when considering the tupilaq tradition of Inuit from East Greenland. The tupilaq was a harmful spirit created by a shaman out of bones and skin, brought to life through magical chants and sent to kill one’s enemy. Danish inhabitants of Greenland wanted to know what these mysterious creatures looked like and carvers began to create them from their imagination using the ivory teeth of sperm whales. Several tupilaqs from the WAG collection are featured in this exhibition.

The fantastic and the surreal are associated with giving imagination free rein, without the conscious control of reason and convention, allowing the subconscious full play. This exhibition highlights work which exhibits these tendencies by several graphic artists from Baker Lake.


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the winnipeg sketch club: a look back May 17–July 27 • Mezzanine Gallery • Curated by Andrew Kear


This year marks the one-hundredth anniversary of the Winnipeg Sketch Club (WSC), an organization that operated in close association with the Winnipeg Art Gallery when it first began. Drawing on the Gallery’s permanent collection, this exhibition pays tribute to the Sketch Club by featuring works by 25 of its leading and best known contributors, from L.L. FitzGerald to Clarence Tillenius, W.J. Phillips to Leo Mol, and Pauline Boutal to Tom Lovatt. The exhibition illustrates the great range of pursuits Sketch Club members were engaged in, and presents not only “sketches” but also sculptures, prints, and finished paintings. The Winnipeg Art Students’ Sketch Club, as it was initially known, was conceived in 1914 by Alexander Musgrove, the Winnipeg School of Art’s newly installed Principal who also served as the Sketch Club’s first President. At this time, membership was limited to students and faculty of the School. Weekly sketching sessions were held at the Industrial Bureau Building, home of what was then called the Winnipeg Museum of Fine Arts, which hosted the Club’s inaugural exhibition in 1916. From the very beginning, the WSC gave members the opportunity to work from the live model, and produce studies of nude and elaborately costumed figures. It went on to orchestrate outdoor sketching trips to sites throughout the city and beyond. Over the decades, Sketch Club members have documented Winnipeg’s changing skyline and used a variety of media to record countless city landmarks, many of which no longer exist. In 1920 the group’s membership broadened and grew to include academically unaffiliated artists from the community. Member-juries oversaw new admissions. Social gatherings became common, a resource library was amassed, and a development fund initiated and earmarked for the purchase of future studio quarters and equipment. In 1969 Winnipeg art collector John P. Crabb provided a space on Assiniboine Avenue which the WSC occupied rent-free until 1997. Now located on Eugenie Street, the Sketch Club continues to be an important resource for artists, offering the means to practice and improve technique, exhibit work, discuss ideas, and socialize.

FACING: Lionel LeMoine FitzGerald. The Jar, 1938.

Oil on canvas. Collection of the Winnipeg Art Gallery; Gift of the Women's Committee. G-56-25


Georgie Wilcox. Western Industries (Steel Pour, Vulcan Iron Works, Winnipeg), c. 1939. Oil on Masonite. Collection of the Winnipeg Art Gallery. Gift of John P. Crabb. G-95-109 Tom Lovatt. View of the City, 1986. Coloured pencil on board. Collection of the Winnipeg Art Gallery. G-87-288 Cyril Barraud. Red River, Winnipeg, 1915. Oil on canvas. Collection of the Winnipeg Art Gallery. Gift of Robert and Margaret Hucal. 2003-119

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Worcester: A Closer Consideration August 9–November 15 • Mezzanine Gallery • Curated by Helen Delacretaz


Worcester. Teapot, c. 1765– 1770. Soft-paste porcelain. Collection of the Winnipeg Art Gallery; Gift of Miss Frances Mills and on behalf of her sisters the late Miss Evelyn and Miss Mildred Mills, G-90-42 ab Royal Worcester. Urn-shaped vase, c. 1924. Bone china. Collection of the Winnipeg Art Gallery; The Frank Evison Collection; Gift of The City of Winnipeg, 1999-77 ab Worcester. Sweetmeat stand, c. 1760–1765. Soft-paste porcelain. Collection of the Winnipeg Art Gallery; The Ruby Ashdown Collection of Decorative Art, 2009-305 Worcester. Bottle vase, c. 1760–1775. Soft-paste porcelain. Collection of the Winnipeg Art Gallery; The Ruby Ashdown Collection of Decorative Art, 2009-268

The very name Worcester immediately conjures up impressions of excellence in porcelain production. Established in 1751, it remains today an important site of ceramic production. Its ceramic history began in pre-Roman times, but it truly became significant in the mid-18th century when physician Dr. John Wall and apothecary William Davis, alongside 13 other partners, founded a factory at Warmstry House on the banks of the River Severn. The group, led by Dr. Wall, purchased the secrets of porcelain from the Bristol Porcelain Works in 1752, as well as the raw materials and moulds. They transferred the workforce from Bristol to Worcester. This purchase allowed the new factory at Worcester to get a head start on other potteries as it avoided the typical obstacles faced by companies starting from the ground-up, and was able to produce quality products from the very beginning. Worcester production is divided into numerous periods, named largely after the owner/ operators of the pottery. The earliest period, the Dr. Wall period (1751-1783) incorporated soapstone into the formula of the paste, producing a fine, soft-paste porecelain resistant to cracking or crazing when used to hold hot liquids, thus proving very popular for teawares. The 1760s show market influence of Asian ceramics, and the employment of the transferprinting technique served to really increase market opportunities. In 1789, under the banner of Davis & Flight, or simply Flight, (1783-1792) the pottery was granted the Royal Warrant. With the addition of a new partner, Martin Barr, in 1792 the Davis & Flight factory became known by the name Flight & Barr (1792-1807) and subsequently Barr, Flight & Barr (1807-1813) and Flight, Barr & Barr (1813-1840). During these periods, the quality of porcelain produced reached a highpoint. The painting, enamelling, and gilding rivalled the best in Europe and products included “Japan” patterns, Regency motifs (feather, shell, and bird), as well as hand-painted landscape panels set within coloured grounds. The two leading Worcester-based factories Flight, Barr & Barr and Chamberlains merged in 1840 to become Chamberlain & Co. It remained so until 1852 when the partnership Kerr & Binns purchased the concern. In 1862 a joint stock company called the Worcester Royal Porcelain Co. took control and has headed the factory since. Generally known as Royal Worcester, the pottery has retained high acclaim and a strong international reputation throughout the 20th century and into the 21st. The WAG is fortunate to have a splendid collection of British porcelain from the 18th and 19th centuries. This is, indeed, the backbone of its Decorative Arts collection. Within this, Worcester examples form the largest representation of a single factory. This exhibition will explore the rich breadth of the WAG’s collection of Worcester and Chamberlain porcelain, from early mid-eighteenth century works to 20th century production. Drawing on important collections donated to the WAG—the Ruby Ashdown Collection and the Evison Collection—the history of this significant British pottery will be illustrated.

