galleries west fall/winter 2013

FALL/WINTER 2013

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FACE TIMEPortraiture in

the digital ageWILD HORSES

THE ART OF MAUREEN ENNS

LODGE BROTHERS, NO MOREWINNIPEG ARTISTS FIND SOLO PATHS

LOST IN THE MEMORY PALACEJANET CARDIFF & GEORGE BURES MILLER

FEATURED ARTISTSCHRISTIAN MARCLAY,

DAVID R. HARPER, MAUD LEWIS

Galleries West Fall/Winter 2013 5www.gallerieswest.ca

36Lost in the Memory PalaceA feature review of the Art Gallery of Ontario’s survey of Janet Cardiff and George Bures Miller offers a taste of what’s to come in Vancouver.By Murray Whyte

38The Art of Conservation Artist Maureen Enns investigates the controversy over Alberta’s wild horses.By Lyndsie Bourgon

42Royal No MoreThe Royal Art Lodge, one of Canada’s most successful art collectives, helped pin its Winnipeg founders to the art-world map. Now, fi ve years after the group’s breakup, its alumni are working on new projects.By Kenton Smith

44About FaceIs portraiture a lost art in the digital age? Western Canadian galleries – and a national contest – are challenging notions that we’ve seen it all when it comes to faces.By Beverly Cramp

48Artist-Run CrisisNo stranger to adversity, artist-run centres are fi nding creative ways to cope with everything from stagnant funding to devastating fl oods in Alberta.By Anthea Black

74Back RoomThe paintings of Nova Scotia folk artist Maud Lewis are known for their simplicity. The escalating value of her work is a more complex affair.By Portia Priegert

C O N T E N T SFall/Winter 2013 Vol. 12 No.3

12 First Impressions News and events; books about

Canadian art; opinion by Jeffrey Spalding

20 Feature Previews Shows to see this season Christian Marclay ........................ 20 David R. Harper ........................... 22 Capture....................................... 24

26 Exhibition Reviews Recent shows in the West Todd Lambeth ............................ 26 High Fire Culture ......................... 26 Chris Cran ................................... 28 Karla Griffi n ................................ 30 My Winnipeg .............................. 31

33 Artist Previews Five artists selling in the West Greg Hardy ................................. 33 Brad Phillips ................................ 33 Ying-Yueh Chuang ...................... 34 Constance Bachmann .................. 34 Nancy Boyd ................................. 35

50 Auctions Spring a shifting season

52 Previews In the galleries this season Touch Wood, Leila Sujir and Maria

Lantin, Fictive Realities, Celebrate Craft!, Witnesses: Art and Canada’s Indian Residential Schools, Picturing the Canadian Pacifi c Railway, Franco DeFrancesca, Edward Epp and Jane Everett, Monika Sosnowska, Alysse Bowd and Wanda Lock, John Eisler, Aaron Nelson, William Webb, Douglas Haynes, 7: The Professional Native Indian Artists Inc., Ian August, Megan Krause, They Made A Day Be A Day Here, Victor Cicansky, Jane Isakson, Peter McConville

52 Sources Fine art galleries in the West British Columbia .......................... 52 Alberta ....................................... 59 Saskatchewan ............................. 68 Manitoba .................................... 70 Yukon ......................................... 71

72 Directory Services and resources for art

makers and buyers

FEATURES

48

36

38

44

6 Galleries West Fall/Winter 2013 www.gallerieswest.ca

from the editor

It’s funny how things happen. First, a call

about Maureen Enns and her work with Al-

berta’s wild horses; next, a pitch from Win-

nipeg about Animals with Sharpies, a new

book by Michael Dumontier and Neil Farber;

then an offer to review a Victoria painting

show of Facebook felines. Now, that’s a

cultural phenomenon. Is there anyone out

there who hasn’t watched a cat video? But

animal lover though I am, at some point I

had to start saying no to four legs, and commissioned an article about

portraiture in the digital age, including work by Andrew Salgado, whose

dramatic painting is featured on the cover.

Since I take a somewhat lazy-faire, oops, laissez-faire approach to

the magazine and stay open to suggestions that bounce my way, I can’t

help but wonder if this issue’s veritable ark of animals refl ects some larger

collective urge. Perhaps we need to reconnect with the animal selves our

ubiquitous technologies seem to displace. Or, maybe, it’s the infl uence of

the new scholarly fi eld of critical animal studies, which asks us to rethink

our relationships with non-human animals. Whatever the reason, it’s

probably safe to say there’s never been an issue of Galleries West that’s

featured such a menagerie.

On a less whimsical note, I’d like to draw attention to a few editorial

changes. The magazine tends to evolve rather than completely remake

itself, and while the same basic components are present, there’s been an

effort to boost the profi le of artists selling work through commercial gal-

leries and to add more short previews. The feature stories, packaged to-

gether in the middle of this issue, remain much the same in format, as do

the reviews. We try to appeal to a broad audience, and hope you – and

perhaps even your animal companions – will fi nd something of interest.

Please feel free to drop me a note. While dogs don’t quite have the

hang of Facebook yet, that Like button seems a good substitute for a

wagging tail. Cats, though, might prefer to tweet.

Gun Clutch

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September 7, 2013 – October 31, 2013Open daily 11am - 5pm

1980s Part Two

Evan Penny (Canadian)Janet, 1980

Resin and oil paint.3/4 life scale. 48" tall.Edition 3 of 3.Collection of Jarvis Hall, Calgary.

mocacalgary.org 104, 800 Macleod Trail SE, Calgary AB.

is a parallel exhibition of the Glenbow Museum Made in Calgary Series


Editor Portia Priegert [email protected] 1-866-415-3282

Reviews Editor [email protected]

Art Director Wendy Pease

Contributors Dick Averns, Nicole Bauberger, Margaret Bessai, Anthea Black, Bob Blakey, Susan Buis, Beverly Cramp, Maureen Latta, John Luna, Douglas MacLean, Kenton Smith, Jeffrey Spalding, Murray Whyte, Liz Wylie

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©All rights reservedISSN No. 1703-2806

Reproduction in whole or in part is strictly prohibited.Galleries West makes every effort to ensure the accuracy of the information it publishes, but cannot be held responsible for any consequences arising from errors or omissions.

On the Cover: Andrew Salgado, Thirteen, 2013, oil on canvas, 70.9” x 70.9”

Fourth Floor, 1011-9th Avenue SE | Calgary+ 1 403 930 2490 | www.eskerfoundation.com

fi ctionfi ction non

Exchange District: 200 - 62 Albert Street | (204) 488-0662 | www.gurevichfineart.com

Grant Park Mal l : 1120 Grant Avenue | (204) 488-0662 | www.gfamcnal ly .ca

Dan DonaldsonSept 16 – Oct 14, 2013

Megan Krause Sept 6 - 20, 2013

Eva StubbsOct 4 - 26, 2013

Aliana AuNov 1 - 23, 2013

Mini DavisOct 15 – Nov 8, 2013

Robert SimNov 12 – Dec 2, 2013

hambleton galleries1290 Ellis St, Kelowna, BC V1Y 1Z4 • Ph: (250) 860-2498Preview the show at www.hambletongalleries.comResponses to 250-860-2498 or [email protected]

H A M B L E T O N G A L L E R I E S P R E S E N T S

Sara G

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ROBERT GENN, SFCA

NANCY LUCAS

SARA GENN

RICK BOND

SHOW AND SALE FROM RECENT TRAVELS • September 19 – 30, 2013

Reception Thursday, September 19, 5:30 – 8:00 PM • Artists will be present

SHOW AND SALE OF NEW WORKS • October 3 – 19, 2013

Reception Thursday, October 3, 5:30 - 8:00 PM • Artists will be present


FIRST IMPRESSIONS

What’s up in the visual arts

Walking With Our Sisters

Christi Belcourt, a Métis artist based in Espanola, Ont., was looking for a way to bring attention to the issue of violence against aborigi-

nal women when she had the idea for an installation of moccasin vamps – the top part that’s often beaded. Her idea has quickly taken on a life of its own with collaborators from across Canada and beyond.

The project, Walking With Our Sisters, will see artists to create 600 pairs of moccasin tops – one set for each woman thought by aboriginal groups to have gone missing or been murdered in Canada over the last 20 years. At each venue on the project’s tour, the fl oor will be covered with red fabric. The vamps will be set out on grey cloth that winds through the space like a trail. “Unfi nished moccasins, unfi n-ished lives: the path they never got to fi nish walking,” says Belcourt. Local elders will open each show with ceremonies appropriate to the territory and visitors are expected to remove their shoes. “Because this subject is so horrifi c, we’re dealing with it in a serious and sacred manner.”

Belcourt began the project by contacting friends and then created a Facebook page. Within a week, it had 2,000 members. The tour – some 20 communities and counting – was to open at the Haida Gwaii Museum in August. It’s at the Telus Centre Atrium at the University of Alberta in Edmonton from Sept. 30 to Oct. 14 and the First Nations University Gallery in Regina from Nov. 4 to Dec. 20. For informa-tion, go to walkingwithoursisters.ca. – Nicole Bauberger

Moccasin tops created by

beadworkers from New York’s

Cattaraugus Reservation.

Exhibition commemorates missing and murdered aboriginal women

Beakerhead brings together art and science this autumnArtists and scientists have joined forces to launch a new festival, Beakerhead, which runs Sept. 11 to Sept. 15 in Calgary.

“Beakerhead is an invitation to everyone to imagine and build,” says co-founder Jay Ingram, a sci-ence broadcaster. “Engineer your bike, design an art car, build a ro-bot with your family, race a kinetic contraption ... anything goes. Think of it as turning the whole city into the most entertaining laboratory for fi ve days.”

The event includes free


FIRST IMPRESSIONS

doctoral candidate in art history at Concordia University in Montreal. His work is in the collections of the National Gallery of Canada and the Alberta Foundation for the Arts.

Others on the shortlist are Montreal photographer Pascal Grandmaison; New Brunswick art-ist Tamara Henderson; and Duane Linklater, an Omaskêko Cree from the Moose Cree First Nation in Northern Ontario.

The winner, to be announced Oct. 9, takes home $50,000.

Bateman displays wildlife art in his new Victoria galleryRobert Bateman, known for his precise depictions of wild animals in their natural habitats, celebrated the opening of his own art centre in May in Victoria.

FIRST IMPRESSIONS

The Robert Bateman Centre,

which opened last May in

Victoria, features wildlife art.

Mark Clintberg, Behind this lies

my true desire for you, 2012,

salvaged wood, latex paint and

offset print posters, 22’ x 31’

outdoor exhibits and street perfor-mances, an open-air museum and Sustainival, a funfair fueled by vegetable oil.

For information, go to beaker-head.org.

Pauwels, Clintberg represent West on Sobey’s shortlist Western-based artists Isabelle Pauwels and Mark Clintberg are among fi ve fi nalists for the 2013 Sobey Art Award.

Pauwels, based in New Westminster, B.C., is a video artist whose work has been shown at the Vancouver Art Gallery and the Power Plant Contemporary Art Gallery in Toronto. She is rep-resented by the Catriona Jeffries Gallery in Vancouver.

Clintberg, an artist, writer and curator from Alberta, is a

Rebecca Belmore

Traveling into a Dream, Oil on Canvas, 72”x 36”

Corrinne WolcoskiOctober 19 - November 2

Opening Reception October 19th, 1 - 4 PMArtist in Attendance

606 View St., Victoria, BC250 380 4660

www.madronagallery.com


FIRST IMPRESSIONS

ARTBooks

Shary Boyle: Music for Silence, National Gallery of Canada, 2013

If a trip to Italy isn’t in the cards, this glossy catalogue with its assortment of strange and other-worldly images by Canada’s representa-tive to this year’s Venice Biennale, Shary Boyle, may be just the ticket. The National Gallery of Canada, the commis-sioning institution for the 55th instalment of what’s arguably the world’s most presti-gious art event, has produced an appeal-

ing 187-page trilingual catalogue generously illustrated with some 50 key works by the Toronto artist.

Boyle says her latest work was informed by her desire to give voice to those who are excluded – indeed, the catalogue features a poetic dedication “for the silenced / the unspoken / what we watch, witness and can’t name …” – and notes in an interview with Josée Drouin-Brisebois, a senior curator at the gallery, that empathy develops from personal experience.

“Art is serious to me, a real, active, living language,” says Boyle. “It is a responsibility. I can’t speak for others yet my consideration of those not invited infl uences how I see and make. Regardless of the art world’s collective absorption with money, status or fashion, I will insist on tenderness, silence and meaning. Plus mischief.”

Vitamin D2: New Perspectives in Drawing, Phaidon, 2013

From the lovely pencil squiggles and hatchings on its cover through some 500 illustrations on thick pages that resemble drawing paper, Vitamin D2 is an easy pill to swallow. It’s the second such volume from British art publisher Phaidon – the fi rst, Vitamin D, was released in 2002 – and includes 115 artists who have established themselves internationally since then.

Arranged in alphabetical order, the artists nominated by critics, curators and gallery direc-tors around the world demonstrate an array of approaches and cultural infl uences. “By gradu-ally entering the global stage, drawing is regaining a political urgency and is emerging once more as a direct, simple, often inexpensive medium to which artists turn when other forms are not readily available or are compromised in some way,” Christian Rattemeyer, a curator at the Museum of Modern Art in New York, writes in the introduction. “Drawing’s current im-mediacy means different things in different places, and we have new histories and contexts to explore and from which to learn.”

A case in point is Inuit artist Shuvinai Ashoona, whose surreal drawings in coloured pencil and ink variously show a woman in a red parka with a bulging belly that resembles a globe, and clams thrusting phallic-like from a seabed that’s also home to mysterious other-worlds.

Sakahàn: International Indigenous Art, National Gallery of Canada, 2013

A red plastic gasoline jug perforated with holes to create outlines of dragonfl ies, a work by Vancouver-based artist Brian Jungen, graces the catalogue cover for Sakahàn, an exhibition last summer at the National Gallery of Canada. Billed as the largest-ever global survey of contemporary indigenous art, Sakahàn (which translates loosely as “to light a fi re” in the language of the Algonquin peoples) includ-ed some 150 works by more than 80 artists from 16 countries.

Along with artists familiar to Canadians, such as Rebecca Belmore, Annie Pootoogook and Lawrence Paul Yuxweluptun, the exhibition featured work by artists from places as varied as Mexico, Japan, India, Finland, New Zealand and the United States. There’s much to read and ponder in this catalogue, which variously consid-ers the impact of colonization, the nature of identity and represen-tation, and concerns over land and territory.

Jolene Rickard, a visual historian at Cornell University in Ithaca, N.Y., writes in one of the catalogue’s essays that global indigenous

art refers to more than just work by artists who claim indigenous heritage. She says it en-compasses “only those artists whose works show an acknowledge-ment of the ongoing conditions of colonial settler nations, the con-tinuing dispossession of land and resources, and an awareness of indigenous worldviews as part of the future of global cultures.”


FIRST IMPRESSIONS

The centre displays some 160 works by Bateman – many of them the reproductions for which the artist is both famous and controversial.

Bateman, described on the centre’s website as “a living leg-end,” enjoys immense commercial success, yet is typically dismissed by art critics and excluded from important public collections. He’s been criticized criticized by some artists, who believe he has under-cut the market for limited-edition prints.

Bateman is active in conserva-tion causes and the 9,000-square-foot centre in the former CPR Steamship Terminal Building includes education facilities to en-courage nature appreciation. Built at a cost of $1.5 million, it has 10 galleries, including one featuring animals found in British Columbia. Bateman has been based on Salt Spring Island since the 1980s.

Some 170 guests attended the opening, held on Bateman’s 83rd birthday, and tributes came in from writers such as Margaret Atwood, Wade Davis and Richard Louv. The centre says 3,000 people visited the fi rst weekend.

New centre in LethbridgeLethbridge has a new com-munity arts centre. Called Casa, it includes a gallery as well as workshop and studio space. It also houses the University of

Lethbridge Conservatory of Music.The downtown centre, which cost more than $20 million, will offer art classes for all ages as well as other arts activities such as pot-tery and dance. For information, go to casalethbridge.ca. People in the news■ Donna Livingstone has been appointed president and chief executive offi cer of the Glenbow Museum in Calgary. Livingstone, a previous Glenbow vice-president, was serving as interim president on leave from the University of Calgary. ■ The Art Gallery of Alberta in Edmonton has welcomed Kristy Trinier as curator. Trinier was the public art director for the Ed-monton Arts Council, where she managed the city’s art collection and public art programs. ■ Five emerging artists from Western Canada are among 15 fi nalists for the RBC Canadian Painting Competition. They are Jessica Bell, Collen Heslin and Brian Kokoska, all of Vancouver; Rachel Sawatsky, of Delta, B.C.; and Sean Weisgerber, of Saska-toon. The winner of the 15-year-old prize, to be announced in October, receives a purchase prize of $25,000.■ A University of Manitoba student

has won the BMO Financial Group’s

student art competition. Erika Dueck, who graduated this year,

received the $10,000 national prize

for her sculpture, The Ephemeral

Mind.

■ The Canada Council for the Arts has chosen Tania Willard for its Aboriginal Curator in Residence program. Willard, who will work until April 2015 at the Kamloops Art Gallery, is from the Secwepemc Nation in British Columbia. ■ Edmonton artist Paul Freeman has won the $10,000 Eldon and Anne Foote Edmonton Visual Arts Prize for It’s Only Natural, an installation that speaks to anxieties about genetic manipulation. Free-man is artistic director at the Nina Haggerty Centre for the Arts.

RBC Canadian Painting Competi-

tion fi nalist Brian Kokoska’s

Healing Hands, 2012, oil on

canvas, 71” x 69”

Fall 2013

10345 124 StreetEdmonton, AB T5N 1R1

phone: 780-482-2854info@bugeramathesongallery.comwww.bugeramathesongallery.com

Masculine IntuitionMorley Myers & John King

September 26 - October 10

Terra IncognitaErnestine Tahedl, RCA, OSA

October 17 - 31

The Silence & the RoarJerry Heine

November 1 - 15

LandingsEdward Epp & Jane EverettNovember 21 - December 5

NEW LOCATION


FIRST IMPRESSIONS

Family’s former home now on postage stamp

Few people – except, perhaps, the offspring of American presi-dents – can say their childhood home is featured on a postage

stamp. So Steve Kozak was thrilled to discover the modest house his parents built in 1940 on Vancouver’s east side is part of a series Canada Post released this year to honour the work of Canadian photographers.

The stamp shows an image by Vancouver’s Jim Breukelman, who documented the house in 1989 as part of his series, Hot Properties. The National Gallery of Canada bought the piece in 2011 for its permanent collection and Canada Post also chose it, along with im-ages by Gabor Szilasi, Rodney Graham and other photographers.

Kozak lived in the house from age three – he was born in the mining town where his father, Stefan, then worked – until he mar-ried in 1958. Kozak’s dad died in 1979, but his mother, Pauline, or Bubs, as she was known to her grandchildren, lived in the house until she was 91, fi nally moving into an apartment in 2002.

“It was a very happy home with tons of great memories for the whole family,” says Kozak. “The whole family is thrilled about learn-ing of this photo and stamp, and Bubs would have been ecstatic.”

Breukelman, who started the photography program at the Vancouver School of Art, now the Emily Carr University of Art and Design, had the idea for the series while on sabbatical. He was driving through an industrial area of San Antonio, Texas, when he stumbled on an incongruous sight: a cottage with a picket fence and a lush garden of tropical and ornamental plants. “It was an absolute gem,” Breukelman notes in a statement posted on the Na-tional Gallery’s website. The owner, an older woman named Lilly, let him take photos. “During the trip home, I kept thinking about how, even though she lived in the middle of industrial ugliness, Lilly had managed to not only express herself through her home, but she had created a world for herself and her family that was an antidote to the surrounding bleakness.”

Back home in Vancouver, Breukelman began to notice similar gems. He was drawn to the Kozaks’ house because it had an im-maculate lawn and the front steps and covered entrance reminded him of a stage. Today, despite Vancouver’s rapid growth, the house looks much the same, and is home to another young family.

— Beverly Cramp

Main Office Contact:#305-1235 26th Ave SW

Calgary, AlbertaT2G 1R7

[email protected]: 403.265.0012F: 403.265.0944

THE ALBERTA SOCIETY OF ARTISTS SINCE 1931

The Alberta Society of Artists gratefully acknowledge their funding partners and the support of the Government of Alberta’s ‘Community

Spirit Donation Program.’

APPLY TODAY TO BECOME A MEMBERBECOMING AN ASA SUPPORTING OR FULL MEMBER ENABLES YOU TO BE PART OF OUR ORGANIZATION‘S INITIATIVE TO

SUPPORT THE ARTS COMMUNITY THROUGH VARIOUS CREATIVE OUTLETS. PLEASE VISIT OUR WEBSITE FOR MORE INFORMATION:

WWW.ARTISTS-SOCIETY.AB.CA

IT IS THE ALBERTA SOCIETY OF ARTISTS’ (ASA) MANDATE TO FOSTER AND

PROMOTE THE VISUAL ARTS IN ALBERTA, TO ENDORSE THE

RECOGNITION OF ALBERTA ARTISTS THROUGHOUT OUR PROVINCE,

CANADA AND ABROAD. THROUGH EXHIBITIONS AND EDUCATIONAL EVENTS,

WE WISH TO INCREASE PUBLIC AWARENESS AND

APPRECIATION OF THE VISUAL ARTS IN ALBERTA.


FIRST IMPRESSIONS

In my opinion:

The Alberta 2013 fl oods infl icted considerable damage to the province’s cultural infrastructure. Art institutions, individual

artists and collectors all sustained lamentable losses, particularly in Calgary, Canmore and High River. It will be years before we realize the full extent of what was swept away; cultural groups are going to be reeling long after recovery and clean-up operations are complete. Most neighbourhoods lost something signifi cant; the total bill will be astronomical.

Community priorities, by necessity, will have to shift. Western Canadians are a feisty lot, so it’s no surprise the stories of extraor-dinary generosity, volunteerism and selfl ess sacrifi ce are already le-gion. Corporations immediately adjusted and focused benevolence programs to reach those most affected by the fl ood. Fundraisers sprung up everywhere. It seems everyone knows someone deserving of special assistance, and we jumped into action to raise relief funds for numerous individuals and agencies. For this, we should be justifi ably proud, our spirits buoyed by such graciousness.

The problem is that almost everyone seemed to have the same idea: ask artists to donate work and hold a benefi t auction. I can’t keep track of the calls I receive to at-tend, contribute or support such functions. The demand seems insatiable. Without ques-tion, the cultural sector is suffering serious donor fatigue. This is where we might all hit the wall. Arts organizations rely upon fund-raising to supplement their annual program budgets. In this post-fl ood environment, good luck trying to raise money for a discretionary exhibition catalogue or special public program; welcome to the back of the bus. Perhaps my hand wring-ing will be proven to be entirely wrong, but I’m predicting cultural agencies will be feeling the pinch this year.

Complicating the prognosis is the fact that we seem to be fresh out of new ideas. Whenever arts groups need cash infusions they turn to artists for donations. Invariably, this astonishingly mu-nifi cent and community-spirited group says yes. Without these donations, agencies would be in a fi nancial quandary. How did this happen? It may be true that tennis players love tennis and so, axi-omatically, support tennis clubs, as golfers do golf clubs. However, it does not necessarily follow that artists should be relied upon to support public art museums. At least, not to the extent and not in the manner they do now.

These organizations were established, in part, to support artists. They’re our way of channelling collective affection (and public funding through exhibition fees) to artists. Have the tables turned?

Do we now need to rely on artists to fund the public’s contact with art? When artists receive monthly requests to contribute work to support various arts agencies, something has to give. After all, selling contemporary art is not a completely buoyant line of work, whether for those who create it, or the brave souls who open gal-leries to sell it. This is a fragile sector. Artists are consistently at the bottom of the economic ladder; I dare say, a number of gallerists must sometimes feel the same. Occasional gifts to fundraisers don’t threaten the balance; however, systemic abuse is on the rise.

My experience in American museums was decidedly differ-ent. There, patrons give excessively and generously. Donated art customarily sells for more than its retail value. It’s seen as a way

for individuals to help beloved institutions. In Canada, art at charity auctions tends to sell for cents on the dollar. Great news for the professional class that always coveted work by an artist they admire but never felt inclined to pay the full tariff. Once in a while is okay, but cumulatively this practice can have a chilling effect on the ability of gallerists and artists to earn a reasonable living. Why pay retail when you can pick up bargains at an auction and feel like a hero in the process?

Fortunately, some agencies have insti-tuted fair-practice policies that set minimum bids at half the retail value and offer artists half the proceeds if their work sells. It’s a commendable start. But cultural agencies are often poorly equipped for sophisticated

marketing. In far too many instances, art auctions are still bash sales, with recipient agencies pocketing whatever shekels are gath-ered. Artists get receipts that are not useful in offsetting their tax indebtedness; at best, they are near neutral in effect. Gala commit-tees strive to fi nd art for the event, but who is assigned to locate, develop and nurture prospective buyers?

Despite negligible fi nancial benefi ts to themselves, artists remain a backbone for charity events; their magnanimity is inspiring. Would we ask the doctors, lawyers, dentists, designers and fi nancial planners on our boards – along with their extended family of friends – to donate their professional services at public auction? How much should braces for the kids really be worth? Let’s test this soon at a charity auction.

Hopefully, winter 2013-2014 kisses us gently. Jeffrey Spalding, artistic director of the Museum of Contemporary Art Calgary, is an artist,

a curator and a member of the Order of Canada. He has worked as a museum director and is

past-president of the Royal Canadian Academy of Arts.

Art auctions can have chilling effect on the livelihood of artists and gallerists

By Jeffrey Spalding

In far too many instances, art auctions

are still bash sales, with recipient agencies

pocketing whatever shekels are gathered.

Awakening, acrylic on canvas, 40" x 60"

Fanciful voice, acrylic on canvas, 30" x 48"

www.emotesart.com

Shirley Elias is represented by:

103-10310 124 St. NWEdmonton AB1-780-990-1161www. landogal le r y. com

3650 Rue McTavishMontréal QC1-514-286-2476www.ar tap . com

6 -1170 Taylor Avenue Winnipeg MB 1-800-822-5840www.b i r chwoodar tga l le r y. com

323 Howe Street Vancouver BC 1-604-687-7466www.rendezvousar tga l le r y. com

812-11 Avenue SWCalgary AB1-888-874-5519www.webs terga l le r ies . com

ELIASS H I R L E Y

NOW REPRESENTED IN EDMONTON BY LANDO GALLERY! Join us for AWAKENING, an exhibit of new works by Shirley Elias, November 1-20, 2013.


FEATURE PREVIEWS

MANITOBA: The Clock, Sept. 27 to Jan. 5, Winnipeg Art GalleryThere is absolutely nothing particularly profound about The Clock, Christian Marclay’s 24-hour-long obsessive cobbling-together of fi lm history that performs the maddeningly precise task of actually telling time, minute by minute, in real time, right in front of your eyes – except, of course, everything.

The Clock was the standout hit of London’s Frieze art fair in 2010, and then the Venice Bien-nale the year following. By then, all its editions had long since sold, with the National Gallery of Canada plucking a half-share of one at the 11th hour, which it shares with the Boston Museum of Fine Arts. For Marclay, the 50ish Swiss-American artist who has long dabbled with offbeat video and sound mashups, its runaway popularity has already made it his legacy piece.

One of its main draws – and the one, I imagine, that has moved people to wait in line for hours to see it – is its enervatingly dense collage of fi lmic moments from an overwhelming swath of global fi lm history. You can get dizzy playing spot-the-fl ick: Here, an incensed (and likely hungover) Billy Bob Thornton, violently assaulting a clock radio in a clip

from what must be Bad Santa (Marclay offers no such cataloguing); there, Charlie Chaplin watching his work day tick away in what I believe to be Modern Times, or Humphrey Bogart stepping out of a taxi in The Maltese Falcon.

Kelly McGillis, Tom Hanks, Marlon Brando, Sophia Loren, Jimmy Stewart – a cascade of scenes, stars, has-beens and unidentifi ables spill out of The Clock’s voluminous churn – a necessity, as Marclay exhaustively traveled both the main throughways and dusty back roads of cinematic history to represent every minute of a 24-hour day on fi lm.

Some things are predictable – London’s Big Ben is likely The Clock’s star, if such a thing can be said, variously gazed at from afar, clung to and dangled from close up; at one point, its ticking face masks the planting of a bomb. Others are utterly opaque; around 11 a.m., a hazy, amateurish shot of a long, white table around which about a dozen Asian men with shaggy hair sit. Its obvious attraction for Marclay, a massive clock towering over the table, gains it prominent billing: it appears several times over the hour as the clock ticks one minute to the next.

But what elevates The Clock, part of the National Gallery’s touring program, from dorky fi lm-nerd fascination to art is something more subtle and imposing. The central conceit of a fi lm narrative is its ability to untether itself from time; we leap eras and continents in a heart-beat, unstuck from the everyday that governs real life.

The Clock lures you with the promise of that cinematic experience – Marclay is expert at weaving together disparate clips to provocatively suggest narrative, a continuum where there logically can’t be one – yet it relentlessly taps you on the shoulder, reminding you of time’s inexorable slide. The piece is equal parts confection and aggravation: it’s a trap, pinning you in place, making you hyper-aware of what the experience of watching moving images on a screen ultimately allows you to forget. It’s one you’ll willingly enter, though. And don’t worry if you have somewhere to be: The Clock, being a clock, will keep you right on time.

– Murray Whyte

ALL IMAGES: The Clock, 2010, single-channel

video, duration 24 hours

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scott gallery10411 - 124 Street | Edmonton AB | www.scottgallery.com | 780.488.3619 | [email protected]

DOUGLAS HAYNESOctober 4 - 26, 2013

XWP-1961-00-07 monoprint 9.5 x 7”


FEATURE PREVIEWS

SASKATCHEWAN: Entre le chien et le loup, Sept. 27 to Dec. 21, College Art Galleries, Saskatoon David R. Harper is recognized for his unusual mix of method and materials, such as the embroidered decoration on taxidermy exhibited in last year’s blockbuster survey, Oh, Canada, at the Massachusetts Museum of Contemporary Art. The title of this exhibition, Entre le chien et le loup, comes from a French idiom referring to deep twilight, a darkness in which an approaching silhouette can be seen, but friend or foe cannot be distinguished. The phrase, between the dog and the wolf, also implies emotional uncertainty, the nuanced space between hope and fear. Harper’s art functions in a similar manner, exploring the liminal between human and animal, memory and memorial.

When Harper was researching colour history, he read about the cyanometer, an instrument developed by 18th century scientist Horace-Bénédict de Saussure to measure blueness. The device, which correlates alpine distances with colours of the sky in 54 increments from near-white to navy, inspired Harper to represent metaphorical distance with colour gradients. For instance, in A Fear of Unknown Origins (II), the protective space created by dis-guise is delineated in a grid of 72 clay masks modelled after dollar-store animal costumes. “The animal/ human re-

lationships that I create in my work are very signifi cant,” says Harper. “I will often use the animal form, or reference an animal in the stead of a human, to speak about very human conditions.”

I tried and I tried and I tried, an embroidered intervention into a copy of a historic painting, also incorporates a gradient, but as a strategy for describing individual acts of remembering, as well as public remembrance. The painting, Napoleon Crossing the Alps, by French artist Jacques-Louis David, shows the general on a rearing horse. Napoleon commissioned and distributed many versions of this idealized portrait, preferring to celebrate a theatrical representation of his genius rather than acknowledge the mundane reality – he was an indifferent horseman who actually rode a mule through the mountains. In Harper’s version, Napoleon’s horse seems to dis-solve into light, an effect created by the various shades of grey thread that Harper hand-stitched into the canvas of a giclée reproduction. “The thread creates light, texture and depth ... both erasing and drawing focus to the subject; erasing it and monumentalizing it,” says Harper. Re-cent research into brain function has shown the act of remembering is a process of re-inscrip-tion. Each time we remember, we are, in fact, creating a new memory rather than simply pulling out a fi le and reading it as a computer might. Even our most personal selves are fl uid.

Harper, born in Toronto and based in Chicago, credits his studies at NSCAD University in Halifax and the School of the Art Institute of Chicago for his rigorous commitment to research. “Every material in a piece is specifi cally chosen to speak to historical narratives and process,” he says. Like a hypertext link, each element in an installation carries symbolic references. The assemblage thus functions as a memento mori, inviting contemplation to create meaning.

– Margaret Bessai

DAVID R. HARPER

ABOVE: To Remind, or to Warn (detail), 2012,

ceramic, polyurethane, felt, paper, cast acrylic

plastic, enamel, epoxy, pigment, fl ocking, cow hide,

sheep hide and wood, dimensions variable

BELOW: A Fear of Unknown Origins (II) (detail),

2012, vitreous china, cobalt mason stain and

glaze, dimensions variable

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The MacKenzie receives ongoing support from the Canada Council for the Arts, the Saskatchewan Arts Board, SaskCulture, the City of Regina, and the University of Regina.

mackenzieartgallery.ca

PROFESSIONAL NATIVE INDIAN ARTISTS INC.

EXHIBITION OPENING

Friday, Sept. 20, 2013 at 7:30 pm

IN CONVERSATION: ALEX JANVIER &JOSEPH SANCHEZ

Saturday, Sept. 21, 2013 at 2 pmArtists and

discuss the history of the Professional Native Indian Artists Inc. with Curator .

Congratulations to the winners of the Cenovus Art Competition

cenovus.com/art

New ideas. New approaches.

First place, $12,000 award: Colin Smith,

Second place, $10,000 award: David Garneau

Third place, $8,000 award: Bradley Harms

cenovus.com

Honourable mentions:

Paul Bernhardt

David Foxcroft

Michael Cameron


FEATURE PREVIEWS

BRITISH COLUMBIA: Oct. 1 to Nov. 15, various venues in VancouverA new Vancouver festival celebrates photography this fall with exhibitions at dozens of galleries by both interna-tional art stars and emerging talent. But Capture, which runs for six weeks, will also spill out of the white cube with displays on downtown billboards and installations in transit stations along the Canada Line as well as public events such as fi lm screenings, master classes and a photography contest.

Some say such a festival is overdue, given the prominence of the Vancouver School, a group of infl uential artists who have propelled photo-conceptualism to the top of the West Coast contemporary arts scene. Indeed,

Capture’s executive director, Kim Spencer-Nairn, who sparked interest in the project after visiting the Palm Springs Photo Festival in 2010, acknowledges that sentiment. “It seemed odd that Vancouver had so many festivals and not one to celebrate photography, something that Vancouver is known internationally for.”

She enlisted Julie Lee, who has worked as an art adviser in Vancouver, to help with the event. “Initially, Kim wanted to franchise Toronto’s photogra-phy festival, Contact, and make it more national, but I didn’t like the idea,” says Lee, now Capture’s full-time director. “We met with some of their board members and organizers in May 2012 to get ideas, but we decided that Vancouver needed its own festival with its own unique character.”

The duo wooed three key institutions – the Vancouver Art Gallery, the Contemporary Art Gallery and Presentation House Gallery – and then ap-proached commercial galleries. The result is an ambitious start-up for what organizers hope will become an annual event.

Key exhibitions include one at UBC’s AHVA Library Gallery that looks at photo-conceptualism with work by Jeff Wall, Rodney Graham and Ian Wallace. Another is a festival-commissioned show in the Concourse Gallery at Emily Carr University, for which fi ve senior artists – Wall, Vikky Alexander, Jim Breukelman, Mark Lewis and Mark Ruwedel – were invited to nominate emerging artists working in video, fi lm and photography.

Other lens-based exhibitions include Kimsooja at the Vancouver Art Gal-lery; Danny Singer at Gallery Jones; Anthony Goicolea at Monte Clark; and Matthew Pillsbury, Loretta Lux and others at Douglas Udell.

– Beverly Cramp

CAPTURE

ABOVE LEFT: Loretta Lux, Antonia, 2006, photograph, 25.3” x 19”

ABOVE RIGHT: Anthony Goicolea, Triptych, 2007,

C-print mounted on aluminum, each 26.5” x 60”

BELOW: Matthew Pillsbury, Once Upon a Time in America,

Monument Valley, Utah, 2005, archival Epsom print, 13” x 19”

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1980sOrganized by Glenbow Museum

www.glenbow.org

323 Howe Street, Vancouver, BC, V6C 3N2604-687-7466

[email protected]

“Rhythm of Colours” Group Show • October 12 - 31, 2013 Opening October 12 at 6 pm. Artists in attendance.

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Todd Lambeth, Oh! You Pretty Things, Deluge Contemporary Art, Victoria, May 17 to June 15In the pristine hanging space, sunlight from south-facing windows tickles 15 small, discretely framed paintings of cats. “We thought we’d better hang it straight,” remarks Todd Eacrett, a bo ard member of the gallery; he is gamely alluding to the notion that the populist subject might hazard turning the show into a novelty, that there is something about cats, in particular, that makes the paintings less serious, more solicitous, felicitous, even cute.

The paintings were made from photographs sent to Victoria-based artist Todd Lambeth in response to a request he made on Facebook. Lambeth plays it straight too: the pets are painted in subdued tones that subtly unify the series – olives, golds, oxide reds and washed-out whites. Tender pinks render the insides of ears, a nose, a single, outthrust paw. Rather than black, an inky ultramarine shift hints at the source of the images: digital pictures (the place where most of us now store memories) possess both a nearness and transience that make older photos stolid placards; blue as the ephemeral glow of laptops in dim living rooms.

Though the pictures are representational, they are also, as the gallery’s media release notes, meditations on colour and form. Lambeth clearly enjoys the close vicissitudes of fl at oil paint, and the paintings feature an alluring use of brushwork to alternately charge void space with feeling or solid bodies with indistinct reckoning, in a way that recalls the atmo-

spheric interiors of American realist Edward Hopper. There’s a touch of nostalgia, but also uncertainty in Hop-per’s paintings, and maybe in Lambeth’s too, that life should be regarded so reticently as to become “still life.”