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Lynne Cohen: Between Something and Nothing Co-organized by the National Gallery of Canada NGC@WAG and the Winnipeg Art Gallery

Related Programs Public Opening Friday, May 9, 7-10pm

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Continuing exhibition: April 12–August 18 • Gallery 6 • Curated by Paul Butler

This exhibition traces the subtle evolution of Lynne Cohen’s 40-year investigation of interior ‘readymade’ spaces. From her black and white portraits of domestic and public spaces of the 70s, to the training centres and social engineering laboratories of the 80s, to her eventual use of colour with the Spa series from the late 90s, Cohen’s found environments explore psychological, sociological, intellectual, and political artifice. This exhibition is the first comprehensive show of Lynne Cohen’s work presented in Western Canada. The 21 works borrowed from the NGC will be augmented with works from the WAG’s collection and recent work from the artist’s collection. Capturing the world “much more than less” as she finds it, Cohen describes her work as probing “the boundaries between the found and the constructed, the absurd and the deadly serious, and the animate and the inert.” Present are suggestions of the human body—dummies, diagrams, and silhouettes—but never actual people. With her larger, more recent work, Cohen allows the viewer the sense of entering the environments themselves. Throughout the work, there are references to Pop, minimal and conceptual artists like Jasper Johns, Joseph Beuys, and Richard Hamilton. Underneath Cohen’s seemingly banal subject matter are themes of irony, surveillance, and humour as well as social and political criticism. This is the space where her photography hovers between something and nothing.


Born in Racine, Wisconsin, Lynne Cohen was educated in printmaking and sculpture at the University of Wisconsin, and at Eastern Michigan University. She studied for a year at the Slade School of Fine Art in London. Since 1973 Cohen has lived and worked in Canada, initially in Ottawa where she taught at the University of Ottawa (1974-2005) and from 2003 in Montreal, where she currently resides. Cohen has exhibited widely and held artist’s residencies across North America and Europe. In 2005 she was the recipient of the Governor General’s Award in Visual and Media Arts and was the first recipient of the Scotiabank Photography Award.

"...This is the real world. There is truth in these images, at least I certainly hope so. I choose to work in the First World; I never work in the so-called Second or Third Worlds. My heart is in the Third World, but I don’t make work there, I wouldn’t know how. For me it’s the hilarious parts of the First World— the layers of social class and privilege—that tell the truth. And I’m interested in spaces that are a little off, in how they can look on and off at the same time.

Lynne Cohen. Untitled, 2008, chromogenic print, 81.5 x 101.6 cm. National Gallery of Canada, Ottawa Lynne Cohen. Banquet Hall, Howard Johnson’s, Atlantic City, New Jersey, 1976 (printed 1986), gelatin silver print, 18.9 x 24 cm. Lynne Cohen. Hall, 1999, dye coupler print, 80.7 x 102 cm. National Gallery of Canada, Ottawa. Lynne Cohen, Spa, 1999, dye coupler print, 80.6 x 102 cm sight; integral frame: 110.9 x 131.5 x 2.8 cm. National Gallery of Canada, Ottawa Photos: ©NGC

My works are always filled with contradictions. They depict all of these readymade installations, and you’d think this image couldn’t be true; it has to have been made by an artist with a wry sensibility and black humour.”

— Lynne Cohen, 2011,

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photo: Miguel Jacob

Micah Lexier: This, That, Those


Continuing exhibition: April 19–August 4 • Gallery 3 • Curated by Paul Butler With This, That, Those, Micah Lexier has worked with Paul Butler, WAG Curator of Contemporary Art, to create an installation where a constellation of artworks—both found and made—are in dialogue with each other. The exhibition reflects on the creative process of making and presenting art, and—like all of Lexier’s work—is not only a portrait of the artist, but of his practice as well. The following excerpt is from an email conversation between Micah Lexier and Paul Butler. The entire interview will be made available in the exhibition itself as a free limited print edition. PB: What were your thoughts behind the exhibition title This, That, Those? ML: We talked about building the WAG exhibition around my video This One, That One, so I wanted the title to reference that artwork without actually mentioning it by name. I also like how the title conjures up an image of someone literally pointing to a number of things or groupings of things, which is what we are doing in this show. A title is often the first thing that a viewer encounters about an exhibition, so I like to get it right. It is a significant opportunity to indicate something about what is in the exhibition or about the sensibility behind the exhibition. But a title is not just for the viewer. It’s as much for the curator and me—to be used as a kind of guide for us in building the exhibition. PB: Knowing know how much attention you give to every detail in your practice and the consideration involved in your work, one might assume you to be a control freak. But the truth is you love to collaborate on many levels not only with curators, artists, and audience (and their ideas)—but in regards to the art itself.. Can you talk about your video projection This One, That One? Am I right to assume you are arranging found objects in the video? ML: The fact that everything in the video is found is a big part of the charm of that piece. The video consists of a number of vignettes of me responding to all these things, most noticeably pieces of cardboard. I have been collecting cardboard boxes off the street for at least a dozen years, often not knowing why I am bringing them into my home. Some of them have made their way into various vitrine displays, but This One, That One is the first project to really show off the depth of my collection. I collect a wide variety of images that are printed on cardboard boxes and it takes years to amass a substantial collection. An artwork like this could only have been made by digging into a rich and vast archive. The video looks really simple, like I just threw it together–and it is supposed to look effortless, but in fact it is a very choreographed and highly edited production made in collaboration with a cinematographer, lighting person, and editor. I have learned that my strength is not so much in generating, but in responding, so I try to put myself in as many situations as I can where I get to respond. That is one reason why I like to collaborate, as I get to respond to another person’s energy.

Micah Lexier is a Winnipeg-born artist, now living in Toronto, with a diverse art practice that blurs the distinctions between artist and curator. He has a deep interest in measurement, order, numbers, and the kinds of casual marks we make in everyday life, and in the presentation of these marks. Lexier was educated at the University of Manitoba (BFA, 1982) and the Nova Scotia College of Art and Design (MFA, 1984). He has had over 100 solo exhibitions, participated in over 200 group exhibitions, and produced a dozen permanent public commissions. This past fall, Lexier’s work was celebrated by The Power Plant (Toronto) with a fifteen-year survey exhibition of his work. Lexier’s work is in numerous public and corporate collections including the British Museum (London, England), the Contemporary Art Gallery (Sydney, Australia), the National Gallery of Canada (Ottawa), and the Art Gallery of Ontario (Toronto).

Related Programs Public Opening Friday, May 9, 7-10pm Artist Talk Thursday, May 22, 7pm Details on page 28 Micah Lexier. still from This One, That One. (Winnipeg Art Gallery edit) 2013/14

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Organized and circulated by the Beaverbrook Art Gallery with the Support of the Museums Assistance Program at Canadian Heritage. Presenting sponsor TD Bank Group and supporting sponsor McInnes Cooper.