“I’m fascinated in the domestic spaces, how the cat can become an accessory,” Lambeth says. But it’s clear the cat is more than a paperweight or placeholder. He talks of “seeing a cat reclining, and knowing the warmth of that, and the texture of that, and the relationship of that.” This linkage between seeing, touching and relating has deep historical roots. Lambeth mentions 18th century painter Jean-Baptiste-Siméon Chardin, whose renditions of fi sh just-short-of-spoiled on the kitchen table, or game birds strung up to season, remind us that the French call still life nature morte. Painterly tension quickens death into life.

Lambeth’s cats are not necessarily dead, but they have passed into the artifi cial preserve of the photographed. Is this what Lambeth means when he says the pictures “somehow act as mirrors?” He painted the cats after an accident left him with a shattered foot; he was unable to stand, and painted while convalescing. Several look straight at the view-

er with that gaze of interrupted dignity so common to photographed animals. Others slumber with exposed

tummies, lazily ecstatic. Lambeth notes elements in the work refer to historical paintings of reclining

fi gures. This interpretation adds insight to his choice of poses, recalling a lineage of paint-ers – from Manet to Lucian Freud – whose subjects can communicate to the viewer some sense of the fatigue of the regarded, a fatigue

that, when we regard ourselves, we sometimes fail to notice. — John Luna

High Fire Culture: Locating Leach/Hamada in West Coast Studio Pottery, Satellite Gallery,

Vancouver, May 24 to July 6This scholarly exhibition presents a range of stoneware and porcelain by nine West Coast potters whose lineage traces to the late Bernard Leach, a founder of the studio pottery movement in 20th century Britain. At the same time, it considers the infl uence of Japanese traditions through

Exhibitions we saw

in Western Canada

Todd Lambeth, Zuma, 2012,

oil on canvas, 14” x 12”

REVIEWS

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Counterclockwise from front: Cris Giuffrida, jar, circa 1983-1988

and lugged jar, 1988; Andrew Wong, lugged vase, 1977;

Ron Vallis, jug, 1984


1021 6TH STREET SOUTHWEST. CALGARY. ALBERTA. CANADA T2R 1R2T. 403 262 1880 E. [email protected] W. CHRISTINEKLASSENGALLERY.COM

September 12 - October 12 opening reception Thursday September 19, 5 - 7 pm

October 17 - November 16 opening reception Thursday October 17, 5 - 7 pm

France Jodoin

Brad Wood�n

Jean-François Gromaire

Michael Levin&& &

Sandra ChapmanA Road Less Travelled36” x 48”, Oil on Canvas

Representing the finest of Western Canadian Artists for over 25 years

Under New Ownership 403-678-4471 • 104-709 Main St, Canmore, AB • www.theavensgallery.com

Bi Yuan ChengMoraine Lake in Fall36” x 48”, Acrylic on Canvas


REVIEWS

Western and Roundup, Kamloops Art Gallery, Jan. 18 to March 23Western, a group exhibition, and Roundup, paintings by the late Interior B.C. artist and rancher Sonia Cornwall, welcome viewers with the scent of straw and thistle in an entrance painted yellow ochre, the colour of local hills and foliage from high summer to autumn. Cornwall’s land and cattle-scapes with their roasted colours bask sensuously in this golden fi eld. As I write, I look out over ranchlands covered with spring’s straw-yellow stubble toward hills of deep coniferous blue-green, colours used on gallery walls to frame installations and evoke place, the theme chosen by curator Charo Neville as a focus for the gallery’s current exhibition program. Neville characterizes Western as multivalent: It presents diverse perspectives that con-test limiting assumptions and stereotypes of the West – its history, inhabitants and cultures. — Susan Buis

Find complete reviews and more images at gallerieswest.ca

Leach’s colleague, Shoji Hamada, and their shared philosophy that pottery should be simple, functional and harmonious. The latest of several recent shows that have stepped over the divide between art and craft to direct critical attention to the development of studio pottery in British Columbia, it explores the move-ment’s idealism and counterculture infl uences as well as its materials and technical concerns.

Included are more than 100 pitchers, vases, bowls and other pottery produced between 1970 and 2010 by key members of what’s described as the Leach diaspora – Heinz Laffi n, Ron Vallis, Martin Peters, Vincent Massey, Andrew Wong, Sam Kwan, Lari Robson, Cris Giuffrida and Hiro Urakami – who typically studied with potters trained by Leach and, in many cases, met Leach themselves. The fi rst of two rooms displays seven to 10 pieces from each potter, arranged in minimalist fashion on indi-vidual shelves on the gallery walls. Down the centre is a medley of work laid out on a simple plank table. The effect is somewhat reminiscent of an old-style banquet hall.

The work has a modest and unassuming air with sombre tonalities ranging from off-white and grey through deep brown and charcoal. Fired at high temperatures with live fl ames, the pots often feature traditional Asian glazes such as celadon, shino and kaki. Some are marked with the lovely speckling created in salt fi rings. Most striking for anyone who has frequented West Coast pottery markets and studios is the familiarity of the work’s vernacular – particularly regarding what Wong characterizes as Vancouver’s “melting pot” of Eastern and Western pottery traditions – demonstrating the movement’s ongoing infl uence in the province.

The second room presents an array of historic material about the era – photographs, sketchpads, exhibition brochures and the like, as

well as a Leach-style kick wheel. Nora Vaillant, a potter and independent researcher who organized the show with Shelly Rosenblum, a curator at UBC’s Morris and Helen Belkin Art Gallery, also seeks to illustrate how much intermingling occurred between artistic disciplines. For instance, a scrapbook by modernist painter B.C. Binning, who visited Japan in 1958, includes photos of traditional potters and notes: “My Japanese experi-ence has marked a new direction in my painting which will take some time to work out.” Included is one of those paintings, Three Islands in a Cove, along with pieces by Takao Tanabe and Roy Kiyooka, who visited Japan around the same time. The exhibition is rounded out by a display of yunomi, simple Japanese drinking cups, and three historic videos, includ-ing a 1952 documentary about Leach, whose studio in Cornwall is now a heritage site. — Portia Priegert

Chris Cran, Candidates and Citizens, TrépanierBaer Gallery, Calgary, April 18 to May 18When I fi rst viewed Chris Cran’s paintings in a survey show at the Kelowna Art Gallery in 1998, something pricked my senses. It was not just his adroitness and competency working at large scale. More intriguing was how his portraiture both baffl ed and beguiled. In his latest solo show, Candidates and Citizens, these tenets still hold true. But what about the depth of his practice: what underpins the content? For instance, how does the incorporation of lens-based media fi t with his oeuvre, and after 35 years in the fi eld, what’s at stake?

Cran, who is based in Calgary, emphasizes that his work is not all about paint. At the outset of his career, he earned money by undertaking portrait commissions rendered from projected photographs of his subjects. Thus started a four-decade foray into representation and perception, a trajectory that has seen him progress through fi guration, painterly twists on genres such as still life, landscapes, crowds and hand gestures, often in the service of abstraction; and, more recently, photography and collages that, although produced as digital editions, are rendered with painterly aplomb.

As with much of the earlier work, Candidates and Citizens is manifest with formal references to Pop Art: blocks of colour, a giant speech bubble and graphic illustrations fi ll the main gallery. But the work is far from

Chris Cran, Candidate #1, 2012,

acrylic on canvas, 60” x 40”

Dana Claxton, Baby Boyz

Gotta Indian Pony, 2008,

C-print, 60” x 48”

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REVIEWS

illustration. Although many pieces are rendered in half-tone dots – a technique associated with photographic reproduction, but different than Lichtenstein’s use of Ben-Day dots – the images, whilst emblematic of fame or celebrity, have no discernable identities. The faces Cran depicts are appropriated from the everyday, and then re-articulated as both a collective and as a series of individual characters in conversation with one another, their gazes shifting around the room.

The signifi cance of individuals is central: every self has value. In a world where there’s an unhealthy expectation for greatness, Cran elevates anonymous selves to some higher level whilst simultaneously suggesting that you don’t need to be an icon to be somebody. People may search his subjects, expecting an Andy Warhol Marilyn or a Marcus Harvey Myra, but instead the gallery is “populated” with folks like you and me. As Cran says: “It’s about a sense of play.”

The distance between art and audience is key. From afar, the 12-foot-wide The Candidate Sez presents a blurred-out face in soft contrast to the hard, black edges of a giant speech bubble and attendant portrait. But on nearing the picture plane, the composition begins to buzz, forms appearing as if edged by pinking shears. What’s left is the sense that there’s a conceptual concern with appearances behind the buzz of many candidates’ grandstanding. A nod and a wink from the artist: Size mat-ters, but so does substance.

The National Gallery of Canada has collected four of Cran’s works over the years. In 2012, it acquired fi ve additional pieces on paper and, this year fi lled out its inventory with four more signifi cant works, including some from previously collected series. The substance of Cran’s practice ap-pears consolidated. With talk of another survey show, keep an eye out for what’s at stake: the role of public citizenry is key. — Dick Averns

Karla Griffi n, It’s not you, it’s me, Frances Morrison Library Gallery, Saskatoon, Feb. 13 to March 15We’ve all seen the couch before – that beat-up, sagging, stinky old hulk on the crumbling front porch of a house on the wrong side of the tracks, or left on the curb to be picked up as trash. So there is a huge recognition factor in Karla Griffi n’s slightly larger-than-life rendering of the orange-and-gold sofa, painstakingly replicated in coloured pencils on three colos-sal sheets of white Stonehenge paper.

But her drawing, with its surreal tactility and imposing presence, also has a tremendous wow factor. This impressive work is the centrepiece of her exhibition on the theme of dumping: The dumping of old posses-sions, and how that can be seen as a parallel to the dumping of one lover by another at the end of a relationship. While the exhibition title, and its

echoes in other break-up clichés in the titles of individual works, may seem light-hearted, it could feel like a slap to anyone still nursing a broken heart. The parallels are there: The initial excitement and desire, the gradual boredom and dis-satisfaction and, fi nally, the desire for replacement goods. The end point of each cycle is the same.

Griffi n came upon the abandoned desk, lamp and couch depicted in the exhibition while walking her dog in Saskatoon. After taking photographs, she created big coloured drawings of each. For other works, she enlarged the original photographs and then extended them onto the gallery wall using coloured vinyl cut to mimic elements in the images. This created visual puns referenced in her titles, such as you cut me out of your life. And in a separate small suite of drawings, each object is depicted just as it was found, in full colour, with its ambient setting rendered only in black lines.

One of the most successful aspects of Griffi n’s work is its neutrality in terms of emotion, handling and democratic selection. There is nothing heavy handed on her part, no implied lecture on the negative environ-mental impact of fi lling dumps with perfectly good household items, no remonstration on callous treatment within relationships begun in trust.

In considering antecedents for Griffi n’s work, we might recall the even-handedness and neutral subjects of the so-called new realism that began in the late 1960s: highly detailed paintings of diners, urban streetscapes and such. In contemporary art, the collaborative works of Rhonda Weppler and Trevor Mahovsky come to mind, with their respectful and slightly tongue-in-cheek attitude to consumer goods and packag-ing of everything from coffee cups to cars. The art niche Griffi n’s work fi ts into is one where the quotidian is displayed in all its everydayness, so that viewers tend to skip over that aspect to engage with the content of the work – the deeper questions being posed and explored. As a result, Griffi n’s work becomes relational to a degree not normally associated with the traditional medium of drawing. — Liz Wylie

Paul Cherwick, Triumphant

Return, 2013, polychrome

wood, 37” x 16” x 14”

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Karla Griffi n, I no longer fi nd you attractive, but I can’t say that

because then I’ll feel guilty #3, 2013, pencil crayon on paper, 8’ x 12’


REVIEWS

My Winnipeg: The Artists’ Choice, Plug In Institute of Contem-porary Art, Winnipeg, Feb. 9 to March 17Mere landmarks cannot summarize a given place – it “is” only insofar as it’s seen and lived by its individual inhabitants.

It’s thus appropriate that Winnipeg itself is mostly nary to be seen in The Artists’ Choice, the fourth and fi nal instalment of the My Winnipeg project, ongoing since September 2012. The cityscape is visible only in David Wityk’s photomontage Main Street Winnipeg: Every Block Between Portage and Inkster Avenues, which unfurls across two walls and frankly visualizes the high and the low, intermittently side by side and face to face, as the city’s past and present top-down developments co-mingle with dreary dilapidation and even squalor.

More accurately, the exhibition is often a kind of “My Life” by 14 Win-nipeg artists nominated by participants in the project’s earlier chapters. Sometimes, though, we wonder at the exact connection. Take Paul Cher-wick’s Triumphant Return in polychrome wood, with a wee lad in pajama bottoms, socks and mask carrying the hide of an animal, Hercules-like. One has to circle round back to see the presumably vanquished (toy?) bear. There’s a smile-wresting Rockwellian quality, wherein childhood in-nocence and disappointment naturally overlap.

The notion of My Winnipeg functions as more of a loose framework – although that’s no refl ection of the overall, affecting quality on display (some otherwise splendidly engaging video shorts seem out of place, however, treated as installation). Alternately whimsical, poignant, melan-choly, bittersweet, dry, tongue-in-cheek and recurringly understated, the art also often explores – as did the project’s original inspiration, fi lmmaker Guy Maddin’s 2007 personal documentary, My Winnipeg – the terrain of dreams, fancies and the fantastical.

Two selections from photographer Steven Ackerman’s Night 2 on the Roseau 4 & 17, for instance, push beyond the bounds of the concretely observable world: in one, the glow from inside the pictured tents takes on a supernatural aura, as if produced by fairies; in the other, tents obscured by shadow almost resemble toadstool houses. Steven Nunoda’s moody Ghostown consists of row upon row of miniature black barns moodily spot lit in a darkened gallery, while his adjacent Ladder to the Moon – a literal visualization of its title – suggests, in juxtaposition, that dreams are, perhaps, the only escape route from the melancholy of a rural prairie existence.

A piece that appropriately juxtaposes to that is Richard Hines’ C-print and etched glass piece, D’s Shoulder and K, Summer 2011, Cape St. George Newfoundland, which brings to mind The Weakerthans’ signature I Hate Winnipeg: The featured text “Why did we leave where we were to come over here?” is a lament familiar to many a Winnipeg-ger, while also poignantly expressing the essence of a life lacking sure purpose.

Memory and personal geography are also among the exhibition’s defi ning themes, the latter being the seemingly explicit subject of Erica Eyres’ Father and Son, Wedding Day and Portrait of a Girl, pencil-on-paper pieces that reproduce photographs. The relative crudeness does not make them merely poor copy jobs, but rather evocations of the imprecise, fudg-ing nature of memory. (By contrast, the clarity of the drafting in the third piece suggests a more specifi c recollection.)

Geography is literally written on the body in the case of Jamie Black’s Blood Memory series, whose powerful red-on-B&W photographic print is arresting on an aesthetic level even before the theme resonates. Using a model as landscape, Black conceives the coursing veins beneath the fl esh as maps, and, in one print, literally has a river running through. It’s the show’s most direct expression of the inseparable nature of geography and personal identity. — Kenton Smith

103, 9839 103 AvenueGrande Prairie, AB T8V 6M7

Telephone: 780-532-8111www. aggp.ca

Everything is going to be okay again soon.A SURVEY SHOW OF DEAN DREVER’S WORK

FROM 1998 TO PRESENT

curated by Robert Enright

September 29, 2013 – January 1, 2014

generously supported by:


An exhibition of photographs by Nick Danziger for the International

Committee of the Red Cross, presented by The University of Calgary.

8 August – 2 December 2013

In 2001, photographer Nick Danziger created eleven portraits of women and girls affected by the conflicts in Afghanistan, the Balkans, Colombia, Israel,

Palestine, and Sierra Leone.

From 2008 to 2011, Danziger worked to find these women again and document how their lives remained affected by war.

The Founders’ Gallery at The Military Museums4520 Crowchild Trail SW, Calgary AB | 403-410-2340 ext. 2630

[email protected] | www.themilitarymuseums.ca/gallery-founders

Weekdays 9:00AM-5:00PM | Sat. & Sun. 9:30AM-4:00PM LIBRARIES AND CU LTURAL

R E S O U R C E S

© N

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Dan

zige

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the

ICRC

THE MUSE STRIKES…

Just Imajan Art Gallery

403-932-7040320 1st Street West Cochrane, Alberta

www.justimajan.com

Diane Howard Langlois, Where's Waldo?, South Georgia Mixed Media on Canvas, 40” x 48”

Elizabeth Wiltzen, Peruvian Potato Vendor Oil on Linen, 18” x 24”

Janet B. Armstrong, Tranquil Passages Oil on Canvas, 16” x 20”, (plein air)

Carmen Miller, Sheep Acrylic on Canvas, 14” x 11”

Sandra Grace Storey, WelcomeCeramic Sculpture, Height 10.5"


ARTIST PROFILES

ARTISTS SELLING IN THE WEST

BY MAUREEN LATTA

GREG HARDYWhen Greg Hardy talks about expressing his emotion-al reaction to the land through the materiality of paint and canvas, he’s not referring to mere sentiment. For Hardy, prairie marshlands, hills and skies are stage sets for blood-boiling dramas evoking awe, wonder and melancholy. Billowing clouds are often the central players – ecstatic sculptural formations of invented colour that enter and exit voluminous skies.

“I’m trying to turbo-charge the paintings with as much emotion and original feeling that I had,” says the Saskatoon-based artist. His response to dramatic light, storms and seasonal changes mirrors the vital-ity of his interior world. “I live life fairly intensely,” he says. “There’s a certain beauty in that kind of inner turmoil. I fi nd that by using paint and making paintings, it comes out in the work, somehow, in an indirect way.”

Hardy, who mentions an interest in the Spanish Romantic, Francisco de Goya, is a physical painter who favours fat chunks of charcoal, four-inch brushes and plenty of tar gel. He makes reference sketches out on the land or from a kayak at his Lac la Ronge cabin then quickly works up paintings while his memory is fresh. “My ideal is when I start the painting and it’s fi nished in one go. There’s very little hesitation until the end.” Greg Hardy’s next show is in spring at the Peter Robertson Gallery in Edmonton. He is also repre-sented by Gallery Jones in Vancouver, Art Place-ment Inc. in Saskatoon and Wallace Galleries in Calgary. His work is priced at $5,000 to $15,000.

BRAD PHILLIPSVancouver artist Brad Phillips fi nds resonance with the response William Eggleston gave when he was asked what he was trying to do: The American photographer said he was writing a novel.

While Phillips’ photorealist paintings might be more like a diary than a novel, the two narrative forms are related. “I’m interested in the idea that autobi-ography and fi ction are really synonymous,” he says. “When I have a show and it appears really autobio-graphical or personal, the truth is that like in a memoir or autobiography, there’s a great deal of editing.”

Phillips deals with the intimate images of daily

life – regardless of whether the subject matter is embarrassing. “I like to try to relate to the audience on an emotional rather than intellectual level,” he says. “Also, I like making people uncomfortable to some extent in terms of content, whether it’s sexual or psychological.”