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Masterworks from Bea September 27–January 25 • Galleries 7, 8, 9 Masterworks from the Beaverbrook Art Gallery brings an uncompromising selection of 75 exceptional paintings to Winnipeg. These works form part of one of North America’s unparalleled art collections originally amassed in the mid-20th century by the Canadian-born international businessman, media mogul, and confidante of the rich and famous, William Maxwell Aitken (aka Lord Beaverbrook). Thomas Gainsborough, Joshua Reynolds, and George Romney—heavyweights of 18th century British portraiture—are well represented, as are Victorian dynamos like J.M.W. Turner, James Tissot, and Augustus John, some choice Impressionist works, and a captivating early painting by that giant of contemporary realism, Lucien Freud, the only


averbrook Art Gallery painting by the British artist in a Canadian public collection. Canadian artists Emily Carr, J.W. Morrice, Tom Thomson, and Lawren Harris hold their own on this international stage. Masterworks from the Beaverbrook Art Gallery also marks the first time major works by the mercurial Salvador Dali will be publically displayed in Winnipeg. In scale and substance, three paintings by this Spanish Surrealist—including the companion portraits of Aiken’s friend and business associate Sir James Dunn and Dunn’s third wife, as well as Santiago El Grande—form the exhibition’s unquestionable centrepiece. A magisterial four-meter high depiction of the patron saint of Spain rising from the ocean on a white horse, Santiago El Grande is widely considered one of Dali’s most accomplished works.

Salvador Dali. Santiago El Grande,1957. Oil on canvas. Gift of The Sir James Dunn Foundation. Beaverbrook Art Gallery. ©Salvador Dali, Fundació GalaSalvador Dalí/ SODRAC (2014) Joseph Mallord William Turner. The Fountain of Indolence, 1834. Oil on canvas. Gift of The Beaverbrook Foundation. Beaverbrook Art Gallery. Thomas Gainsborough. Lieutenant Colonel Edmund Nugent, 1764. Oil on canvas. Gift of The Beaverbrook Foundation. Beaverbrook Art Gallery.

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The Beaverbrook Art Gallery was founded by William Maxwell Aitken, Lord Beaverbrook, in his birthplace, New Brunswick. The gallery boasts the most eclectic and valuable art collection in Atlantic Canada, including important Dali works and one of the finest and most significant holdings of British art in North America.

Archives Canada: George Metcalf Archival Collection



A Dali Masterwork Santiago El Grande is one of only 20 masterworks the artist produced in his lifetime and a centrepiece of the Beaverbrook Art Gallery. Literally sitting at the foot of this immense Dali, you get the 3-D effect of Saint James and his charging horse. Premiering at the World’s Fair in 1958, it was destined to be hung as an altarpiece in Spain. It ended up gracing Lord Beaverbrook’s collection in Canada – a rumoured decision made by the artist after an opportune ride in a Dunn elevator, leading to the sale of the painting to Lady Dunn, confidant of Lord Beaverbrook. Of note is the figure in the bottom right—Gala, his wife and muse as well as the minuscule figure at bottom, a self-portrait of Dali as a young boy. 18 | SPRING2014

Joseph Mallord William Turner’s painting, The Fountain of Indolence, is often referred to as a puzzle. At first glance it is a landscape reminiscent of his tours of Italy in 1819-1820. However, there is the issue of the people, based on pilgrims in the poem Castle of Indolence by poet James Thompson. In the painting they have been lured into the Castle of Indolence and are now frolicking in the nude, certainly giving credence to the title. Although the painting was renamed in 1839 as The Fountain of Fallacy, it eventually reverted without explanation to The Fountain of Indolence. While questions remain, there has always been agreement on the genius of Turner's work.

Gainsborough Did It How did Lieutenant Colonel Edmund Nugent end up in Canada, well his portrait anyway? Lord Beaverbrook spirited away this masterwork by one of the great portrait painters of the 18th century, despite British National Gallery attempts to stop him. Art critic for the London Morning Post, James Greig wrote in 1929, “This is one of the most brilliant full-length portraits ever painted by Gainsborough… The Director of the National Gallery ought to see this portrait and form forces with the National Art Collection Fund in an effort to prevent it from leaving England.” Lord Beaverbrook prevailed.

Lord Beaverbrook or just Max The Beaverbrook Art Gallery describes Lord Beaverbrook as a “multi-millionaire business tycoon, pushy newspaper publisher, shrewd politician, master propagandist, published author, personal confidant of Sir Winston Churchill, and great philanthropist…” Historian Michael Bliss wrote that he was “a salesman-speculator, one of a breed of fast-talking, risktaking business middlemen only slightly above real estate dealers then and used car salesman today.” Historian A.J.P. Taylor described him as “an indescribably wicked, evil man.” And yet he had an almost unparalleled passion for art that is reflected in this magnificent collection.


THE COLLECTION A FASHION SHOW Wednesday MAY 21 • 7pm Doors open 6pm A runway that winds through six galleries. Inspiring collections from SS’14. Exquisite jewelry designed by Canadian artists. Vintage handbags from the Costume Museum of Canada. And a champagne reception with hors d’ouvres, shopping, and a jewelry bar. Be the first to see BORDERS : Michel Saint Hilaire’s latest paintings in the Gallery Shop’s exhibition space.

$50 • WAG MEMBERS $40 Tickets available at SP ONSORED BY:








Dali Up Close September 27–January 25 • Gallery 6 • Curated by Andrew Kerr Dali Up Close asks audiences to consider what it was that made Salvador Dali the complex paragon of modern art he is remembered as today. Was it his accomplished draughtsmanship, his disturbing penchant for surreal juxtaposition, a combination of idiosyncratic personality and savvy selfpromotion, or some mixture of it all? The exhibition will feature a number of definitive works, including The Madonna of Port Lligat, on loan from Milwaukee’s Haggerty Museum of Art. Completed in 1948, this oil speaks to Dali’s deep appreciation for Renaissance masters like Piero della Francesca and Raphael, signalling the artist’s transition from Surrealism toward a version of Neo-Classicism, what he called his “Nuclear Mysticism” period. Dali Up Close will also feature a selection of over 24 gelatin silver prints of Dali taken in collaboration with the well-known American photographer Philippe Halsman in the late 1940s and early 1950s, including perhaps the most celebrated Dalí Atomicus. The photographs reveal the man behind the paintings to be just as mercurial, provocative, and exacting as the art he created. A combination of Halsman’s photomontage wizardry and Dali’s honed public image—his trademark moustache—the images anticipate both the Pop and contemporary Performance art that emerged a decade later.

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Salvador Dali. Madonna of Port Lligat, 1948. Oil on canvas. Gift of Mr. and Mrs. Ira Haupt. Haggerty Museum of Art at Marquette University. 59.9. © Salvador Dali, Fundació Gala-Salvador Dalí/ SODRAC (2014) FACING:

Philippe Halsman. Dali Atomicus, 1948. Gelatin silver print. Philippe Halsman Archive, New York Philippe Halsman, 1954 © Philippe Halsman Archive


Philippe Halsman (1906-1979) Halsman was born in Riga, Latvia and began his photographic career in Paris. In 1934 he opened a portrait studio in Montparnasse, where he photographed many well-known artists and writers. Part of the great exodus of artists and intellectuals who fled the Nazis, Halsman arrived in the United States with his young family in 1940, having obtained an emergency visa through the intervention of Albert Einstein. Halsman’s prolific career in America over the next 30 years included reportage and covers for every major American magazine. Halsman began a thirty-seven year collaboration with Salvador Dali in 1941 which resulted in a stream of unusual “photographs of ideas,” including “Dali Atomicus” and the “Dali’s Mustache” series. In the early 1950s, Halsman began to ask his subjects to jump for his camera at the conclusion of each sitting. These uniquely witty and energetic images have become an important part of his photographic legacy. SOURCE: Phillippe Halsman Archive website,

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Oviloo Tunnillie. Woman Showing a Drawing, 2006. Serpentinite. Collection of the Winnipeg Art Gallery; Acquired with funds from the Estate of Mr. and Mrs. Bernard Naylor, funds administered through The Winnipeg Foundation, 2007-25. ŠDorset Fine Arts


Sanaugait (made by hand)

In early October 2012, the Inuit Art Centre (IAC) Task Force gathered at the WAG to offer input and advice related to the development of the Inuit Art Centre. The conversation and deliberations were summarized in a report from the IAC Task Force and included four guiding principles for the project: sanaugait (made by hand), nunamit (from the land), qaggiq (a gathering place), and inuniq (who we are).

This is the first in a series of features introducing the Winnipeg Art Gallery’s preeminent collection of Inuit art, today exceeding 13,000 works and representing 50 years of connection to the Arctic.

The first of these concepts is sanaugait (san-ow-gate) and, the IAC Task Force asked WAG Curator of Inuit Art Dr. Darlene Coward Wight to give form to this concept by referencing one of the works from the WAG’s Inuit collection. She selected Woman Showing a Drawing by Cape Dorset artist Oviloo Tunnillie to illustrate sanaugait.

Oviloo Tunnillie, 1989. Photo: Darlene Wight

Oviloo Tunnillie (b. 1949) is one of the most respected Inuit sculptors working today. Her first sculptures were made while she was a teenager in Cape Dorset while watching her father, Toonoo, carve. She has worked actively for over forty years, enjoying international success since the 1980s. Tunnillie was one of the first Inuit artists to create autobiographical artworks. Many of her sculptures explore personal themes such as her childhood experience dealing with tuberculosis in a southern sanatorium, the death of one of her children, and her often arduous work as a female artist creating sculpture from the south Baffin Island serpentinite stone. Tunnillie has stated,

“Stories are told through art, and I decided that I can tell a story about myself using art.” In Woman Showing a Drawing she creates a graceful self-portrait, but rather than showing herself carving, she proudly holds a drawing by her mother, Sheokjuk Toonoo, an eloquent statement on the ties between artists within the same family.

Cape Dorset, NU

Q&A with Oviloo Tunnillie

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FAMILY FUN For updated information on all WAG family events and programs, email to received our seasonal Family Fun Newsletter.

Have a Birthday pARTy at the WAG! Magic Carpet Ride • ages 4-6 Want to fly through the Gallery on a magic carpet? Use your imagination to explore the art by “landing” in the paintings and “flying” around sculptures. This journey is filled with stories and active games and ends with a creative art workshop where you can make your own masterpiece.

Young Artists Party • ages 7-12 Do you want to be an artist when you grow up? Let’s roam the Gallery pretending to be artists. Figure out how the art is made through unique art themed games and then roll up your sleeves to make your own art that you can keep forever.

Arctic Adventure • ages 7-12

Family Sunday

Sunday, June 8, 1:30-4pm • $10 for family • Free for members • Prepare to be inspired by the bold and colourful artwork of one of Canada’s most important First Nations artist alliances in the exhibition 7: Professional Native Indian Artists Inc. Celebrate this high-spirited exhibition with storytelling, art-making and interactive hoop dancing by Jackson Beardy’s own grandson, Jackson III.

Dimanche en famille

Dimanche 8 juin, 13h30 à 16h • 10$ par famille • Gratuit pour les membres • Inspirez-vous par les œuvres d’art colorées de l’un des plus importants groupes d’artistes autochtones du Canada dans l’exposition 7: Professional Native Indian Artists Inc. Célébrez cette exposition avec les histoires, la création artistique, et une danse interactive de cerceaux par le propre petit-fils de Jackson Beardy, Jackson III.

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Enfa nts

Bundle up for an imaginary journey to the Arctic. Hear enchanting stories, play unique Inuit games and explore real artifacts that you can touch. All this within fascinating Inuit exhibitions that will inspire you to make amazing art of your own!

Art Detective • ages 7-12 Attention young agents! Go on an art quest looking for treasures and relics in the Gallery. Can you tell what the pictures are saying? Take out your magnifying glass and scope out the clues that will solve the mystery, and start creating your own artwork with hidden messages.

Off the Wall • for teens or adults Invite your friends and family to celebrate your special occasion at the WAG. Go on a tour filled with enlightening discussion and laughter. Let us know if you want a workshop and we will arrange a special project for your group. It’s a perfect combination of art, conversation and celebration!

Enjoy the party! Leave the arrangements to us! Availability: Friday evenings, 5-8pm. Saturday and Sunday, 11am-4pm. Flexible summer hours. Time: Two hours per party.

Fee: $175 for members, $195 for non-members (Includes admission to the Gallery for 15 children and five adults). Larger parties can be accommodated but regular admission will apply to extra participants.

For more information download our brochure at birthdayparties or call the WAG at 204.789.1290 or e-mail education@wag




Meet our new WAG Mascot! My parents are sled dogs in Cape Dorset and I have lots of fun playing with my fellow puppies. When it’s really cold in winter I get to go inside and play with my human family. Best of all the children love to play with me because I’m super fluffy and love to roll around and like to act like a bear. That’s how I got my name Nanook which means bear. But I’m also a very curious puppy. Sometimes that gets me into trouble, but this time my curiosity led me to Winnipeg!

Photos: Eric Au Studios, Leif Norman

Winnipeg Art Gallery 300 Memorial Boulevard • 204.786.6641 •

Summer Festivals

Watch for the WAG tent at the following summer festivals including: • Folk Fest • Kids Fest • Aboriginal Day Live • Canada Day at The Forks • The Winnipeg Fringe Festival • North End Community Picnic in the Park • Many Fest Cyclovia

and see it! I love doing art, although sometimes I’m very messy and my mom has to lick me for hours to clean me up. I heard that the WAG Studio has classes where you get to do print-making and create sculptures, and I wanted to join in the fun. So now I’m here in Winnipeg with Darlene in the Inuit Art vault where I am surrounded by thousands of pieces of sculptures that remind me of home. I’m looking forward to meeting all of you at summer art camp, summer festivals, Family Sunday, and all the other events in and around Winnipeg where you will find WAG staff. Be sure to come up, say hello, and give me a high five! Darlene goes back and forth to the North all the time so I can go visit my family and tell great stories about the adventures I’ve been on.