Infl uenced more by confessional poets such as Anne Sexton and Robert Lowell than other painters, Phillips, a published essayist, sometimes incorporates text into his work. A one-time fi nalist in the RBC New Canadian Painting Competition, he has exhibited in Toronto, Boston and New York as well as several European cities. “My work seems to be more easily grasped and collected in Europe, maybe because fi gurative painting has more of a history.” Brad Phillips is represented by Macaulay & Co. Fine Art in Vancouver, where he shows in September. His work is priced at $3,000 to $12,000.

TAKE THEM HOME

Greg Hardy, Storm Coming In

From the North, 2013, acrylic on

canvas, 48” x 54”

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ARTIST PROFILES

be displayed in the traditional way, which is always sitting on a plinth with a top, bottom, left and right,” says Chuang. “Any object we have in our life is three-dimensional. A fruit or vegetable, we don’t defi ne where the bottom is, where the top is.”

Her wall-mounted Flower series plays with notions of class and culture. The work incorporates cheap Taiwanese textiles and fl owers made of unglazed por-celain, which she accessed while on residency in Jing-dezhen, the Chinese town that historically supplied wealthy Europeans with precious porcelain wares. Her Cross series includes more than 800 ceramic pieces that resemble vegetables or sea creatures.

Chuang’s inventive spirit helped her win the 2006 Winifred Shantz Award for Ceramics, a prestigious national award for emerging artists. A graduate of NSCAD University’s MFA program in Halifax, Chuang’s formal interests centre on the imperfect symmetries of natural objects. Her installations build slowly, their accretions refl ecting her obsession with collect-ing objects with interactive potential; for example, milkweed pods that split to reveal an inner complex of seeds. She teaches at Vancouver’s Capilano University, at least for now – a budgetary shortfall has prompted administrators to close the studio arts program after current students graduate. Ying-Yueh Chuang is represented by Regina’s Slate Fine Art Gallery. Her work, priced at $150 to $10,000, is in a group show there in December.

CONSTANCE BACHMANNConstance Bachmann fi rst saw the aesthetic potential of animals in the sleek contours of the greyhounds that strolled the Beaches boardwalk in Toronto a decade ago. She went on to paint other breeds, including chunkier bulldogs, but is now turning her attention to a new species – bears.

Bachmann lives in Kelowna, B.C., but spent her formative years as an artist in Vancouver, where she exhibited large fi gurative paintings. Her fi rst show was across the street from the old Monte Clark gallery, where Vancouver artist Peter Aspell’s Captain series was on display. “I was drawn to the way he would build up colour using a spatula and carve into the top layer to reveal another colour below,” she says. “His rich layering felt so accomplished, but the work never felt old.”

Bachmann, whose partner, Danny McBride, is a painter represented by some of the same galleries as well as a musician – he was lead guitarist with pop star Chris de Burgh for 14 years – now works exclusively with a palette knife. She likes the chance reactions of paint as she slides her knives over canvas or board. “It’s good for me not to have total control over every element of a painting. I think it’s the same as knowing the ending of a book. When I’m immersed in one, I’d rather not know how it turns out.” Constance Bachmann’s next exhibition is at Sopa Gallery in Kelowna, B.C. She is also represented by

YING-YUEH CHUANGYing-Yueh Chuang is decidedly not a minimalist. Her installations are constructed from individual ceramic pieces presented in dizzying arrays of repeating forms and hybridized structures – sometimes even hung from the ceiling or wall. “I don’t want my work to

RIGHT: Brad Phillips, Sojourner’s

window dressing, 2013, waterco-

lour on paper, 22” x 15”

BELOW: Ying-Yueh Chuang,

Cross Series #3 (detail), 2008,

ceramics, wood and Plexiglas

rods, 12’ x 12’ x 2’


ARTIST PROFILES

the Stephen Lowe Art Gallery in Calgary and the White Rock Gallery in White Rock, B.C. Her work is priced at $2,000 to $7,000.

NANCY BOYDNancy Boyd’s recent series, Excavation with Field Notes, explores an internal universe – what she calls “the interior of the body or the interior of the self.” Her speculative gestures celebrate randomness; for instance, she makes loose ink marks with a paintbrush taped to the end of a long stick, a technique designed to subvert her skill at drawing. “Essentially, the natural in the world will win out,” says Boyd. “Nature will have its way.” Still, she balances this free-spirited impulse with more controlled passages to create a resonant yin-and-yang dynamic.

Boyd creates rich and tactile surfaces with graphite and acrylic washes as well as lacquer transfers and stencils. Her quirk is an aversion to applying paint with a brush. “I end up putting the paint and the colour onto other things and then I kind of stamp them onto the surface. I want some kind of an interface … no direct evidence of the contrived hand.”

Many pieces in the series are diptychs that Boyd paired only after individual components were com-pleted. “I get to play around with them like a deck of cards, which is kind of fun because often, then, it will

show up something that is surprising and more effec-tive than what I intended.”

Boyd, who retired three years ago after teach-ing at Capilano University in Vancouver for 23 years, studied at the University of Waterloo and the Ontario College of Art and Design, now OCAD University, in Toronto. She worked in graphic design and architec-tural rendering before establishing a serious studio practice.Nancy Boyd is represented by Wallace Galleries in Calgary. Her work is priced at $300 to $3,000.

LEFT: Constance Bachmann,

Bulldog with Red Foot, 2010,

acrylic on panel, 48” x 48”

BELOW: Nancy Boyd, Field Notes

#2, 2013, mixed media and ink

on panel, 24” x 48”


To be fair, their mode of making art has always been uncon-ventional: Cardiff, for her early fascination with sound as a raw material, and how it could envelop the visual reality in which it existed, reframing it as something new; and Miller, for his propen-sity to cross-fertilize kinetic sculpture and installation – creating as-semblages not content to sit still and be, but charged with a manic energy to do something.

In their best collaborations (which Cardiff says is virtually every-thing, regardless of whose name is signed to what; they are never far from each other, from conception through production), the hybridization of these distinct interests can produce truly transport-ing experiences. The Paradise Institute, absent here (I’m not sure why; it’s owned by the National Gallery of Canada, up the road in Ottawa) is one of those: a scale-model movie house that requires its audience to wear headphones, and where, suddenly, the audio experience of a full-size grand old theatre belies the cozy setting.

Two narratives unfold: the conventional movie, a self-conscious remix of genres like sci-fi , fi lm noir and straight-up potboiler; and the story inside the theatre itself, where viewers become keenly aware of the presence of ghostly theatre patrons, murmuring to one another, checking cellphones, and the like.

The background noise, so to speak, is actually the foreground, and Cardiff’s best audio technique, binaural recording, centres sound somewhere between your ears to produce an eerily internal-ized experience. Existing in two realities simultaneously – three, if you count the fact you’re inside an art piece – is their trademark, and using sound to destabilize the world before your eyes is their lasting contribution to 20th century art.

So what’s with all the shouting at the Art Gallery of Ontario, then? At fi rst wander-through, Opera For a Small Room is a rush, all pounding Tommy-like rock ’n’ roll angst, as a battered old speaker gushes out a tale of disaster and loss from what looks to be some loner’s shack in the woods. Outside, in the darkness of the gallery, large speakers broadcast the rumble of a passing train, but it is, at best, distracting; that destabilizing technique is lost in the back-ground to the tale of woe and its crescendo, a lightshow that would make Geddy Lee proud. Which is fi ne, and fun, and entertaining, but that’s all it is. If you’re looking for something that throws your world off-kilter, you’ve come to the wrong place.

The same seems true of Killing Machine, a recent piece in which a sheepskin-draped dentist’s examination chair is fi tted with wrist and ankle restraints. It’s inviting, in its creepy way: all is still until someone pushes the big red button, suggestively lit, beside the installation. Suddenly, spotlights come on, a gorgeously spare dirge starts to play, and two robotic arms, fi tted with what’s best described as probes, come to life. They swoop along the chair, prod-ding and poking at the absent fi gure, until – again – the lights go all rock show, the music amps up, and the arms begin, in earnest, a grim business suggestive of dismemberment. The cycle fi nishes, and the arms return to their starting position, as if to say: ‘Next.’

I loved watching this once. It brought to mind all the infl uences the pair have laid claim to over the years – things like fi lm noir and the campy sci fi of Philip K. Dick. A second viewing, though, left me bored. Haven’t I seen this movie before? Entertaining as hell but without implication, Killing Machine, like Opera for a Small Room, is a beginning and an end that leaves no room for me.

Whatever your feelings on this, these pieces seem to bear little

Somewhere in the din on the fourth fl oor of the Art Gallery of Ontario, between the dizzying light show and crashing rock music of Opera for a Small Room and the macabre pas de deux performed by a pair of lethal robotic arms in Killing Machine, you have to ask: But is it art?

Pondering this at Lost in the Memory Palace, the tightly edited survey show of verifi able Canadian art gods Janet Cardiff and George Bures Miller, is, of course, blasphemy. As the only Canadi-ans ever to lay claim to a prize at the Venice Biennale, the Bien-nale di Venezia Special Award for 2001’s The Paradise Institute, the husband-and-wife pair are all but beyond reproach.

Since then, they have bounced back and forth between Berlin and Western Canada. Cardiff was a faculty member at the Univer-sity of Lethbridge for more than a decade, but the couple decamped in recent years and now spends much time on a property near the tiny community of Grindrod in the British Columbia Interior, where they make elaborate technology-driven installations in a barn-sized studio.

FEATURE REVIEW

LOST IN THE MEMORY PALACEJANET CARDIFF & GEORGE BURES MILLER OFFER GUSHING ANGST AND EERIE IMMERSIVE INSTALLATIONSAT THE ART GALLERY OF ONTARIO

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BY MURRAY WHYTE


relation to the works that fi rst brought Cardiff to international no-toriety, her startlingly unique and moving site-specifi c audio walks. Through a set of headphones, Cardiff guides viewers through set-tings around which she’s built compellingly ambiguous narratives. For instance, The Missing Voice, in Jack the Ripper’s old territory in London’s Whitechapel district, is eerie, harrowing and hilarious as Cardiff plays the role of a woman who obsessively maps the infa-mous murderer’s ancient paths.

Similarly, in 2000, Cardiff created A Large Slow River for Oakville Galleries, centred on the lakeside mansion west of Toronto that the institution calls home. In it, Cardiff guides the walker through the house, into the gardens and down to the water’s edge, as a quiet anxiety builds. “I wander through the house, looking in room after room,” she says, breathily, in your ears. “All there is is emptiness, plaster on the fl oor, broken windows.” The sensation is like walking with a ghost, hearing things she might have seen that don’t come close to what you behold. You stand in the future, forced to look into an unknown past. Or is it the future? The binaural audio moors her to the centre of your brain. Your world transforms. You’re lost.

I’ve been hungry for that experience since the day I fi rst put those headphones on, all those years ago. But Lost in the Memory Palace offers few such departures. Experiment in F# Minor features dozens of speakers hatched from their boxes, sitting face-up on a ta-ble. Pass your hand over, and they come to sonorous life, activated by shadow. This piece, more than the others, reached for something poetic, I think – mediation, the disconnect between technology and the ineffable, the music of chance – and came close, in an under-stated way. It works.

Understatement, though, seems something long in the rear view for Cardiff and Miller. Older pieces in this exhibition, like The Mu-riel Lake Incident, a precursor to The Paradise Institute with its min-iature theatre and aural layers of quasi-reality and artifi ce, have a certain charming elegance. And while one could never use the same description for 2004’s The Dark Pool, a room-sized, glorious mad-scientist’s mess of things with trip-switches planted strategically for aural interludes, it may well be understated. Tables are strewn with

books, drawings, notes, sketchpads, photographs, archaic electronic machinery, clothing and an eerie diorama of cars parked at the lip of an inky-black reservoir of undetermined origin.

The sense here is of a long-ago disaster – of people hard at work at something who had to leave in a hurry, and never came back. It’s up to you to put the pieces together. The diorama is a clue. Look at the drawings, read the notes. Then, listen: “Who knows if what they say happened there is true?” says a grainy male voice projected from a speaker horn connected to an ancient turntable. He goes on to discuss the dark pool, an unexplained phenomenon that just showed up one day and consumed all it touched. “I’ve often won-dered if it was some kind of mass psychosis induced by an unstable electromagnetic fi eld,” he says.

This, fi nally, and at last, is more like it. Just like the walks and the theatre pieces, the best works by Cardiff and Miller hook you in and then leave you to piece together a world composed of captivat-ing fragments. It is immersive, a two-way street. In the end, it’s a matter of taste: would you rather be invited in and held tight, or shouted down and wrung out? I know my answer.

Lost in the Memory Palace: Janet Cardiff and George Bures Miller was exhibited at the Art Gallery of Ontario in Toronto from April 6 to Aug. 18. It opens at the Vancouver Art Gallery in June 2014.

OPPOSITE: Cardiff and Miller in 2012

ABOVE LEFT: Killing Machine, 2007,

mixed media, sound, pneumatics and

robotics, 9.8’ x 13.1’ x 8.2’, 5 min.

TOP RIGHT: Opera for a Small Room

(interior view), 2005, mixed media

with sound, records, record players

and synchronized lighting, 8.5’ x 9.8’

x 14.8’, 20 min. loop

ABOVE RIGHT: Dark Pool (detail),

1995, mixed media, 16.7’ x 36.1’ x

9.8’, 13 min.

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WILD HORSESMAUREEN ENNS AND THE ART OF CONSERVATION

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BY LYNDSIE BOURGON

Let’s start at the end. Maureen Enns has come to some conclusions, and they’re where she tends to begin. Sitting at a table in her studio in the Ghost River Valley west of Calgary, drinking black coffee from a pottery mug, Enns explains how she came to understand the wild horses that roam the region and how they have inspired her art. Her studio, tucked into rolling ranchland, resembles a cabin re-treat – a log house built into the surrounding woods over so many years that it’s almost part of the natural order. The place suits her art, which is so interwoven with her concerns about conservation that it’s hard to separate where each begins and ends.

Perhaps best known for her work with grizzly bears, Enns has spent the last six years studying wild horses, a controversial topic in Alberta. “What I concluded was that the whole notion of these free-roaming, feral horses is an overwhelming generalization,” she says. She believes the horses – some re-wilded over generations, others more recently released or escaped – are distinct from their feral and domestic cousins. They are as wild as grizzlies or wolves, she maintains, and just as misunderstood.

In Wild Horses, Wild Wolves: Legends at Risk at the Foot of the Ca-nadian Rockies, published this year by Rocky Mountain Books, Enns tries to give readers a deeper understanding of the wildlife at their back door. The text is accompanied by her photographs and art – charcoal drawings, vibrant paintings and mixed media pieces, some of which have been shown at the Masters Gallery in Calgary. While her subject matter and material approaches might not conform to the rarefi ed expectations of the contemporary art world, Enns, who taught at the Alberta College of Art and Design for more than 20 years, is comfortable enough to joke about it: “If you’ve looked at prairie art, doing charcoal drawings of horses is probably the kiss of death.”

Enns is driven by her need to gain a deeper appreciation of other species that share the planet. Over the years, she has devel-oped a working method – lengthy periods of uncompromising research, often in far-fl ung places, in return for epiphanies about the natural world. She does her own fi eld research, observing wild animals in their natural settings. Only as her research accumulates does she begin to make art, letting its intuitive approaches help her sort through and make sense of her discoveries, always mindful of her desire for humans to coexist peacefully with wild animals.

Her process brings to mind American author Joan Didion, who once said she writes in order to understand what she thinks. Indeed, Enns calls herself an investigative artist, and says art is “the vehicle for me to try and work it out.” This depth of research and intensity of purpose are a strength of her art, which has an intimacy that’s hard to describe. Looking at it, you can almost hear the soft pulse of a horse’s breath or the silky swish of tail and mane. The bright pigments she sometimes adds to photographs gives them an ethereal feel.

Enns was born in Chilliwack, B.C., where her parents owned a logging company and ran a ranch. She spent a lot of time outdoors.Her siblings were much older and she rode their hand-me-down horses after they left home. Eventually, she moved to Vancouver to study education at the University of British Columbia – while there, she took an art history course. It was a pivotal experience. “I thought: ‘This is where I’m going,’ ” she says. After fi nishing her

BELOW: Young Bachelors on Alert,

2009, charcoal on paper, 25” x 21”

RIGHT: Maureen Enns in her studio

www.gallerieswest.ca Galleries West Fall/Winter 2013 39


degree, she traveled in Europe and Australia, even opening an art school for a time. “It was the brassiness of a 20-year-old,” she says. “You think you own the world and everyone else isn’t very bright.” That same drive later took her to the University of Calgary, where she earned her MFA in 1971.

Enns returned to Australia in 1986 for a trip through the Out-back, spurred by her curiosity about the region’s arid expanses. The work she produced was shown at Expo 86 in Vancouver. Then she was off on her next adventure, to Africa, where she sailed down the Zambezi River and worked on a series inspired by elephants and the ivory trade in Kenya.

On her return, Enns began searching for a project closer to home. She came up with the idea of grizzlies. “Then I thought: ‘Oh, shoot, I’m terrifi ed of grizzly bears.’ ” But it turned into a life-chang-ing experience. The bears took her from warden outposts in Banff National Park to the wilds of the Kamchatka wilderness in Russia, where she lived and worked with Charlie Russell, son of Alberta author and outdoorsman Andy Russell.

ABOVE: Stud Guarding

his Foal, 2009, mixed

media, 40” x 30”

RIGHT: On the Windy

Ridge, 2010, oil, acrylic

and charcoal on canvas,

48” x 36”

FAR RIGHT: Wild Horses,

Wild Wolves was

published this year

“We realized that to really understand the possibility of coex-istence between humans and bears, you couldn’t do it in North America,” she says. “There was too much opposition.” For nine years, Enns and Russell spent each spring with seven orphaned bears. They wrote two books together, Grizzly Heart and Grizzly Seasons. Enns was also part of Walking With Giants, a documentary shown on PBS. She says fate halted the project – her favourite bear was brutally killed, perhaps by poachers – and she snapped out of her obsession.

Wild horses took the place of bears. There’s thought to be at least 850 horses roaming a broad swath of land along the eastern slopes of the Rockies. Ranchers say the horses, which have been rounded up for slaughter under a controversial provincial manage-ment plan, destroy their pastures. Meanwhile, environmentalists want the horses designated as a heritage animal and protected from culls.

As part of her research, Enns interviewed dozens of ranchers, farmers, environmentalists and aboriginal leaders. She also spent time riding her horse back and forth through the Ghost Forest public land use zone, a 600-square-mile wilderness recreation area near her studio. When she noticed the wild horses had become comfortable with her presence, she took a step back. “It was a dis-appointment because it was really fun,” she says. Instead, she set up remote cameras she had bought at a hunting store and monitored the horses from afar. As she watched, she noticed some behaved like deer, others more like domestic horses.