My human family use funny tools to carve stone to create really amazing figures of polar bears, walruses, and even sometimes of me! I overheard them talking with this nice lady from the WAG, Darlene, and she said she was bringing their sculpture of me on an airplane all the way south to Winnipeg. I was so excited about the thought of all those people seeing a sculpture of me I was wiggling and licking her hands hoping she’d think to take me along. And so she did! She offered to bring me on a trip all the way to Winnipeg. I learned that the WAG had the world’s largest collection of Inuit art like the ones my human family makes and I was just so excited to come MyWAG | 25


TEACHER’S CORNER The school year is wrapping up quickly but don’t miss the opportunity to bring your students to see the much anticipated exhibition 7: Professional Native Artists Inc. opening May 10, which features the work of preeminent Canadian First Nations artists including Jackson Beardy, Daphne Odjig, and Norval Morrisseau. Teacher Resource Guides for the exhibition are available upon request. Half-day and full-day School Programs are offered for all grades in English and French until the very last week of school. Fill out a booking request form online or call 204.789.1290 to reserve your program. Have a wonderful summer!

Exhibition Sneak Peeks for Teachers • 7: Professional Native Indian Artists, Inc.

FREE! Teachers, join us for a free evening at the WAG to explore upcoming exhibitions and learn how to enhance your classroom studies with inspiring works of art. Refreshments provided. Thurs, May 15, 5-6pm • Learn about an important group of First Nation contemporary artists and explore work by Jackson Beardy, Eddy Cobiness, Alex Janvier, Norval Morrisseau, Daphne Odjig, Carl Ray, and Joseph Sanchez. 26 | SPRING2014


Choose from 3 exciting weekly themes:

Create a Tale • Ages 6 to 10

(week of July 7, July 21 and August 4 (short week) Do you have a favorite character, hero or heroine? Have you ever explored ancient legends and mythical creatures? Discover the bizarre and often surprising stories behind the creatures depicted in fascinating works of art. Fabricate your own imaginative new character and wow your friends with a spellbinding story!

Art Agents • Ages 6 to 10

(week of July 14 and August 11)

July 7 to August 22, 2014 • Weeklong/9am-4pm with early drop off from 8:30am and pick up until 5pm • For children ages 6 to 10 and 11 to 14 • $200 for members, $225 for non-members, short week of August 4: $180 for members, $200 non members. Register online now! Are you artistically inclined? Do you love making fantastic pictures, experimenting with paint, and creating unusual structures? Here’s your chance to make unique works of art with the help of talented camp artists. Get inspired by the art at the WAG, embark on exciting field trips, and help stage a spectacular miniexhibition at the end of the week!

Attention young detectives! Go on an art quest looking for treasures within the Gallery and outside too. Find out how art can change over time and reveal the secrets held behind the layers of paint. Take out your magnifying glass and scope out clues that will solve the mystery, and start creating your own work of art with hidden messages.

Art, Power and Spirit

• Ages 11 to 14 (week of July 28 and August 18) Do you have unique ideas that are out of the ordinary? Art can move you and empower you in so many ways. Explore intriguing themes and subjects in the Gallery and then do some wild experimentation with new media and highly unconventional materials to create art that reflects your one-of-a-kind point of view. Behold the power of art!




This workshop runs for five afternoons (Mon-Fri 12-4pm). You’ll immerse yourself in your creative activities for a full week in a stimulating environment using a variety of drawing and painting media as well as working on a 3D project. The weeklong format will allow for projects to develop over more than one class. All supplies are included. U4C-SS-M1 Summer Studio • Valerie Dewson • Aug11-15 12-4pm $149/$164

These workshops run five full days (Mon to Fri) of mornings and afternoons. Each course consists of 25 hours (5 hours each day) of class time. You’ll immerse yourself in your creative activities for a full week in a stimulating environment. Supply lists will be forwarded to registrants in advance of the workshops. 10am-4pm (1 hour lunch break. Students make their own lunch arrangements. Storm Restaurant is conveniently located in the Gallery’s penthouse.)

Oil/Acrylic Painting

Prerequisite: Drawing 1 or equivalent experience This beginning course in acrylic or oil painting introduces you to basic colour theory and handling of your choice of acrylic or oil paints. You’ll work from still life arrangements, do colour exercises and learn about basic elements such as composition and shape, and how colour is used to create a sense of depth. Critiques will help you gain an understanding of what is involved in making a painting work well.


By focusing on colour while using media such as oil pastels, chalk pastels, art sticks and other materials, you will develop your ability to depict multiple aspects of nature. Individual interpretations of the subject matter will be encouraged. Weather permitting, we will work outside as much as possible. U4A-DW-M1• Drawing • Rose Montgomery-Whicher • Aug 11-15 10am-4pm $170/$186/$178

Mixed Media

You will have the experience of working with a variety of art materials. Possibilities include drawing and painting media, collage, printmaking and 3D assemblage projects. Instruction will encourage the combining and layering of media and the development of projects over more than one class. Instructors teach an understanding of many materials, unusual ideas, and great creativity. U4A-MM-M1 • Mixed Media • TBA • Aug 18-22 • 10am-4pm $170/$186/$178

U4A-PA-M1 • Oil/Acrylic Painting • Racheal Tycoles • Aug 18-22 10am-4pm $170/$186/$178

Find the art in you

Visit for details on all classes and weekend workshops and click to register on-line! You can also register by calling 204.789.1766 or faxing 204.772.6841.

Fall Studio Classes Registration begins August 19 for classes running from September to December Painting. Drawing. Pottery. Photography. Sculpture. Animation. Whatever your interest, whatever your skill level, from 5 years of age and older, we have a class for you! During ten-week classes and special weekend workshops, our artist instructors will help you develop artistic skills and nurture your creative spirit. MyWAG | 27


FOR ADULTS Art for Lunch Wednesdays, 12:10pm • Talks and tours included with Gallery admission. Video programs free. May 7 • The Interlake Artists Wave Tour • What stirs your heART? Biannually, more than 37 artists in Manitoba’s East Interlake open the doors to their studios allowing others to enjoy their work and creative process. Join Heidi Hunter and Cathy Sutton to learn more about this years’ dynamic tour and the wildly diversified group of artists ‘riding the wave’. May 21 • Tour: 7: Professional Native Indian Artists Inc. with Curator of Canadian Historical Art, Andrew Kear • Gathering informally in the early 1970’s, artists Norval Morrisseau, Daphne Odjig, Jackson Beardy, Eddy Cobiness, Alex Janvier, Carl Ray, and Joseph Sanchez joined forces to create a ground-breaking cultural and political entity that would challenge old constructs, and stimulate a new way of thinking about contemporary First Nations peoples, their lives, and art. Art for Lunch will take a summer break, resuming in September.

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Artist Talks May 10, 2pm A Conversation with Alex Janvier, Joseph Sanchez and 7 curator Michelle LaVallee May 22, 7pm Blurring the line between Artist and Curator: Micah Lexier in Conversation with Paul Butler

Drop-in tours 7: Professional Native Indian Artists Inc. 2pm unless otherwise noted. May 25 June 1, 15, 22 July 6, 13, 20, 27 August 10, 17, 24

Included with Gallery admission


Thursday, May 9, 10am-4pm Freeing the Creative Mind with Joseph Sanchez In conjunction with the exhibition; 7: Professional Native Indian Artists Inc., this workshop is designed to unlock traditional mindsets and to help you find your own voice and understanding of contemporary art. It is a drawing and painting experience that frees the creative spirit and encourages a new aesthetic, one that is currently visible in much contemporary Native Art. It offers an understanding of art and nature in the context of how we see all the others with whom we share this planet. It is a creative action that releases and shares new paths beyond the “isms” that dominate our thinking about what “Art” is. Fee: $25. Registration required. A supply list will be mailed to registrants. Limited number of spaces available. A limited number of specially priced spaces are available for artists. Please call 204.789.0519 for more information.

Flavours of Art

The WAG’s signature dinner-andtour program features a 3-course exhibition-inspired fixed menu at Storm Bistro, followed by a tour of 7: Professional Native Indian Artists, Inc. Dinner is served at 6pm; the 1-hour tour begins at 7:30pm. May 30 • June 20 • July 25 • August 22 Please note: Flavours of Art offers a fixed menu. Menus are posted online in advance at If you have dietary issues or restrictions, please contact Storm Bistro directly at 204.948.0085. Gratuity is included in the ticket price, wine/spirits are not. Tickets are $45 members, $50 non-members. Available online at, by calling 204.789.1290, or by emailing education@wag





LIVE! •••

ON THE • • •


JUNE 11 Manitoba Opera*

JUNE 19 Bad Country

JULY 3 Keith Price

JULY 31 Free Ride

AUGUST 14 Helen White


$25 • WAG MEMBERS $22

Rain location Muriel Richardson Auditorium

DINNER 6-7pm


WAG galleries open during intermission

CONCERT 7:30pm

Tickets and Menu available at WAG front desk or


*Performance to be held in the Muriel Richardson Auditorium

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An exhibition of new work by Michel Saint Hilaire May 23-June 15 Opening Reception May 23, 6-9pm Michel Saint Hilaire, a Winnipeg-based fine artist writes, “Music, rhythms and the pulse of life around me inspire my work,” begins Saint Hilaire, “sometimes the lines channel the music I am listening to, sometimes they are sound and travel patterns from traffic around my studio, sometimes the lines box me in, sometimes they keep me out… sometimes they connect me directly to the viewer. They are very exciting to execute, I don’t plan them, they wait, and build, and I let them happen. They explode forward in instinctual and aggressive brush strokes.”

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Mother’s Day Brunch at the Storm Bistro on top of the Winnipeg Art Gallery Sunday, May 11 Seating starts at 10am Call 204.948.0085 to make a reservation Adults $33.50 • Children $19.95 • Traditional Rolls & Butter • Assorted Breakfast Pastries (Danish, Muffins, Croissants) • Caesar Salad with Herbed Croutons & Parmesan Cheese • Mediterranean Style Quinoa Salad with Lemon Vinaigrette or Couscous • Fresh Mixed Greens & Crisp Vegetable Salad with Sesame Ginger Dressing • Bacon & Sausage • Scrambled Eggs with Side of Salsa & Cheese • Belgian Waffles with Warm Maple Syrup or Blueberry Topping • Eggs Benedict – Chef’s Choice OR Mushroom & Spinach Quiche • Rosemary Herbed Potato & Sweet Potato Hash Browns SEAFOOD STATION • Whole Poached Atlantic Salmon with Traditional Accompaniments • Shrimp Cocktail • Cold Mussels CARVING STATION • Maple Dijon Crusted Pork Loin with Chef’s Choice Sauce • Herbed Whole Roasted Chicken DESSERTS • Assorted House Made Cheesecakes • Chocolate Mousse Cups • Assorted Cakes and Cookies • Fresh Fruit Display

WAG Membership

Members receive free or reduced admission to all exhibitions, programs and events. Not a member? Sign up at or contact 204.789.1764 or

You can help the WAG carry on another 100 years of arts and culture by making a donation to support important areas like Exhibitions, the Permanent Collection, Youth Programs, or an Area of Greatest Need. Give online now! Call 204.789.1764 or email


FAR-OUT JUNE 19–JULY 27 In celebration of 7:PNIAI, the Gallery Shop brings you a sales exhibition of works by Canadian Aboriginal Artists. CYRIL ASSINIBOINE











Terry McCue. Untitled “‘Tobacco’ Rider” watercolour on paper, 30 x 22 in Alex Janvier. Queen Elizabeth II Diamond Jubilee Medal, 2013, watercolor, 18 in

Many of the works in this show were selected from the collection at the Wah-sa Gallery which opened in 1976 when Gary Sherbain purchased the gallery from original owner Daphne Odjig and her husband, Chester Beavon. Continuing in the tradition initiated by Odjig, the Wah-sa Gallery highlights the works of Canadian Woodland Aboriginal artists. Odjig suggested the Ojibway term Wahsa; which literally translates to “far away” but in the vernacular of the mid-seventies means “far-out.” In addition, original PNIAI artists Alex Janvier and Joseph Sanchez works will be included in Far-Out.

Opening reception June 19, 6-9pm

The popular WAG Home Tour returns to the Crescentwood, River Heights, and Tuxedo neighbourhoods this fall. The 2014 tour will feature some of Winnipeg’s most architecturally significant residences, all designed by local architects.

Join us on Sunday, September 14


More information soon at

Himalayan Mountain Kingdoms: Tibet, Nepal, and Bhutan Trip: Saturday, October 25-Wednesday, November 12 SOLD OUT Join this remarkable trip across the roof of the world! Highlights include: • Tibet: Visit the historic Potala Palace, the former residence of the Dalai Lama in the city of Llhasa. • Nepal: Explore the fascinating sites of the capital city of Kathmandu. • Bhutan: Hike up to the iconic Tiger’s Nest Monastery. Host: Sherry Glanville. For full details on this trip-of-a-lifetime contact: Continental Travel at 204.989.8575 or Charlene Underhill at 204.989.9642 Visit for more information

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Cibinel Architects Ltd., photo: Ted Geddert



WAG Board of Governors Interim Chair Alex Robinson (Business Development Manager, Graham Construction)

Past Chair Naomi Z. Levine (Lawyer) Chair, Building Committee Kevin Donnelly (Senior Vice President

& General Manager, MTS Centre, True North Sports & Entertainment Ltd.)

Chair, Development Committee Alex Robinson (Business Development Manager, Graham Construction)

Chair, Finance and Audit Committee Hans Andersen (Senior Manager

Chair, Governance and Nominating Committee Naomi Z. Levine (Lawyer)

Members at Large

Chair, Human Resources Committee Tom Carson (Senior Fellow and

Hennie Corrin

Director, Canada West Foundation)

President, Volunteer Associates Committee Judy Kaprowy Chair, Works of Art Committee Doneta Brotchie (FUNdamentals Creative Ventures)

Ernest Cholakis (Dentist, Cholakis Dental Group) Curwin Friesen (CEO- Friesens Corporation) Dwight MacAulay (Chief of Protocol, Government of Manitoba) Scott McCulloch Ovide Mercredi James A. Ripley (Lawyer, Thompson Dorfman Sweatman LLP)

Winnipeg Art Gallery Foundation Inc. Appointment Tom Carson (Senior Fellow and Director, Canada West Foundation)

Province of Manitoba Appointment Manju Lodha (Artist, Creative Writer,

and Multicultural/Multifaith Educator and Learner) Valerie Shantz (Council on Post-Secondary Education)