Enns turned to her art to work through her confusion. Much of her work from this period shows horses amid painted yellow and orange swirls. “I’m not an artist that goes out and takes a land-scape picture and then comes back and paints it,” she says. Indeed, Enns’ art is probably best understood as a process of exploration. Her courage in confronting the unknown is remarkable. Afraid of grizzly bears, she went to live with them. Knowing that wild horses stir up heated feelings, she tracked them for years. Now between projects, she’s looking once again for something to engage her relentless drive to understand the natural world.


T 403 290 0145 1226A Ninth Avenue SE www.circa5060.ca


Michael Dumontier and Neil Farber,

Animals with Sharpies, 2013, mixed media

on board, 27” x 120”

ROYAL NO MORE

FIVE YEARS AFTER THE ROYAL ART LODGE’S DEMISE,

FORMER MEMBERS TAKE THEIR OWN ROADS (SORT OF) TO

FAME AND FORTUNE

BY KENTON SMITH

They came together in Winnipeg every Wednesday night for years to make art. Then they split up.

Six students from the University of Manitoba’s fi ne arts program – Jonathan Pylypchuk, Adrian Williams, Drue Langlois, Marcel Dzama, Neil Farber and Michael Dumontier – founded the Royal Art Lodge collective in 1996, only for individual ambitions to see them drift apart. By 2003, only the latter three continued the weekly ritual; the Lodge fi nally succumbed in 2008.

Its alumni’s careers, however, hardly rolled over to die in the gutter – the affi liation with one of Canada’s best-known collec-tives has proved enduring. The collaboration between Dumontier and Farber, in fact, never really stopped (it’s helpful both still live in Winnipeg). Its fruits, much in keeping with the collective’s late trajectory, are included in two volumes by Montreal-based comics publisher Drawn and Quarterly: Constructive Abandonment in 2011 and Animals with Sharpies this year.

The group’s legacy is also echoed by Dzama, who’s become a bona fi de art star. Based in New York, he’s been profi led in main-

stream media outlets, including The Guardian and The Huffi ngton Post. And, in a near instance of the band getting back together, his recent solo work was included this year in After the Royal Art Lodge at Galerie Division in Montreal and Toronto. The show reunited all but Langlois, who, while moving into animation and continuing to produce visual art, now associates little with the group banner.

“It’s uncommon for visual artists to work together so closely for so long, and with so much success,” says Dominique Toutant, director of Galerie Division in Montreal. Both as the Royal Art Lodge, and individually, there have been exhibitions in Asia and across North America and Europe, as in the case of My Winnipeg, a 2011 exhibition of artists connected to the city at La maison rouge in Paris and Sète, France. That show received an enthusiastic re-sponse from French newspaper titans Le Figaro and Le Monde (with Canada’s national media catching on subsequently).

Mary Reid, a former curator at the Winnipeg Art Gallery who oversaw the Royal Art Lodge’s 2007 retrospective, Where Is Here?, summarizes its oeuvre as “hand drawn, quirky, fantastical fi g-ures, coupled with text composed of wry comments which touch upon issues ranging from the everyday banalities of life to deeper CO

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and absurd, dryly enabled by the precise aesthetic. Still, the work sometimes also turns to the sombre or affecting, and is altogether “defi nitely coming out of the RAL experience,” Farber says. It’s an approach that still commands attention, with their duets trumpet-ed in such cultural cornerstones as the American literary magazine, The Believer.

Now living in Los Angeles, Pylypchuk, 40, includes the Royal Art Lodge amongst his most self-representative work. His recent solo efforts are characterized by a certain grottiness: anthropo-morphic fi gures made of trashcans and toilet seats, or representing cigarettes, as in the installation, It’s not you it’s me, at the 2013 Art Los Angeles Contemporary art fair. Earlier works are memorably highlighted by urine and puke frozen in mid-arc as they spew from grotesque sculptures whose roughness also lends a sympathetic quality.

Williams, 38, and living in Berlin, remains infl uenced by some of his former Lodge brothers, as in the medieval-themed Verses Vs. Verses, which premiered at Toronto’s Neubacher Shor Contem-

porary gallery last year. It features a pantheon of oddball fi gures: knights, dandies and Vikings. Accompanying images of hobos and sinking ships, and his primarily deep blue and brown palette, offer a touch of the Lodge’s quintessential melancholia.

Yet of all his one-time comrades, Williams is the most suggestive of magic and wonder, and though he says “no thanks” to whimsy, it’s present in such scenes as a monkey king and his fellow simian explorer sailing skyward (Untitled 2011-2012). If the Lodge’s work was sometimes evocative of children’s book illustrations, Williams’ recent work reminds us how enchanting the best of that can be, without forgoing an adult sensibility.

While some have suggested the Royal Art Lodge is synonymous with a so-called Winnipeg style, Pylypchuk, at least, contends there’s nothing “Winnipeg-ish” about it, or even “inherently Cana-dian either,” which is precisely why it’s so well received worldwide.

With groups that attain almost mythical status, the question of reunions is perennial. In the case of the Royal Art Lodge, it’s uncer-tain. Farber, is emphatic about one thing, however: he can’t foresee a day when he’d feel tired of being linked to his former band of brothers. Some ties, it seems, steadfastly bind.

universal quandaries of the meaning of life.” Understated humour, magic realism, suggested narratives and poignancy that shades into melancholia are other hallmarks.

Zipping back to the present, the international listing magazine, Time Out, recently called Dzama’s “fantasy world” in Puppets, Pawns and Prophets, at London’s David Zwirner gallery, “utterly beguiling.” In Canada, he received the Hnatyshyn Foundation’s 2013 award for outstanding achievement. And a monograph due this fall from U.S. publisher Abrams – including contributions from author Dave Eggers and fi lmmaker Spike Jonze – considers Dzama’s simple (yet never simplistic) paintings, collages, dioramas, fi lms and sculptures, which feature masked and costumed pageantry, the surreal, the macabre and the kitschy – none mutually exclusive. Farber, 38, says his long personal and creative relationship with Dzama makes it “safe to say” they infl uenced each other. Evidence can be seen in Farber’s work at the Museum of Modern Art in New York that highlights the supernatural and the anthropomorphic. In more recent work, fanciful, vaguely tragic fi gures are plainly

presented, some with features borrowed from squid, elephants and the like. These days, Farber says a multitude of characters on a single page “is kind of my main image.” He uses the fi gures to cre-ate patterns and geometric arrangements; his conceptual approach is primarily visual, not thematic.

Meanwhile, Dumontier, 38, calls his latest solo work “gently absurdist.” Take such visual gags as Untitled (red sock, right), which illustrates the inherent amusement in a sculpted, single red sock. Other recent examples, part of last year’s A Moon or a Button at Win-nipeg’s Plug In Institute of Contemporary Art – called “quietly ter-rifi c” by Canadian Art magazine – hint at narrative, or at least offer a glimpse beyond the immediately perceptible, as in Untitled (folded corner) – which is exactly as it reads.

If the Lodge’s work was often minimalist, Dumontier stretches this to the extreme with concrete, non-symbolic images distilled to an understated and amusing clarity. As to his ongoing partnership with Farber, it’s only natural something funny comes out of getting together to make art for fun. Take the snake’s message in Animals with Sharpies: “Baby unhook your jaw I wanna crawl right INSIDE YOU.” The juxtapositions in the book tend to the droll, ironic


FACE TIME PORTRAITURE VIES FOR ATTENTION IN THE DIGITAL AGE

You might think that staple of art history, the genteel portrait, would be under threat in this quick-fi x age as the so-called thumb generation posts countless snapshots of friends and family on social media sites. Pose for a painter? Who even has time to sit still that long? Yet, to borrow a famous quotation, portraiture’s obituary may, indeed, be premature. Several Western Canadian exhibitions this fall explore the genre’s evolution, arguing its interest in our favourite subject – ourselves – and its ability to refl ect the human

BY BEVERLY CRAMP

condition anew, ensure its continued relevance.Of course, technology itself opens new doors for artists, allowing

them to experiment beyond the bounds of paint with new digital tools that offer distinct advantages, such as the ability to explore subjects over days, weeks or even years. As well, portraiture need no longer be static or frozen in place – it can move subjects through dif-ferent settings, zooming in and out, and offer more varied insights than a singular painting or sculpture. Even within painting, younger


artists like Calgary’s Erik Olson and Andrew Salgado, who grew up in Regina, push themselves to produce edgy work that challenges tradi-tional assumptions, including one of the biggies – that portraits are mostly fl attering representations of wealthy clients. Some innovators choose unlikely subjects, while others seek new ways to deconstruct the subject or challenge realism’s stronghold with lessons from ab-straction. Olson recently sold out his fi rst show at the Douglas Udell Gallery in Vancouver, and Salgado, who’s attracting international

attention for aggressive painting that considers notions of mascu-linity, is bringing work home from Britain this fall for his fi rst solo exhibition in Regina.

Still, social media is having an impact. “It makes historical portraiture less special than it was,” says Ian Thom, a senior curator at the Vancouver Art Gallery. “We are so used to seeing pictures of people that to have a singular image taken out of the multitudes to represent a particular person is hard for people to get their heads

OPPOSITE: Andrew Salgado, An

Altered Peace, 2012, oil on canvas,

47” x 59”

TOP: Rodney Graham, Halcion

Sleep (detail), 1994, textile and

single-channel video projection

ABOVE: Roy Arden, Citizen, 2000,

still from single-channel video with

sound, 10 min.

RIGHT: Fiona Tan, Rise and Fall,

2009, two-channel video, 22 min.,

installation view

TOP P

HOTO

: TER

ESA

HEAL

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ALLE

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PORTRAITS IN TIMEPortraits in Time pushes the boundaries of portraiture with videos drawn from the Vancouver Art Gallery’s permanent collection. Curator Ian Thom selected fi ve artists who present people in different narrative contexts, showing how they relate to their environment, the larger context of their lives or their perceptions of self. The oldest work was created in 1987 by Tom Sherman, an infl uential artist who now works at Syracuse University in New York. The most recent is from Amster-dam-based Fiona Tan’s complex 2009 narrative, Rise and Fall, which depicts a single woman at various points in her life. Also included are pieces by three Vancouver artists – Rodney Graham’s Halcion Sleep, Roy Arden’s Citizen, and Althea Thauberger’s not afraid to die. Thom says the exhibition, which runs to Oct. 14, is a counterpoint to a concurrent show by German artist Martin Honert, who presents sculptures based on childhood memories. “They speak to his personal story, some of which are self-portraits.”


around. It’s the same for still life pictures. Both genres were once examples of extraordinary luxury. A 17th century Dutch picture of tulips was something to see when each individual fl ower was worth more than most people made in a year.”

Portraits in Time, which Thom organized, features videos that ex-pand the fl at surface of the picture plane and challenge the stability of traditional sculpture. “It gives a different sense of narrative and who the person being depicted is,” says Thom. “It is an opportunity to look at seeing the idea of a portrait beyond what the normal no-tion of a portrait is.” And what is a normal portrait? “Most people

ANDREW SALGADO ABOVE: Andrew Salgado, Nathan, 2013, oil on canvas, 74.8” x 90.6”

And so the prairie son returns. Born and bred in Regina, Andrew Sal-gado has lived in London since 2008. Now that his international career is established, Salgado is holding his fi rst major hometown exhibition, The Acquaintance, from Oct. 9 to Nov. 23 at the Art Gallery of Regina. The title comes from Sinead O’Connor’s song, The Last Day of Our Acquaintance, which has long inspired his work. Included are large and small oil paintings on canvas and linen, as well as pencil drawings from 2011 and 2012. Gallery director Karen Schoonover, who curated the show, says Salgado considers “the destabilized concept of portrai-ture, prioritizing the property and quality of paint above the painted subject, situating the paintings between fi guration and abstraction.”

imagine it as a snapshot of a person in a particular time presenting themselves in a certain way,” he says.

Many of the West’s greatest artists have tried to capture the moods and manners of the human visage – from Rubens and Rem-brandt to Manet, Van Gogh, Picasso and Warhol. Yet art students are often told that painted portraits are passé, no longer a suitable undertaking for anyone with ambitions in an art world enchanted with the possibilities of installation, digital media and hybrid forms. “When I fi rst started art school in the 1980s, the word was that painting was dead,” says Vancouver artist Elizabeth Topham. “But I still had this inner voice inside me saying that with pigment and oil you can create an illusion that can be abstract and yet evoke emotion.”

Topham, one of 30 fi nalists for this year’s Kingston Prize for Ca-nadian Portraiture, believes the possibilities of painted portraiture are infi nite. “You could have a thousand people do a portrait of the same subject and they would all be different.” Still, she says it’s healthy to rethink things. “Painting used to be the patriarch of the arts. It needed to be knocked off its pedestal in order to re-invent itself.”

Salgado, who was part of this year’s Art Basel, a major inter-national art fair, has upcoming exhibitions in Copenhagen, Cape Town and New York. Sometimes compared to Lucian Freud and Francis Bacon, he’s in demand for commissions. Yet he doesn’t call himself a portrait artist, preferring a more general term – abstract painter. His style tends toward the expressionist, with large rendi-tions of what he calls “fl oating heads” in dramatic primary colours. He says he tries to push himself out of his comfort zone. So, for example, after being praised for the haunting eyes in early works, he started to minimize them.

Boosting public awareness of portraiture has been a concern of Australian-born Julian Brown, who with his wife, Kaaren, founded the Kingston Prize. Growing up in Sydney in the 1940s and 1950s, Brown was entranced by a longstanding portrait competition, the Archibald Prize. Started in 1921, it became a popular and, at times, controversial award. “The works focused on distinguished subjects (and famous people) and crowds fl ocked to the Art Gallery of New South Wales, where the short-listed artists were hung,” says Brown. “People love to see heroes and anti-heroes. I remember feeling what a great way to raise national consciousness, pride in our artists, and what a celebration of people it was.”

The Browns, who moved to Canada in 1961, named the prize after the Ontario city where they raised their family. “We thought having a portrait competition like the Archibald Prize would be advantageous to Canada,” says Brown. Launched in 2005, it has been held every two years since. The fi rst winner, Marcia Perkins, received a $3,000 prize donated by the Browns. Subsequent winners were Joshua Choi, of Toronto; Andrew Valko, of Winnipeg; and Michael Bayne, of Kingston.

However, getting wider recognition for the contest has been tough, despite some 431 entrants this year and a purse that has climbed to $20,000. “We’re not taken seriously at all,” says Brown. “It’s one of our puzzles. There has been virtually no media cover-age, except for a piece in the National Post in 2009. And getting gallery space for our shortlist and eventual winners is a big problem too.”

“Painting used to be the patriarch of the arts. It

needed to be knocked off its pedestal in order to

re-invent itself.”

– Artist Elizabeth Topham


ELIZABETH TOPHAMElizabeth Topham took time off from her studies at the Emily Carr University of Art and Design to raise a family, before completing her BFA in 2008. She created Self-portrait @ age 47 for the Kingston Prize competition. “I’m not a portrait painter, I’m an oil painter,” says Topham, who sells her work through Buckland Southerst Gallery in Vancouver. But she was up for a challenge. “It was like an out-of-body experience. I was creating an illusion of someone who sort of looks like me, although I defi nitely felt I captured my state of mind.”

JAY SENETCHKOJay Senetchko’s submission, I Remember that Yellow Chair, honours his grandmother, who died in 2012 after a period of dementia. “We were quite tight as I was growing up,” says Senetchko. “She was like a second mother.” The woman in the painting is a model he’s worked with for years. The title came when his mother walked into his studio, spotted a chair that had belonged to his grandmother, and said: “I remember that chair.”

KRISTINE ZINGELERDespite earning her BFA from the University of Calgary only two years ago, Kristine Zingeler has amassed a suprisingly large body of work that’s been shown in some 10 solo shows. Her interests span photography, collage and installation, but she’s mainly a painter. “I try to slow down, notice things around me and react to them,” she says. Facial Manipulation #5 is from a series of six portraits. “This one happened naturally and almost looks less fi nished.”

THREE OF THE WESTERN FINALISTS COMPETING FOR THE KINGSTON PRIZE FOR CANADIAN PORTRAITURE

ABOVE: Elizabeth Topham, Self portrait

@ age 47, 2013, oil on canvas, 24” x 36

ABOVE RIGHT: Jay Senetchko, I

Remember that Yellow Chair, 2012,

oil on canvas, 40.6” x 57.5”

RIGHT: Kristine Zingeler,

Facial Manipulation #5, 2011,

oil on panel, 30” x 48”

Work by the Kingston Prize’s 30 fi nalists will be

shown at the Art Gallery of Calgary from Nov. 2

to Dec. 21 – one of just two exhibitions, and the

only stop in Western Canada. The jury is com-

posed of Stephanie Dickey, an art history profes-

sor at Queen’s University in Kingston; Toronto

artist Natalka Husar; and Jeffrey Spalding, artistic

director of Calgary’s Museum of Contemporary

Art. The winner will be announced Nov. 1.


As the country watched news of the Calgary fl ood last June, dramatic pictures and reports confi rmed that Stride Gallery, one of the city’s oldest artist-run centres, had been caught in the fast-fl owing water. Even from afar, I knew the downtown gallery and its basement archives, which document three decades of artist-run his-tory, were in danger.

At the same time, it struck me that the fl ood was an apt metaphor for how I had experienced artist-run culture when I was Stride’s director from 2003 to 2006: as a series of small (and, sometimes, large) crises mediated by the care, hard work and persistence of the local arts community. But, of course, independent artist-run centres are not in the crisis-management business. Their aim – although mandates and programming are impressively diverse from centre to centre – is to support artists and their communities by providing a critical forum for creating and engaging with contemporary art.

After Calgary’s swollen rivers started to recede, Stride’s staff and volunteers sprang into action, lugging muddy catalogues and waterlogged fi les out of the basement and then working to clean and dry them. “The cracking of the archives – moving them, opening them and restoring them – seemed, by some accounts, to be a good exercise in revisiting and exposing the community to some of Stride’s amazing work over the years,” says Diana Sherlock, a curator and writer long involved with Stride. “Too bad it had to occur under such terrible conditions.”

Indeed, younger artists – as well as the gen-eral public – often know little of the pivotal role artist-run centres have played in transforming the arts in Canada since the 1970s. Centres have been vital in the research and development of contemporary art, particularly emerging practices

ABOVE: After the Calgary fl ood,

Stride’s volunteers set documents

and other material out to dry as

other volunteers worked to repair

basement walls.

ARTIST-RUN CRISISNON-PROFIT ARTS ORGANIZATIONS COPE WITH STAGNANT FUNDING, HIGH RENTS AND, NOW, EVEN NATURAL DISASTER

BY ANTHEA BLACK

in performance, new media and hybrid forms, and have given artists important alternatives to hard-to-access public galleries and a conserva-tive art market. Over the years, emerging and established artists have presented experimental and politically challenging work that otherwise might not have been seen.

Many of Canada’s best-known artists had their fi rst exhibitions at artist-run centres and continue to be involved as board members and mentors to new generations of artists. Artist-run culture has also helped transform the arts econ-omy. For instance, CARFAC – Canadian Artists’ Representation / Le Front des artistes canadiens, a non-profi t group that has advocated on behalf of professional artists since 1968 – demanded that galleries pay artists fees to exhibit their work, a principle most artist-run centres honour.