City of Winnipeg Appointment Paula Havixbeck (City Councillor – Charleswood-Tuxedo


Ex Officio (WAG Director & CEO) Stephen Borys

– Audit and Assurance Group PricewaterhouseCoopers LLP)

APTN IS A PROUD SPONSOR OF 7: PROFESSIONAL NATIVE INDIAN ARTISTS INC. Aboriginal Peoples Television Network Réseau de télévision des peuples autochtones MyWAG | 33


Canada Council for the Arts Young Canada Works, Department of Canadian Heritage

Province of Manitoba

Arts Stabilization Manitoba Bureau de l’éducation française under the aegis of the Canada/ Manitoba Program for Official Languages in Education Canada Manitoba Infrastructure Community Places Program, Manitoba Housing and Community Development Green Team Manitoba, Manitoba Children and Youth Opportunities Heritage Grants Program Manitoba Culture, Heritage and Tourism

City of Winnipeg

Winnipeg Arts Council

Other Support

Arts Stabilization Manitoba, Inc. Children’s Heritage Fund, Winnipeg School Division Winnipeg School Division

CORPORATE AND FOUNDATION DONORS 50,000+ Donner Canadian Foundation $25,000+ Akman Construction Dundee Wealth Investment Counsel Eckhardt-Gramattée Foundation Great-West Life Investors Group The Winnipeg Foundation $10,000-$24,999 Bird Construction Company Boeing Canada Technology Ltd. The Dorothy Strelsin Foundation Ernst Hansch Foundation Inc. George Warren Keates Memorial Fund The Johnston Group Inc. Qualico Developments RBC Royal Bank Swancoat Investments Ltd. $5,000 to $9,999 US Consulate Winnipeg Melet Plastics Inc. Roger Watson Jewellers Winnipeg Art Gallery Legacy Fund $2,500 to $4,999 5468796 Architecture Alpha Masonry BMO Bank of Montreal Cambrian Credit Union Cibinel Architects Ltd. 34 | SPRING2014

Crosier Kilgour & Partners Ltd. Derksen Plumbing & Heating Epsilon Creations Ltd. Graham Construction Mac Don Industries Ltd. Manitoba Hydro Monopoly Realty Murdoch Management Inc. Nova 3 Engineering PCL Constructors Canada Ltd. Pitblado LLP PricewaterhouseCoopers LLP Richardson International Limited Sasa-ginni-gak Lodge and Northway Aviation Scotiabank Stantec Architecture Wawanesa Insurance Wes Can Electrical Mechanical Services $1,000 to $2,499 2999405 Manitoba Ltd B.A. Robinson Co. Ltd. Consulate General of the Federal Republic of Germany EQ3 Ernst & Young Estate of Ruby Ashdown Graham C. Lount Family Foundation Hilderman Thomas Frank Cram Josef Ryan Diamond Kesay Furniture Studio Manitoba Liquor & Lotteries Corporation Michael Maltzan Architecture RBC RBC Foundation Realcare Inc. Shelter Canadian Properties Ltd. Sigurdson Financial Group Thompson Dorfman Sweatman LLP Winnipeg Winter Club $500 to $999 Aon Risk Solutions Birchwood Automotive Group Ltd. Economic Development Winnipeg Forensic Psychological Services The Gail Asper Family Foundation Inc. Girl Candy Shop hutK Independent Jewellers Ladco Company Limited Manitoba Hydro Mauro Family Foundation Minerva Painting Oxygen Property Group Reh-Fit Centre Royal Canadian Properties Ltd. Stantec Consulting Ltd. The Fairmont Winnipeg Vittorio Rossi Clothiers United Food and Commercial Workers Local 832 Waterfront Massage Therapy Winnipeg Goldeyes Baseball Club Inc. Winnipeg Symphony Orchestra (WSO) WOW Hospitality Concepts

$100 to $499 Advance Electronics All Charities Campaign Alyssa Sara Averbach Memorial Fund Ben Moss Jewellers Birchwood Art Gallery Canadian Association for Young Children–Manitoba David Rice Jewelry DeLuca’s Deseo Bistro Diamond Gallery Dimitra’s Jewellery Dr. Earl Minuk’s Cosmetic SkinClinic Edward Carriere Salon Eph Apparel European Shoe Shop Everitt Design Associates Eyelet Dove Five Small Rooms For Eyes Optical Fusion Grill The Green Scene Gurevich Fine Art Hair 2 Dye 4 Hanford Drewitt Ltd. Harry Rosen Inc. Hilary Druxman Inc. Hudson’s Bay Winnipeg Downtown Inn at the Forks Interior Illusions Investors’ Group Charitable Giving Foundation J & D Penner Ltd. Jacqui F. C. Clay Shumiatcher, S.O.M., LL. D. Jose & Markham Labworks Lakeland Golf Management Lawton Partners Manitoba Opera Mondetta Clothing Co. Olympia Cycle and Ski Peter and Liivi Forster Family Fund Pilates Manitoba Portage Avenue Dental Group Rae & Jerry’s Robinson Lighting & Bath Centre Rosenberg Family Trust- Murray, Theresa, Lewis, Fran, Ken, Caryl in memory of Roberta and Cecil Royal Manitoba Theatre Centre Royal Winnipeg Ballet Saper Agencies (1978) Ltd. Simon Imports Ltd. Stella Mazza Design Strategym True North Sports and Entertainment United Way of Ottawa Warehouse Artworks Winnipeg Folk Festival YMCA-YWCA

INDIVIDUAL DONORS Governors’ Circle $10,000+ Bob Williams

Director’s Circle $5,000 to $9,999 Stephen and Hazel Borys Brian and Ruth Hastings Curators’ Circle $2,500 to $4,999 Barry Kowalsky Artists’ Circle $1,000 to $2,499 Estate of Ruby Ashdown Jim W. Burns Marilyn Burt Curwin Friesen and Jill Weber Friesen Patricia Guy William H. and Shirley Loewen Blair and Libby MacAulay Shirley and Paul Martens Doug McArthur The Hon. P.S. and Mrs. M. Morse Donna M. and Bill Parrish Gerry and Barbara Price Edward Ransby George T. Richardson and Mrs. Tannis Richardson Deborah and H. Sanford Riley James A. Ripley and Diane Jones Michael Rogers and Jean Memken Carol and Daniel Stockwell Roxroy West and Diane Payment Supporter $500 to $999 France Adams and Stephen Brodovsky Erin Armstrong Lilian Bonin and Daniel Levin Doneta and Harry Brotchie Carol Budnick Gerald and Chris Couture Kerry Dangerfield Malcolm and Catherine Dewar Peter and Aganetha Dyck Karen Fletcher and Dick Forbes David and Diane Johnston Carman Joynt Jan and John Kassenaar John Kassenaar Els Kavanagh A.S. and Gail Leach Helen Leeds Ted and Wanda Lismer Ron and Sandi Mielitz Daniel Onyshko and Paula Moreira Howell Richard John A.M. Statham Ginny Twomey and Terry Johnston Dorothy and Allan Westad Richard L. Yaffe One Anonymous Donor Friend $100 to $499 Paula Achtemichuk Brian Akins Barbra H. Aldous Patricia Allen Esther Rose and Aubie Angel Linda Armbruster Gail Asper and Michael Paterson Rachel Baerg Tony Barton Mary Beamish Aaron Berg and D. Louise Sloane