But in recent years, a new climate of fi scal austerity has stretched some centres’ ability to stay afl oat. The threats come in various guises: dramatic cuts to arts funding in British Co-lumbia; stagnant federal funding; shortages of affordable space in most urban centres; the very real issue of staff burnout; and a brain drain from smaller cities. With limited budgets and rising operating costs, artist-run centres, like many other non-profi t groups, are often understaffed and over-extended. It may not be evident to outsiders, but every exhibition and public pro-gram demands a suprising amount of staff and volunteer time. But it’s the need to respond to systemic issues such as under-funding or the gentrifi cation of low-rent neighbourhoods – or crises like the fl ood at Stride – that really grind away at organizational capacity.

One of the biggest events to celebrate artist-run culture in Western Canada is SWARM, a Vancouver-based festival that runs Sept. 12 and Sept. 13. Thousands of people come out each year for the latest exhibitions and special events. It’s a way to make artist-run culture more visible, says Mariane Bourcheix-Laporte, services and outreach development coordina-tor for the Pacifi c Association of Artist Run Centres, an umbrella organization of more than 20 groups. An artist and curator, she is help-ing promote SWARM with a poster campaign that includes eye-catching snippets about the historic achievements of artist-run culture. This year’s festival celebrates the 40th anniversary of two of Canada’s oldest centres, The Western Front and VIVO Media Arts Centre, along with the regular mix of exhibitions, video screenings and site-specifi c projects.


BELOW: Sandra Meigs, Blue. 1000

Mountain Rest (Breath), 2013, acrylic on

canvas, 6’ X 18’

One of the big challenges for Vancouver centres is affordable space. VIVO, for instance, is under pressure to fi nd new digs by May due to a dramatic rent hike. These days, there’s also buzz in Vancouver around a new partnership between three centres – 221A, UNIT/PITT and Access Gal-lery. While each maintains its distinct mandate and programming, they are working together to develop a new 10,000-square-foot commercial building that includes gallery space and afford-able artist studios. It’s slated to open in October.

Brian McBay, co-founder and executive direc-tor of 221A, sees enormous potential in the type of partnerships the centre has built since it was founded in 2005. He observes that artist-run organizations established within the last 10 to 15 years are applying to maxed-out grant streams, meaning any increase to one organization “must come from another organization’s pocket.” Instead, his gallery has diversifi ed its funding model and acquired space by working closely with others in the community.

“Self-generated revenue does seem to be the buzzword right now,” says Biliana Velkova, a former Vancouver resident who’s now executive director of PAVED Arts, a media arts centre in Saskatoon. She describes the “amazing benefi ts” of owning the two-storey building where PAVED and AKA Gallery are housed. The two, which have shared infrastructure since buying the space

together eight years ago, recently hired a facilita-tor to help identify new streams of self-generated revenue. The move, Velkova says, responds to funders’ expectations that centres do more with less, stretching every dollar even further.

Although people often assume artists are disorganized or bad at managing money, artists often excel at research, planning and fi nancing as they work with community and civic partners to create sustainable organizations that main-tain their critical and artistic values. Artists, says McBay, become “good with money” because their survival – and the fi scal health of the artist-run organizations that support them – is at stake. And if the creative capital of artist-run centres has put them at the vanguard of new art forms, their work to generate new fi nancial models for artist-run culture also deserves recognition.

Back at Stride, it’s hard to do much but cope with the aftermath of the fl ood. Exhibitions are on hold, at least until December, and director Larissa Tiggelers worries that staff and board members are burning out from the stress of dealing with the crisis. More than half the gal-lery’s archived material was lost and there’s been talk both about moving and about eventually donating what’s left of the archive to a larger organization that’s better able to protect it. In the meantime, Tiggelers is hoping she can soon return to planning exhibitions – the real work of the gallery. Artists, she says, have been working toward their shows for months. “The artists are obviously why we’re here. They are why we do what we do.”

Some shows to check out at artist-run centres this fall:

WINNIPEG: Sanksanni ca, the Dakota word for dress, features works by Lita Fontainethat incorporate traditional patterns and designs. Sept. 13 to Oct. 19 at Urban Shaman.

SASKATOON: Jacqueline Hoang Nguyen offers a time portal to 1967 in A People Kind of Place at PAVED Arts from Sept.13 to Oct. 19.

CALGARY: After the Flood runs at Pith Gallery and Studios from Oct. 11 to Dec. 6.

VANCOUVER: Due to Injuries ..., by Vancouver artists Jamie Hilder and Brady Cranfi eld, considers the aesthetics of the economy. Sept. 13 to Oct. 19 at 221A.

VICTORIA: University of Victoria professor Sandra Meigs explores foundations and crawl spaces in The Basement Panora-mas from Nov. 1 to Dec. 14 at Open Space.


The dawn of the spring auction season arrived with the fi rst cata-logue in my mailbox. Of course, it was from Heffel in Vancouver, which is never late. I had been hesitating about booking my ticket for only the one Toronto sale at Joyner / Waddington’s. With So-theby’s now down for the count, Toronto’s pulse was faint.

Maynards’ Vancouver sale had already slid by quietly on May 8. The catalogue had arrived on Monday and, with the sale on Wednesday, there was little time to review it, although some good pieces were hidden in the mix. Whenever auction houses can turn up good private collections, as Maynards managed to do, it’s worth a second look.

Heffel’s contemporary and historical sales were scheduled for May 15. As usual, there were some gems from across the country in both categories. Jack Bush, Gordon Smith, Jean Paul Lemieux, Jean Paul Riopelle and a few others led the contemporary sale in a quiet room on a sunny afternoon. Many seats were empty, but

AUCTIONSSPRING A SHIFTING SEASON IN THE CANADIAN ART AUCTION BUSINESS

BY DOUG MACLEAN

there was action from a few live bidders and, of course, the inevi-table phone bids.

The historical sale kicked in promptly at 7 p.m. The lead group of works was a consignment from the collection of the Protestant School Board of Greater Montreal Cultural Heritage Foundation, put together primarily by artist Anne Savage, who taught in the Protestant school system. Work by members of the Group of Seven and the Beaver Hall Group, as well as other painters, had featured prominently in the administration offi ces. Now, for the fi rst time, this rare consignment was “fresh and clean” and for sale, a desir-able fact.

Again, a quiet room, but there was enough action to make buy-ing a tough business. One prominent bidder seemed not only to be driving values but also gathering a collection in one go. Some deal-ers who wanted specifi c pieces were frustrated as the bidder held his paddle against competitors. Score one point for Heffel, as the tally for this one fellow was about $2 million. It was a losing affair, though, for the Canadian art market, as a small but diverse group of other collectors missed out. The two Heffel sales combined proved to have enough of the right art to dominate the season again, earn-ing a total of about $11 million.

In the undertow of the spring season were two sales in Calgary, one at Levis and the other at Hodgins. I spent time, as usual, exam-ining both sales. The Levis sale, on April 21, held promise with a good small watercolour by Charles John Collings, who was profi led in the Spring 2013 issue of Galleries West. Collings was featured, via a generous gift by art dealer Uno Langmann, at the Vancouver Art Gallery this year, alongside work by Emily Carr. This beautiful, if


OPPOSITE FAR LEFT: Charles John

Collings, In the Rockies, no date,

watercolour on paper 6.8” x 4.8” —

$2,106 at Levis

OPPOSITE LEFT: Henry George

Glyde, The Jiggers, no date, oil on

board, 23.5” x 31.5” — $20,700 at

Maynards

ABOVE LEFT: Marion Nicoll, Presence

4 (Two People), 1960, oil on canvas,

54” x 32” — $20,000 at Hodgins

TOP: William Kurelek, Prairie Chil-

dren Fetching Firewood, 1967, oil on

board, 12.3” x 14.8” — $106,200 at

Joyner / Waddington’s

ABOVE: Jean Paul Riopelle, Com-

position, 1955, oil on canvas, 24.8” x

80.8” — $1.2 million at Heffel

Prices include buyers’ premiums.

concise, exhibition demonstrated the excellent quality of Collings’ work, making him another example of a forgotten Canadian artist who should be more visible. Of course, many other fi ne artists, including Westerners Illingworth Kerr, Nicholas de Grandmaison, Luke Lindoe and Janet Mitchell, featured prominently at Levis.

The Hodgins sale, on May 28, included a wonderful painting by Marion Nicoll, who, after far too long a wait, was the subject of an excellent retrospective earlier this year in the Nickle Galleries at the University of Calgary. Nicoll, in my view, is the preeminent female abstract painter of West-ern Canada. In comparison to art of similar calibre, her work is undervalued, a point illustrated again at this sale as the painting struggled to $20,000. In contrast, there’s no hesitation from buy-ers of Quebec abstractionists Marcelle Ferron, Rita Letendre and Lise Gervais, whose good paintings can fetch $25,000 to $150,000. It demonstrates again the need to understand and value a wider range of Canadian art.

Of course, there were a few more gems at Hodgins – Robert Pilot, Henry George Glyde, Ted Godwin, Luke Lindoe and others. The sale was lively and, over two nights, successful. Certainly, the ease and quality of Frank Hall’s auctioneering skills make for a quick and enjoyable evening.

Joyner / Waddington’s sale was set for June 3, so off to Toronto I fl ew, catalogue now in hand. As usual, previews of Joyner’s sales are a must, and as dealers, clients and onlookers arrived in Toronto, all seemed in order. But one preview, one sale and one gathering was clearly missing and it showed in a general lack of energy. There were no comparisons, no chitchat and no champagne at the Royal Ontario Museum. Sotheby’s Canadian art sale was now offi cially on the missing list.

Still, Joyner had dug up a few excellent pieces by William Kurelek, David Milne and others to make for adequate interest. The night went reasonably well with a full room, and bids were placed quickly on Robert Cowley’s accurate calls.

Since the spring, well … there’s been lots of changes in the auc-tion business, so maybe there’s a strong pulse after all. Consignor Canadian Fine Art (formerly Consignor.ca a division of Mayberry Fine Arts) has lured both Cowley and Lydia Abbott from Joyner / Waddington’s to serve as partners, along with Ryan Mayberry. The new venture will see online auctions (with catalogues) and previews in gallery space opposite the Art Gallery of Ontario in Toronto.

Meanwhile, over at Waddington’s, the Joyner name has slipped into the history books. Geoff Joyner has become senior art advisor to Waddington’s new Canadian Fine Art division, now headed by none other than Linda Rodeck, most recently of Sotheby’s, and a longtime confi dante of Joyner.

The auction business seems back in competition and, possibly,

in fi ghting form with new ideas, new positions and new names. So the fall may be a lively season. Of course, with many consignments fi nding their way out dealers’ doors directly to private buyers, and quietness in the overall art market, locating the right piece can be a challenge.

But, in my view, quality Canadian art is undervalued and the market still has room to grow. So let’s all hope for positive out-comes.

FALL 2013 AUCTION DATES Oct. 20: Lando Art Auctions, Edmonton – landoauctions.com Nov. 3: Levis Fine Art Auctions, Calgary – levisauctions.comNov. 6: Maynards Fine Art & Antiques, Vancouver – maynardsfi neart.comNov. 25: Waddington’s Canadian Fine Art, Toronto – waddingtons.caNov. 25: Hodgins Art Auctions, Calgary – hodginsauctions.comNov. 28: Heffel Fine Art, Toronto – heffel.comNov. 29: Consignor Canadian Fine Art (online only) – consignor.ca


For our comprehensive guide go to www.gallerieswest.ca

GALLERY SOURCES Your guide to more than 200 fi ne art galleries in Western Canada

BRITISH COLUMBIAGALLERIES

ABBOTSFORD

Public GalleryTHE REACH GALLERY MUSEUM ABBOTSFORD32388 Veterans Way, Abbotsford, BC V2T 0B3T. 604-864-8087 F. [email protected] Reach Gallery Museum Abbotsford is commit-ted to preserving and sharing the stories of our rich and diverse cultural heritage and showcasing the best in visual arts. Exhibitions include local history, local, regional and national visual artists and Cana-dian travelling exhibitions. Tue to Fri 10 am - 5 pm, Thurs till 9 pm, Sat, Sun noon - 5 pm.

DUNCAN

Commercial GalleryE.J. HUGHES GALLERY28 Station St, Duncan, BC V9L 1M4T. 250-746-7112 pacifi [email protected] art of E. J. Hughes is now available at his hometown gallery on Vancouver Island. Hughes is a master. His use of color, moody coastal skies and timeless places keeps connoisseurs coming back for more. Shop the Hughes Gallery online or, in person Mon to Fri 10 am - 5:30 pm, Sat 10 am - 4 pm. Sun by appt.

ENDERBY

Cooperative GalleryCOURTYARD GALLERY907 Belvedere St, Enderby, BC V0E 1V0

T. 250-832-8898 [email protected] opened with support from the Enderby and District Arts Council, the gallery shows the work of more than twenty artists — paintings, fi bre art, sculpture, stained glass, woodwork, and more. Guests can meet the creators of the works who staff the gallery. Offers art classes and workshops. Tues to Sat 11 am - 4 pm.

GRAND FORKS

Public GalleryGALLERY 2 ART AND HERITAGE CENTRE524 Centre Ave, PO Box 2140, Grand Forks, BC V0H 1H0T. 250-442-2211 F. [email protected] in 1984 the gallery is committed to the

idea that the visual arts play a fundamental role in forming and fostering the regional and national cultural heritage. To do so, the gallery presents a balanced exhibition and educational program rep-resenting historical and contemporary works by established and emerging regional, national and international artists. Tues to Fri 10 am - 4 pm, Sat till 3 pm.

INVERMERE

Commercial GalleryTHE ARTYM GALLERY934 7 Ave, Box 235, Invermere, BC V0A 1K0T. 250-342-7566 F. [email protected] in 2002, the Artym represents over 65 contemporary Canadian artists including sculptors, jewellers and painters. The gallery presents solo, group and themed exhibitions throughout the year.

BRITISH COLUMBIA INDEXAbbotsford ............................................................ 52Duncan .................................................................. 52Enderby ................................................................. 52Grand Forks ........................................................... 52Invermere............................................................... 52Kamloops ............................................................... 53Kelowna................................................................. 53Penticton ............................................................... 53Prince George ........................................................ 53Qualicum Bay/Beach ............................................... 53Salt Spring Island ................................................... 53Sidney .................................................................... 54Silver Star Mountain ............................................... 54Vancouver .............................................................. 54

Vernon................................................................... 56Victoria .................................................................. 57Whistler ................................................................. 59

ALBERTA INDEXBanff...................................................................... 59Black Diamond ....................................................... 59Bragg Creek ........................................................... 59Calgary .................................................................. 59Camrose ................................................................ 63Canmore ................................................................ 63Cochrane ............................................................... 64Drumheller ............................................................. 64Edmonton.............................................................. 64Grande Prairie ........................................................ 66

Jasper .................................................................... 66Lethbridge ............................................................. 66Medicine Hat ......................................................... 67Okotoks ................................................................. 67Ponoka .................................................................. 67Red Deer ................................................................ 68Waterton ............................................................... 68

SASKATCHEWAN INDEXAssiniboia .............................................................. 68Estevan .................................................................. 68Melfort .................................................................. 68Moose Jaw ............................................................. 68Prince Albert .......................................................... 68Regina ................................................................... 68

Rockglen ................................................................ 70Saskatoon .............................................................. 70Swift Current.......................................................... 70

MANITOBA INDEXBrandon ................................................................. 70Gimli ...................................................................... 70Portage La Prairie ................................................... 70Winnipeg ............................................................... 70

YUKONWhitehorse ............................................................ 71

The VanDusen Botanical Garden in

Vancouver, known for its rare and

endangered trees, is celebrating

the artistry of wood. Curated by

Celia Duthie and Nicholas Hunt,

from Duthie Gallery on Salt Spring

Island, Touch Wood includes more

than two dozen sculptures and

installations by 10 artists, including

Brent Comber, Michael Dennis

and Alastair Heseltine. The show

features several monumental

pieces, including Dennis’ Council

of Elders, which consists of 11

fi gures that reach up to12 feet in

height. All pieces were made from

salvaged, recycled or scavenged

wood. The show continues to

Sept. 30.

RIGHT: Paul Burke, Ghost Salm-

on, 2013, fi ve forms in red cedar

with milk paint, installation view


The welcoming staff can help fi nd the right piece for both established collectors and fi rst-time buyers. International shipping. Personal delivery to Calgary. Mon to Sat 10 am - 5:30 pm, Sun noon - 4 pm.

KAMLOOPS

Public GalleriesKAMLOOPS ART GALLERY101-465 Victoria St, Kamloops, BC V2C 2A9T. 250-377-2400 F. [email protected] changing exhibitions of regional, na-tional, and international contemporary art within four distinct gallery spaces at one of Canada’s strongest regional public art museums. Even the building is a contemporary ‘masterpiece’ designed by award-winning architect Peter Cardew. Also home to The Gallery Store, a quality gift shop. Mon to Sat 10 am - 5 pm, Thur till 9 pm, Sun noon - 4 pm.

KELOWNA

Commercial GalleriesHAMBLETON GALLERIES1290 Ellis St, Kelowna, BC V1Y 1Z4T. 250-860-2498 [email protected]/Established in 1964, the Hambleton has provided a showcase for leading Canadian artists whose works grace many national and international private and corporate collections. At their new location, own-ers Stewart and Tracy Turcotte offer investment art opportunities to their clientele and have added ce-ramics, and bronze sculpture to complement the paintings. Tues to Sat 10 am - 5:30 pm.

SOPA FINE ARTS2934 South Pandosy St, Kelowna, BC V1Y 1V9T. 250-763-5088 info@sopafi nearts.comwww.sopafi nearts.comOkanagan’s major contemporary art gallery, Sopa Fine Arts prides itself on providing an ever-chang-ing selection of contemporary art from leading international artists, with new exhibitions open-ing the fi rst Thursday each month. Sopa features high calibre, original and innovative artworks; in the media of painting, sculpture, and assemblage. Tues to Sat 11 am - 5 pm, Sun noon - 4 pm or by appointment.

TURTLE ISLAND GALLERY115-1295 Cannery Lane, Kelowna, BC V1Y 9V8T. 250-717-8235 [email protected] gallery has a stunning selection of Northwest Coast wood carvings including ceremonial masks, totem poles, talking sticks, plaques and bentwood-style boxes. Also stone carvings, hand-carved gold and silver jewellery, original paintings and limited edition prints both contemporary and traditional. Mon to Sat 10 am - 5:30 pm (Summer only: also Sun 11 am - 4 pm).

TUTT STREET GALLERY9-3045 Tutt St, Kelowna, BC V1Y 2H4T. 250-861-4992 F. 250-861-4992info@tuttartgalleries.comwww.tuttartgalleries.comEstablished in 1984, Tutt Street Gallery is a recog-nized dealer of original fi ne art — representing regional, national and international artists whose works can be found in private, corporate, and gov-ernment collections, in Canada and abroad. The gallery extends a warm welcome to art enthusiasts and experienced collectors. Tues to Fri 10 am - 5 pm, Sat 10 am - 4 pm or by appt.

Public GalleryKELOWNA ART GALLERY1315 Water St, Kelowna, BC V1Y 9R3T. 250-762-2226 F. 250-762-9875info@kelownaartgallery.comwww.kelownaartgallery.comLocated in the heart of Kelowna’s Cultural District, the gallery serves the Central Okanagan Valley with regular exhibitions by contemporary Canadian art-ists, while the permanent collection has a focus on Okanagan and other BC-based artists. The gallery is a unique venue for special events and offers a variety of classes, workshops, etc for people of all ages. Tues to Sat 10 am - 5 pm, Thur till 9 pm, Sun 1 pm - 4 pm.

PENTICTON

Commercial GalleriesM GALLERY | BOOK202-219 Main St, Penticton, BC V2A 5B1

T. 250-408-8025 [email protected] Independent art gallery and bookstore specializing in emerging Canadian artists and authors. Their fo-cus is to highlight lesser-known artists from across Canada, and provide a well-curated selection of indie CanLit publishers and new authors. Part art gallery, part bookstore, with all Canadian content - all the time. Tues to Sat 10 am - 4 pm.

THE LLOYD GALLERY18 Front St, Penticton, BC V2A 1H1T. 250-492-4484 [email protected] location on colourful Front St. Experience the beauty of the Okanagan through artist’s eyes. Browse through a large viewing gallery hung French salon-style. Original oil, acrylic, waterco-lour, pastel, mixed media and sculptures depict the many faces of the Okanagan, Canada and Asia. Mon to Sat (Summer) Tues to Sat (Winter) 9:30 am - 5:30 pm.

YGO FINE ART GALLERY101-207 Main St, Penticton, BC V2A 5B1T. 250-276-3414 ygo@ygo-fi neart.comwww.ygo-fi neart.comEuropean trained artist Yvonne Goldberg enjoys expressing herself in different styles, but particu-larly in Impressionism. Subjects range from por-traits to landscape and still life with a noticeable appreciation for the Old Masters. Yvonne strives for freedom of expression and over the years has developed an enthusiasm for boldness of color and stroke. Tues to Sat 10:30 am - 5:30 pm (Daily in Summer).

Public GalleryPENTICTON ART GALLERY199 Marina Way, Penticton, BC V2A 1H3T. 250-493-2928 F. 250-493-3992info@pentictonartgallery.comwww.pentictonartgallery.comA place of inquiry, interest and enjoyment, the Penticton Art Gallery presents contemporary and historical exhibitions of both established and emerging artists. Visit website for current exhibi-tion, program and event listings. Admission: Adults $2, weekends by donation; Students and children free. Tues to Fri 10 am - 5 pm, Sat and Sun noon - 5 pm.

PRINCE GEORGE

Public GalleryTWO RIVERS GALLERY OF PRINCE GEORGE & REGION725 Civic Plaza, Prince George, BC V2A 1H3T. 250-614-7800 F. 250-563-3211Toll Free: 1-888-221-1155 [email protected] The gallery focus is contemporary Canadian art. In the main gallery, seven to ten exhibitions by es-tablished artists are curated annually. The Galleria hosts community projects and emerging artist’s work, changing monthly. Proposals for the sculp-ture court are invited on an ongoing basis. Gallery-published catalogues and other publications are available in the gallery shop. Tues to Sat 10 am - 5 pm, Thurs till 9 pm, Sun noon - 5 pm.

QUALICUM BEACH

Public GalleryTHE OLD SCHOOLHOUSE ARTS CENTRE122 Fern Road West, Qualicum Beach, BC V9K 1T2T. 250-752-6133 [email protected] arts centre provides rewarding opportunities to enjoy, learn and experience art with three galleries offering a pleasant venue for appreciating and pur-chasing distinctive works. Artist studios are open to visitors. Creations by artisans are available in the gift shop. Gallery concerts on Sundays. Mon noon - 4:30 pm; Tues - Sat 10 am - 4:30 pm; (Summer only: Sun noon - 4 pm).

SALT SPRING ISLAND

Commercial GalleriesPEGASUS GALLERY OF CANADIAN ARTMouat’s Mall, 1-104 Fulford-Ganges Rd, Salt Spring Island, BC V8K 2S3T. 250-537-2421 F. 250-537-5590pegasus@saltspring.comwww.pegasusgallery.caEstablished in 1972, Pegasus offers investment-

Collecting ArtCREATING�MEMORIES

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SEASIDE AT MOUAT’S #1-104 FULFORD-GANGES RD. SALT SPRING ISLAND, BC V8K 2S3250.537.2421 toll-free 1.800.668.6131 [email protected] www.pegasusgallery.ca

• Insurance Appraisals • Collection Evaluations • Custom Framing

• Worldwide Crating and Shipping

• Contemporary and Important Canadian and International Historical Art

• Contemporary and Historical Northwest Coast Art

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Oct. 25 – 28, 2013

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quality historical Canadian art including The Group of Seven, Robert Pilot, WJ Phillips, Sybil Andrews, The Beaver Hall Group and Cornelius Krieghoff. They also represent fi ne contemporary painters and sculptors as well as rare Northwest Coast Native art and baskets. Summer: Mon to Sat 10 am - 5 pm, Sun noon - 5 pm; Winter: Tues to Sat 10 am - 5 pm,Sun, Mon by appt.

STEFFICH FINE ART GALLERY3105-115 Fulford-Ganges Rd, Salt Spring Island, BC V8K 2S3T. 250-537-8448 F. 250-537-9233Toll Free: 1-877-537-8448 info@steffi chfi neart.comwww.steffi chfi neart.comFormerly the Thunderbird Gallery, established in 1992. Contemporary, historic, Inuit and Northwest Coast art. Local and national artists. Kids and dogs welcome. Mon to Sat 10 am - 5 pm, Sun 11 am - 4 pm.

SIDNEY

Commercial GalleryPENINSULA GALLERY100-2506 Beacon Ave, Landmark Bldg., Sidney, BC V8L 1Y2T. 250-655-1282 Toll Free: 1-877-787-1896 [email protected] 1986 the gallery has offered original paint-ings and sculptures as well as a wide range of lim-ited edition prints for sale onsite and through com-prehensive website. Mon to Sat 9 am - 5:30 pm.

SILVER STAR MOUNTAIN

Commercial GalleryGALLERY ODIN215 Odin Road, PO Box 3109, Silver Star Mountain, BC V1B 3M1T. 250-503-0822 F. [email protected] gallery proudly represents a talented group of Okanagan, British Columbian and Canadian artists, some of them well-established and highly accom-plished, others just emerging, but all of them work in a distinctive and original style — oils, acrylics, watercolours, scrimshaw, sculpture, pottery. (Sum-mer) Thur and Sat 2 pm - 6 pm; (Winter) Wed and Sat 1 pm - 6 pm or by appt.

GREATER VANCOUVER

Commercial GalleriesART WORKS GALLERY225 Smithe St, Vancouver, BC V6B 4X7T. 604-688-3301 F. 604-683-4552Toll Free: 1-800-663-0341 [email protected] 25 years in business, Art Works offers one of the largest selections of art and framing solutions in Western Canada. Providing installation services, custom-framed mirrors and large-scale commissions. Deliver locally and ship worldwide. Art Works is a long-time offi cial sponsor of the In-

Chorus of Lungs is a 3D interactive sound-and-video installation that explores the idea of the social body – its voice and its breath. Created by Leila Sujir and Maria Lantin, the installation appears as a constellation of animated lungs that fl oat in space with the cadence of breathing. View-ers, by pushing their hands together or apart, allow the lungs to become a visual and audible chorus. The artists say they are exploring “the tensions between community, chorus and individual voicing with an attentiveness to our singular and collective being.” The work draws on the latest media technologies as well as artistic innovation and collaboration. Sujir teaches in the intermedia cyberarts program at Concordia University in Montreal; Lantin is director of the Intersections digital research centre at the Emily Carr University of Art and Design in Vancouver.Nov. 15 to Jan. 18 at Centre A in VancouverABOVE: Leila Sujir and Maria Lantin, Chorus of Lungs, 2013. anaglyph projection still, interactive 3D stereographic projection

Fictive Realities brings together

work by Lee Henderson, Doug Jarvis, Peter Morin, Michelle Gay

and Steve Lyons that questions

how notions of reality are changing

in a digital era. Guest curated by

Paul Walde.

Sept. 8 to Nov. 3 at the Richmond

Art Gallery

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Represented by Pegasus Gallery at ART TORONTO Oct 25 – 28, 2013Also represented by Mayberry Fine Art, Madrona Gallery

and Canada House Gallery

www.petermcfarlane.com


terior Designers Institute of BC. Mon to Fri 9 am - 6 pm, Sat 10 am - 6 pm, Sun noon - 5 pm.

BUCKLAND SOUTHERST GALLERY2460 Marine Drive, West Vancouver, BC V7C 1L1T. 604-922-1915 [email protected] eclectic gallery owned by Chris Boulton. His aim is to hang quality art without too high a price tag. The gallery represents 18 artists, many with inter-national roots. Mon to Sat 10 am - 5.30 pm, Sun noon to 4 pm.

DOUGLAS UDELL GALLERY1566 W 6 Ave, 2nd fl oor, Vancouver, BC V6J 1R2T. 604-736-8900 F. 604-736-8931Vancouver@douglasudellgallery.comwww.douglasudellgallery.comIn the art business in Edmonton since 1967 and Vancouver since 1986, Douglas Udell Gallery rep-resents many of Canada’s leading contemporary artists as well as some of the leading young artists gaining momentum in the international playing fi eld. The gallery also buys and sells in the second-ary market in Canadian historical as well as inter-national. Tues to Sat 10 am - 6 pm, Mon by appt.

FEDERATION GALLERY1241 Cartwright St, Vancouver, BC V6H 4B7T. 604-681-8534 [email protected] Federation of Canadian Artists Gallery on Gran-ville Island offers sale, exhibition and gallery rental opportunities to members. New exhibitions are usually scheduled every two weeks throughout the year. Tues to Sun 10 am - 5 pm (mid-May - Aug), 10 am - 4 pm (Sep - mid May).

GALLERY JONES1725 West 3rd Ave, Vancouver, BC V6J 1K7T. 604-714-2216 [email protected] gallery represents established and emerging Canadian and international artists in the mediums of painting, sculpture and photography. Exhibi-tions change monthly. Tues - Fri 11 am - 6 pm, Sat noon - 5 pm.

GRANVILLE FINE ART2447 Granville St, Vancouver, BC V6H 3G5T. 604-266-6010 info@granvillefi neart.comwww.granvillefi neart.comCanadian artworld veterans Linda Lando and Ken Macdonald have reputations of building collections for collectors. They have merged their talents into Granville Fine Art, representing fi ne contemporary artists and showcasing works by Canadian and international master painters. Northwest corner Broadway and Granville. Tues to Sat 10 am - 6 pm.

KIMOTO GALLERY1525 West 6 Ave, Vancouver, BC V6J 1R1T. 604-428-0903 [email protected] contemporary gallery space exhibiting original artwork by regional & national Canadian artists. Mon to Sat 10 am - 6 pm.

LATTIMER GALLERY1590 W 2nd Ave, Vancouver, BC V6J 1H2T. 604-732-4556 F. [email protected] 1986, clients have enjoyed the unique, warm atmosphere of a Northwest Longhouse while browsing the large selection of original paintings and limited edition prints by many well-known na-tive artists — as well as fi nely-crafted gold and silver jewellery, argillite carvings, soapstone sculptures, steam bent boxes, masks, totem poles and more. Mon to Sat 10 am - 6 pm, Sun & Hol noon - 5 pm.

MASTERS GALLERY VANCOUVER2245 Granville St, Vancouver, BC V6H 3G1T. 778-628-7486 peterohler@shawcable.comwww.vancouver-mastersgalleryltd.comCelebrating 35 years as dealers of top quality Ca-nadian historical and contemporary art from its base in Calgary, Masters Gallery recently opened this second location on trendy South Granville with returning Vancouverite, Peter Ohler Jr as Director. Tues to Sat 10 am - 5 pm.

MONNY’S GALLERY2675 W 4th Ave, Vancouver, BC V6K 1P8T. 604-733-2082 [email protected]/gallery

This gallery of longtime collector Monny, has a permanent collection as well as a rotating schedule of exhibitions by local artists Kerensa Haynes, Ted Hesketh, Sonja Kobrehel, Shu Okamoto, Ruth Lowe and others working in a variety of media. Mon to Sat 10 am - 6 pm.

PETLEY JONES GALLERY1554 W 6 Ave, Vancouver, BC V6J 1R2T. 604-732-5353 F. [email protected] in 1986 by Matt Petley-Jones, nephew of the late Canadian and British artist Llewellyn Petley-Jones, the gallery specializes in 19th - 20th century Canadian, European and American paint-ings, sculpture and original prints. It also offers a range of fi ne art services, including framing, resto-ration and appraisals. Around the corner from for-mer Granville location. Mon to Sat 10 am - 6 pm.

RENDEZVOUS ART GALLERY323 Howe St, Vancouver, BC V6Z 3N2T. 604-687-7466 F. 604-687-7466Toll Free: 1-877-787-7466 [email protected] on the bright southwest corner of Howe and Cordova, this vibrant gallery represents more than 40 talented Canadian artists, some of whom are exclusive to Rendezvous. Contemporary and post-impressionist paintings and sculptures are displayed in an atmosphere conducive to viewing fi ne works of art. Mon to Sat 10 am - 5:30 pm, Sun 11 am - 5 pm.

Kats Kimoto's eponymous Kimoto Gallery opened July 15 at 1525 W 6 Ave just off south Granville in Vancouver.

SUN SPIRIT GALLERY2444 Marine Dr (Dundarave), West Vancouver, BC V7V 1L1T. 778-279-5052 [email protected] Spirit Gallery is proud to offer a superior col-lection of West Coast Native Art from renowned artists and emerging artists alike. The blend of contemporary and traditional work includes fi ne gold and silver jewellery, unique furniture and home accents, fi ne art prints, glass work and hand-carved masks and bentwood boxes. Tues to Sat 10 am - 5 pm.

TRENCH CONTEMPORARY ART102-148 Alexander St, Vancouver, BC V6A 1B5T. 604-681-2577 Toll Free: 1-877-681-2577 [email protected] gallery exhibits international and local emerg-ing, mid- and late-career artists working in all media. The gallery’s curatorial interest lies in both conceptual and formal art production but with an emphasis on relationship with the chosen material, rigorous discipline in the resolution of formal art problems and clarity of conceptual approach. In Gastown. Wed to Sat 11 am - 6 pm, or by appt.

WHITE ROCK GALLERY1247 Johnston Rd, White Rock, BC V3B 3Y9T. 604-538-4452 F. 604-538-4453Toll Free: 1-877-974-4278 [email protected] destination for art lovers throughout the Lower Mainland since 1989. They feature an extraordinary selection of original fi ne art, ceramics and sculp-ture. Their custom framing is a blend of creativity, expert design, and skilled workmanship. Tue to Sat 10 am - 5:30 pm, Sun noon - 5 pm. Closed holiday long weekends.

Public GalleriesBILL REID GALLERY OF NORTHWEST COAST ART639 Hornby St, Vancouver, BC V6C 2G3T. 604-682-3455 F. [email protected] public gallery for contemporary aboriginal art of the Northwest Coast named after the acclaimed Haida artist Bill Reid (1920 - 1998). The gallery showcases the permanent collection of Bill Reid alongside changing exhibitions of contemporary Northwest Coast art. Highlights include stunning

2460 Marine Drive,West Vancouver, BC. V7V 1L1

604 922 1915 Gallery Hours. 10:00 - 5:30 Monday - Saturday

www.bucklandsoutherst.com

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gold and silver jewellery, monumental sculptures and a towering totem pole by James Hart of Haida Gwaii. Wed to Sun 11 am - 5 pm.

BURNABY ART GALLERY6344 Deer Lake Ave, Burnaby, BC V5G 2J3T. 604-297-4422 F. [email protected] to collecting, preserving and presenting contemporary and historical visual art programs by local, national and internationally recognized artists. Stewards of the 3rd largest public art mu-seum collection in British Columbia. Exhibitions, art education programs, art rental and sales in historic Ceperley Mansion. Tues to Fri 10 am - 4:30 pm, Sat & Sun noon - 5 pm.

CENTRE A, VANCOUVER INTERNATIONAL CENTRE FOR CONTEMPORARY ASIAN ART229 East Georgia St, Vancouver, BC V6A 1Z6T. 604-683-8326 F. [email protected] A is an important Canadian centre for con-temporary Asian art. It produces exhibitions, per-formances, symposia, residencies and educational programs and collaborates actively with universities and other arts organisations, promoting the work of both Asian-Canadian artists and artists from abroad. Tues to Sat 11 am - 6 pm.

DEER LAKE GALLERY6584 Deer Lake Ave, Burnaby, BC V5G 3T7T. 604-298-7322 [email protected]/deer-lake-gallery/The Burnaby Art Council’s gallery features a wide variety of art from individuals and organizations across the Greater Vancouver area. By connect-ing through the arts, the gallery seeks to promote emerging artists as well as showcase established professionals. Tues to Sun noon - 4 pm.

MAPLE RIDGE ART GALLERY11944 Haney Place - in The ACT, Maple Ridge, BC V2X 6G1T. 604-467-5855 [email protected]/qs/page/2166/0/-1Founded in 1982, the Maple Ridge Art Gallery pro-motes the visual arts and educates through ongo-ing exhibitions, educational tours, workshops, art-ist’s talks, art rental programs, and a gallery shop. The gallery provides a facility for both amateur and professional artists of all ages. Tues to Sat 11 am - 4 pm..

MORRIS AND HELEN BELKIN ART GALLERY1825 Main Mall, University of British Columbia, Vancouver, BC V6T 1Z2T. 604-822-2759 F. [email protected] to exhibit, collect, research, publish and educate, the Belkin Art Gallery is one of BC’s pre-mier showcases for contemporary art. Visit website for program information and to download the self-guided UBC Outdoor Art Tour. Tues to Fri 10 am - 5 pm, Sat and Sun noon - 5 pm.

MUSEUM OF ANTHROPOLOGY, UNIVERSITY OF BRITISH COLUMBIA6393 NW Marine Dr,, Vancouver, BC V6T 1Z2T. 604-822-5087 F. [email protected] is a place of architectural beauty, provocative programming, and exciting exhibitions — includ-ing Bill Reid’s iconic “The Raven and the First Men,” and the new Multiversity Galleries, showcasing 10,000 objects from around the world. Café MOA, an elegant shop, and free tours. Spring/Summer: daily 10 am - 5 pm Tues to 9; Fall/Winter: closed Mon, open Tues 10 am - 9 pm and Wed to Sun 10 am - 5 pm. Closed Dec 25 & 26.