Mark Bernstein C. Richard and Joyce Betts Rita Bienvenue Sandra Bignell Morley and Marjorie Blankstein Joan Blight Helga and Gerhard Bock Maxine and John Bock Anne Bolton and Geri McGrath C.D. Bredt and J. Cameron David and Sheila Brodovsky Enid Brown Ellen Bruce Ed Calnitsky and Linda Calnitsky M. Ruth Calvert Ann Cameron Kathleen Campbell Lloyd and Marian Campbell Mary C. Campbell Colleen Suche Tom and Louise Carson The Hon. S. Cherniack and Ms. M. Wolch Stephen C. and Cynthia Cohlmeyer Kenlyn Collins Yvonne C. Condell Rick and Hennie Corrin D. Coward Wight and R.W. Wight Meribeth Coyne Maxine Cristall T. Edward Cuddy H.G. Curle and B. Phillips Raymond and Charlene Currie Paul Daeninck Mollie Lynn Davis Sheldon Dawson and Nirdosh Ganske Iain Day and Vivian Sullivan Mary Dixon Bryce and Nicki Douglas H.E. Duckworth Shirley Duckworth Lindsay DuVal and Scott Sutherland Dorothy Easton Elizabeth L. Elliot Connie Epp Deb Fast and David Wiebe Steven Feldgaier and Sharon Shaydak Miriam Fliegel and Ron Steigerwald Heather Frame Donalda Fridfinnson L. Marjorie Gardner A. Lee Gibson Eleanor Gibson Rosalie E. Gillespie Sherry and William H. Glanville Silvia Glesby Prof. Robert and Dr. Linda Gold Percy and Elaine Goldberg Barbara Goldenberg Ruth Gongos Anne Gooding Gil Goodman Lila Goodspeed Catherine and William Gordon Susan Gottheil Priscilla Guberman Jean Gugin Elizabeth Hanssen

Kenneth Hanssen Evelyn and Larry Hecht Ted and Gail Hechter David Hennigar Gail Hitesman Denis and Tricia Hlynka Isobel Hood Charles Huband Audrey and Frederick Hubbard Robert and Margaret Hucal Analee Hyslop Lesley Iredale Bruce and Laura Johnston Elizabeth Karman Philip and Evelyn Katz Donald R. Keatch John and Judith Kendle T. Killeen and I. Hamilton Janet A R Kinley Katherine Klassen Louise Klassen Susan and Keith Knox José Koes Lois Kristjanson and Helga Kristjanson Robert Kusmack Barbara Latocki Marjorie L. Law G.H. Lawler and Anne Lawler Candice Lawson and Lawrence Legrange Cycelia Lazarowich Hugette Le Gall Rick Lee and Laurie Shapiro Lawrence Legrange Christy Little Adrian Long E.R. and Natalie MacDonald Dr. Douglas MacEwan Vernon S. MacKelvie Carol A. and Richard Macoomb Marie Maguet Orla Maitland Judy Manning Robert Martin Lynne McCarthy and Claude Davis Jean and David Mellish Grange Morrow and Linda Hamilton Georgi-Mundle Family Sharon and Mel Myers Paul Neelon Jeff Neufeld and Katrina Lee-Kwen Joel Novek Joanne Olchowecki G.C. Oliver Simone Orzechowski Carole E. Osler Kathleen V. Parums John and Janine Pennington Prof. Nettie Peters Carol Philips Al Pich Patricia Pittman Donna Plant Marina Plett-Lyle Lawrie and Frances Pollard Bill Pope and Elizabeth Tippett-Pope Ken Praymak Evan Pritchard

Gordon Pullan Judith Putter Hazel Quinton Juta Rathke Dr. Louise Renée and Mr. Pierre Aquin Joyce E. Rich Henriette Ricou and Jure Manfreda Patricia G. Ritchie Yvonne and G.A. Robertson Gisela Roger Renée Roseman Shirley and Morley Rypp Noreen Sanders Bill Sands Constance Sarchuk Fred Schaeffer Lucille Schmidt B. J. N. Scott Charlene Scouten Anna Scully Betty Ann and Sam Searle A.M. and M.G. Shojania Patricia Shuwera Pam Simmons Trish Allison Simms The Hon. Vern and Mrs. Ann Simonsen Margaret-Ann Smith Sylvia Squire Diane Stefanson Frits C. and Joan Stevens Emöke J.E. Szathmáry and George A. Reilly Margot Tass Ruby and Andy Tekauz Brigitte Thiessen Charles and Roine Thomsen Phyllis A.C. Thomson Lee Treilhard Helga Van Iderstine Cornelia van Ineveld Nancy Vincent F.C. and Estela Violago John G. and Marilyn Wade Faye Warren Ernest and Erika Wehrle Donald and Florence Whitmore Kim Wiebe Helen Wieler Katherine Willson and John Rockliff Dennis and Gustine Wilton Myra Wolch and Saul Cherniack Sharon and Sid Wolchock Norval C. and Ivy M. Young John and Elizabeth Zandstra Twenty One Anonymous Donors

TRIBUTE AND MEMORIAL GIFTS In Honour of Lila Goodspeed Liz Karman In Honour of Lindy and Howard Greenberg Lenore Bouchard Maxa Chisick Caryl Cohen Miriam Fischer

Barbara Goldenberg Sherril Hershberg Bryan D. Klein Rena Krongold Richard Leipsic Jack Lipkin Maureen Pollack In Honour of Mara Weinberg and Benjamin Ostrove Simone Orzechowski In Memory of Frances Thorsteinson Constance Johnson In Memory of Dana Stewart Anonymous In Memory of Don Reichert Gail Nep In Memory of Elaine Margolis’ brother Esther Rose Angel In Memory of Heather Horton Faye Warren In Memory of Helen Mclennan Anonymous Elaine Margolis Betty Ann Searle Faye Warren In Memory of Pearl Yaffe Anonymous Anonymous Joel Antel Doris Bass Ted Bock Anne Bolton Stephen and Hazel Borys Naomi Cohen Kerry Dangerfield Lindsay DuVal Ted Hechter José Koes Frederick Lee Ellen Leibl Rhoda Payne Bill Pope Helen Powell Celia Rabinovitch James A. Ripley Shirley Rypp Betty Ann Searle Darcia Senft Malke Shore Ruth Simkin Pam Simmons Candice Stearns Faye Warren Doris Wolfe Amanda Yakubovich The Gail Asper Family Foundation Inc. In Memory of Wilfred Scharbach Annonymous Carol Friesen G.C. Oliver Helen Wieler

MyWAG | 35

GALLERYBALL2014 Saturday, October 18 • Winnipeg Art Gallery Save the date Join us for the black-tie event of the season.

Presenting Sponsor


Profile for Winnipeg Art Gallery

myWAG Spring 2014  

myWAG Spring 2014