RICHMOND ART GALLERY180-7700 Minoru Gate, Richmond, BC V6Y 1R9T. 604-247-8300 F. [email protected] Richmond Art Gallery plays a dynamic role in the growth of visual art in Richmond, and is a vital part of the contemporary art network in BC and Canada. Through excellence in exhibitions and edu-cation, the RAG strives to enhance an understand-ing and enjoyment of contemporary art. Mon to Fri 10 am - 6 pm, Sat and Sun 10 am - 5 pm.

VANCOUVER ART GALLERY750 Hornby St, Vancouver, BC V6Z 2H7T. 604-662-4700 F. [email protected] largest art gallery in Western Canada is a fo-cal point of downtown Vancouver. Presenting a full range of contemporary artists and major historical masters, it is recognized internationally for its su-perior exhibitions and excellent interactive educa-tion programs and houses a permanent collection of almost 7,000 works of art. Daily 10 am - 5 pm, Tues 10 am - 9 pm.

VERNON

Commercial GalleriesASHPA NAIRA ART GALLERY & STUDIO9492 Houghton Rd., Vernon, BC V1H 2C9T. 250-549-4249 F. [email protected] in Killiney on the west side of Okanagan Lake, this contemporary art gallery and studio, owned by artist Carolina Sanchez de Bustamante, features original art in a home and garden setting. Discover a diverse group of emerging and estab-lished Okanagan and Canadian artists in painting, textiles, sculpture and ceramics. Open May 1 to October 15. Fri to Sun 10 am - 6 pm or by appt.

NADINE’S FINE ART & FRAMES3101 31 Ave, Vernon, BC V1T 2G9T. 250-542-8544 nadinesfi [email protected] neart.comArtist/owner Nadine Wilson opened her gallery in

Celebrate Craft! The name says

it all – this group show marks

the 40th anniversary of the Craft

Council of British Columbia, which

supports the work of the prov-

ince’s crafts people. A highlight is

Vancouver artist Barbara Heller’s Future Reliquary series, which

incorporates computer chips into

weavings that refl ect on technology

as religion.

Sept. 7 to Nov. 9 at the Maple Ridge

Gallery

ABOVE: Barbara Heller, Bokhara

Algorithm, 2008, linen, wool,

rayon, silk, metallic threads and

computer parts, 37” x 24”

UBC Museum of Anthropology moa.ubc.ca

Art from Mexico 1926 – 2011

Guillermo Meza Alvarez, Capa roja (Red Cape) (detail) © Guillermo Meza/SOMAAP/Mexico/2013

D A N N Y S I N G E R

N E W W O R K & B O O K L A U N C HO C TO B E R

g a l l e r y j o n e s

1725 West Third Avenue , Vancouver, BC V6J 1K7


2005. She represents several local artists, presents regular classes in watercolour, oil and acrylic paint-ing and drawing as well as offering professional framing services. In summer the gallery hosts guest artist workshops. Mon to Fri 9:30 am - 5:30 pm, Sat 9:30 am - 4 pm (winter: Sat 10 am - 2 pm).

Public GalleryVERNON PUBLIC ART GALLERY3228 31 Ave, Vernon, BC V1T 2H3T. 250-545-3173 F. 250-545-9096info@vernonpublicartgallery.comwww.vernonpublicartgallery.comThe Vernon Public Art Gallery presents exhibitions of emerging and established artists working in a va-riety of media, including paintings sculpture, video, and installation art. The Vernon Public Art Gallery is the largest public gallery in the North Okanagan, and provides exhibition opportunities to local art-ists and artisans. Mon to Fri 10 am - 5 pm, Sat 11 am - 4 pm.

VICTORIA

Artist-run GalleryOPEN SPACE510 Fort Street, 2nd fl oor, Victoria, BC V8W 1E6T. 250-383-8833 F. [email protected] in September 1972 as a non-profi t artist-run centre, Open Space supports professional art-ists — notably young and emerging — who utilize hybrid and experimental approaches to media, art, music and performance. It refl ects the wide diver-sity of contemporary art practices in Victoria, across Canada and beyond. Tues to Sat noon - 5 pm.

Commercial GalleriesAVENUE GALLERY2184 Oak Bay Ave, Victoria, BC V8R 1G3 T. 250-598-2184 F. 250-598-2185info@theavenuegallery.comwww.theavenuegallery.comEspecially noted for fi nding and establishing new talent, the gallery considers itself a showcase for contemporary British Columbia, Canadian and in-ternational art, serving both corporate and private collectors — those new to the contemporary art scene as well as knowledgeable collectors. Mon to Sat 10 am - 5 pm, Sun noon - 4 pm.

ECLECTIC GALLERY2170 Oak Bay Ave, Victoria, BC V8R 1E9T. 250-590-8095 [email protected] in original contemporary fi ne art paintings, sculpture, photography and jewellery,

this welcoming light-fi lled gallery is known for its vibrant selection of local and regional art. It offers rotating art exhibitions of excellent quality at its easily-accessible location in the heart of Oak Bay Village. Mon to Sat 10 am - 5:30 pm.

MADRONA GALLERY606 View St, Victoria, BC V8W 1J4T. 250-380-4660 [email protected] June 2010, Madrona Gallery represents emerging, mid-career and established Canadian artists. The gallery offers a welcoming environ-ment to all visitors and Michael Warren’s expertise in Canadian art history and the contemporary art market facilitates the discovery of new artists and rare pieces from Canadian masters. Tues to Sat 10 am - 6 pm, Sun 11 - 6 pm.

Centre A: Vancouver International Centre for Contemporary Asian Art relocated to 229 East Georgia Street in Chinatown.

MERCURIO GALLERY4357 Metchosin Rd, Victoria, BC V9C 3Z4T. 250-388-5158 [email protected] is committed to generating wider recog-nition for important Vancouver Island art. The gal-lery specializes in sourcing and presenting the work of a signifi cant group of Victoria artists, including Jack Wise; the Limners and their contemporaries, such as Flemming Jorgensen and Margaret Peter-son; and other important 20th century local artists. Wed to Sat 11 am - 6 pm, Sun noon - 4 pm, or by appointment.

OUT OF THE MIST GALLERY740 Douglas St, Victoria, BC V8W 3M6T. 250-480-4930 [email protected] in classic and contemporary Northwest coast native art — including traditional potlatch masks, basketry, shamanic devices, button blan-kets, totem poles, artefacts and more. There is also a selection of plains beadwork and artefacts and other North American, Oceanic, and African tribal art. Mon to Sat 10 am - 5 pm, Sun noon - 3 pm.

Featuring artists such as Joane Cardinal-Schubert and Norval

Morrisseau, Witnesses: Art and Canada’s Indian Residential

Schools seeks to contribute to public education about a troubling

aspect of Canadian history. The exhibition coincides with a Truth

and Reconciliation Commission national event in Vancouver from

Sept. 18 to Sept. 21.

Sept. 6 to Dec. 1 at the Morris and Helen Belkin Gallery in

Vancouver

ABOVE: Lisa Jackson, Savage (still), 2009, HD video,

6 min.

740 Douglas Street, Victoria, BC, Canada V8W 3M6250.480.4930 • [email protected]

www.outofthemistgallery.com

Northwest Coast, North American Native & World Tribal Arts

Out of the Mist Gallery

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The Spoon as Art and UtensilAugust 23 - September 20, 2013

Margaret Dragu

artsVest Vancouver is run by Business for the Arts with the support of the Government of BC & Canadian Heritage

the wall is in my head, a dance of forgetting

November 16, 2013 – January 12, 2014

Richmond Art Gallery

7700 Minoru Gate, Richmond BC

www.richmondartgallery.org


[email protected] established in Edmonton in 1975, Dan and Lana Hudon opened a second Gallery located in the heart of downtown Victoria in 1994. Visitors are encouraged to explore and select from a wide range of styles and prices, from emerging to es-tablished artists and to purchase with confi dence. Mon to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm, Sun/Holidays noon - 4 pm.

THE GALLERY IN OAK BAY VILLAGE2223A Oak Bay Ave, Victoria, BC V8R 1G4T. 250-598-9890 F. [email protected] a short distance from downtown in the pictur-

esque Oak Bay Village, the gallery shows a variety of works by mostly local artists including Kathryn Amisson, Sid and Jesi Baron, Andres Bohaker, Bry-ony Wynne Boutillier, Tom Dickson, Robert Genn, Caren Heine, Harry Heine, Shawn A. Jackson, Brian R. Johnson, David Ladmore, Jack Livesey, Dorothy McKay, Bill McKibben, Ernst Marza, Hal Moldstad, Ron Parker, Natasha Perks. Mon to Fri 10 am - 5 pm, Sat 10 am - 3 pm.

WINCHESTER GALLERIES2260 Oak Bay Ave, Victoria, BC V8R 1G7T. 250-595-2777 F. 250-595-2310art@winchestergalleriesltd.comwww.winchestergalleriesltd.comExclusive fi ne art dealers handling Canadian histori-

cal and contemporary art. Opened in 1974, the gal-lery has been under the ownership of Gunter H.J. Heinrich and Anthony R.H. Sam since 1994 and in 2003 has moved to its own building in Oak Bay Vil-lage. They regularly run major exhibitions of two to three weeks both here and in two other downtown galleries. Tues to Sat 10 am - 5:30 pm.

Cooperative GalleriesCOAST COLLECTIVE ART CENTRE3221 Heatherbell Road, Victoria, BC V9C 1Y8T. 250-391-5522 [email protected] Coast Collective is a different kind of art centre housed in the 1928 Pendray House on the shore of Esquimalt Lagoon. The wood-paneled second fl oor Gallery hosts juried, themed shows choosing work from more than 200 local artists, famous and just emerging, while the Gift Shop carries original work in a full range of prices. Art classes and workshops are also offered in a variety of media and skill levels. Music and great views. Wed to Sun noon - 5 pm.

GALLERY 15801580 Cook St, Victoria, BC V8T 3N7T. 250-415-2307 [email protected] 1580 is an artist-run gallery with eight ad-joining artist studios. The gallery shows art that explores contemporary art-making and culture: mixed media, painting and drawing, printmaking, photography, installation and sculpture. Just north of Pandora. Tues, Thurs, Fri and Sat noon - 5 pm.

METCHOSIN ART GALLERY4495 Happy Valley Road, Metchosin, BC V9C 3Z3T. 250-478-9223info@metchosinartgallery.cawww.metchosinartgallery.caThe MAG is a contemporary art space that supports the local arts community and offers innovative exhibitions that change monthly -- for example, the Vancouver Island Surface Design Association in Sept; “Gratitude with Attitude” in Oct; “Mas-sively Mini Art” in Nov; and an exhibit of ecological protest art called “Mother” in December -- along with performances and artist talks. Wheelchair ac-cessible. Thurs to Sun noon - 5 pm.

Public GalleriesART GALLERY OF GREATER VICTORIA1040 Moss Street, Victoria, BC V8V 4P1T. 250-384-4171 F. [email protected], challenging and inspiring! Victoria’s public art museum presents a variety of visual art experiences, media and cultures through historical to contemporary art from Asia, Europe and Canada — including the work of BC’s premiere landscape artist, Emily Carr, portrayed through paintings, writ-ings and photographs. Tues to Sat 10 am - 5 pm, Thurs till 9 pm; Sun noon - 5 pm.

LEGACY ART GALLERY630 Yates St, Victoria, BC V8W 1K9T. 250-721-6562 F. [email protected] Legacy Art Gallery features works from the Uni-versity of Victoria Art Collections, including paint-ings, drawings and sculptures by some of the best-known artists in the Pacifi c Northwest, bequeathed to the University of Victoria by Dr. Michael C. Wil-liams. Two gallery spaces feature a variety of rotat-ing exhibits. Phone, or visit website for hours.

MALTWOOD PRINTS AND DRAWINGS GALLERY AT THE MCPHERSON LIBRARYBox 3025 Stn CSC, McPherson Library, Room 027 Finnerty Road, Victoria, BC V8W 3P2T. 250-381-7645 F. 250-381-7609maltpub@fi nearts.uvic.cawww.uvac.uvic.caThe Maltwood Prints and Drawings Gallery, located on the lower level of the McPherson Library, exhib-its prints, drawings, paintings and photographs from the University of Victoria’s permanent art collection, including a large contemporary First Na-tions print collection. Hours of operation coincide with McPherson Library. Call for current hours.

THE ROBERT BATEMAN CENTRE GALLERY & SHOP470 Belleville St, Victoria, BC V8V 1W9T. 250-940-3630 [email protected],batemancentre.orgThis exhibition of Robert Bateman’s work ranges from the largest original painting to the smallest drawing, crossing the years and continents in a col-

RED ART GALLERY2033 Oak Bay Ave, Victoria, BC V8R 1E5T. 250-881-0462 [email protected] small gem in the heart of Oak Bay Village, the gallery is dynamic, welcoming and above all, dedi-cated to the love of art. Along with regular new paintings by award-winning painter Marion Evamy, other artists also showcase artwork that is con-temporary, confi dent and affordable. Relax on the red couch and enjoy art described (by critic Robert Amos) as “a blast of joy”. Tues to Sat noon - 4 pm.

SOOKE HARBOUR HOUSE GALLERY1528 Whiffen Spit Rd, Sooke, BC V9Z 0T4

T. 250-642-3421 F. 250-642-6988gallery@sookeharbourhouse.comwww.sookeharbourhouse.com/Displayed throughout this award-winning inn, with its internationally-renowned dining room, the unconventional gallery was created in 1998 with carefully selected works by local artists on Vancou-ver Island. The art, in a variety of media, generally refl ects themes of edible gardens, the ocean and the surrounding forest. Daily guided Garden Tours with art display in the Edible Gardens. Gallery open daily for self-guided tour.

WEST END GALLERY1203 Broad Street, Victoria, BC V8W 2A4T. 250-388-0009

Romanian artist Ciprian Muresan’s installation – coloured garbage bins that travel on a circular railway track – ties together Picturing the Canadian Pacifi c Railway, which juxtaposes contemporary artists like Peter von Ties-enhausen with historic work from the CPR artists’ pass program.To Oct. 13 at the Whyte Museum of the Canadian Rockies in BanffABOVE: Installation view of Picturing the Canadian Pacifi c Railway

Edward Epp and Jane Everett team

up in Landings, an exhibition that

considers juxtapositions of land

and water in the British Columbia

landscape. Everett’s drawings in

the Port Mann series consider the

new bridge across the Fraser River.

“I am drawn to construction sites

for what they say about what we

build and why we build it,” she

says. “And to bridges, in particu-

lar, as the perfect metaphor for an

amorphous but constant longing

to reach the other shore.” Epp’s

paintings, meanwhile, combine lay-

ered washes of acrylic paint over

colourful pastel line renderings of

views around his new home near

Shawnigan Lake on Vancouver

Island.

Nov. 21 to Dec. 5 at Bugera Mathe-

son Gallery in Edmonton

ABOVE: Jane Everett, Race the

Roaring Fraser III, 2012, mixed

media on vellum, 36” x 24”

Franco DeFrancesca explores technology, art history and pop

culture in Tune In, Turn On with digital imaging that recalls mini-

malism, op-art and the colour fi elds and geometrical constructions

of 20th century abstraction.

Sept. 21 to Oct. 19 at Newzones Gallery in Calgary

ABOVE: Franco DeFrancesca, Esalen Spin, 2013, pigment print

and resin on panel, 42” x 42”

Galleries West Fall/Winter 2013 59www.gallerieswest.cawww.gallerieswest.ca

lection of over 160 works — the largest ever assem-bled for public view. A total of ten galleries cover different aspects of Bateman’s work, and two of these galleries are of special interest to youth and children. (Jun to Sep) Daily 10 am - 6 pm, Thurs to Sat till 9 pm; (Oct to May) Tues to Sun noon - 6 pm.

WHISTLER

Commercial GalleriesBLACK TUSK GALLERY108-4293 Mountain Square, Whistler, BC V0N [email protected] Black Tusk Gallery creates unique acquisition opportunities for collectors with a variety of works by both established and up-and-coming First Na-tions artists whose work refl ects the ancient histo-ries and traditions of the coastal people. Located on the lobby level of the Hilton Hotel, next to Skiers Plaza. Open daily.

The Robert Bateman Centre Gallery recently opened in spacious quarters at 470 Belleville St in Victoria opposite the legislature.

MOUNTAIN GALLERIES AT THE FAIRMONTFairmont Chateau Whistler, 4599 Chateau Blvd, Whistler, BC V0N 1B4T. 604-935-1862 Toll Free: 1-888-310-9726 [email protected] in The Fairmont Chateau Whistler, Moun-tain Galleries is a favourite stop for collectors of Canadian art, featuring museum-quality paintings, sculpture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 10 am - 10 pm.

ALBERTAGALLERIES

BANFF

Commercial GalleriesCANADA HOUSE GALLERYPO Box 1570201 Bear St, Banff, AB T1L 1B5T. 403-762-3757 F. 403-762-8052Toll Free: 1-800-419-1298 [email protected] Banff destination since 1974, just a short drive from Calgary. This friendly and fresh gallery rep-resents 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 FAIRMONTFairmont Banff Springs, 405 Spray Ave, Banff, AB T. 403-760-2382 Toll Free: 1-800-310-9726 [email protected] in The Fairmont Banff Springs, Mountain Galleries is a favourite stop for collectors of Canadi-an art, featuring museum-quality paintings, sculp-ture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/studio in Jasper, they frequently host exhibitions, artist dem-onstrations and workshops. Daily 10 am - 10 pm.

WILLOCK & SAX GALLERYBox 2469, 210 Bear St, Banff, AB T1L 1C2T. 403-762-2214 Toll Free: 1-866-859-2220 fi [email protected] refl ects the spiritual and physical reliance of humanity on the natural world. The Willock & Sax Gallery is innovative and eclectic, rooted in the idea that art is about people, place, and commu-

nity. They carry work by mainly Western Canadian contemporary and historic artists, who enjoy inter-national, national, and regional reputations. Daily 10 am - 6 pm.

Public GalleriesWALTER PHILLIPS GALLERY107 Tunnel Mountain Road, Box 1020 Stn 40, Banff, AB T1L 1H5T. 403-762-6281 F. 403-762-6659walter_phillipsgallery@banffcentre.cawww.banffcentre.ca/wpg/The gallery is exclusively committed to the pro-duction, presentation, collection and analysis of contemporary art and is dedicated to developing a thoughtful and stimulating forum for visual art and curatorial practice. The WPG develops exhibitions, commissions new works and engages in dialogues about curatorial practice through symposia and workshops. Wed to Sun 12:30 pm - 5 pm, Thurs till 9 pm. Free gallery tours Thurs 7 pm.

WHYTE MUSEUM OF THE CANADIAN ROCKIESPO Box 160111 Bear St, Banff, AB T1L 1A3T. 403-762-2291 F. [email protected] on a spectacular site beside the Bow River in downtown Banff. Discover the rich natural and cultural heritage of the Canadian Rockies. The Mu-seum offers guided tours of Banff’s heritage log homes and cabins; historic walking tours of the Banff townsite; and exhibition tours of the galler-ies. Admission by donation. Summer (Jun 1 - Sep 15) 9:30 am - 6 pm; Winter (Sep 16 - May 31) 10 am - 5 pm, closed Dec 25 and Jan 1.

BLACK DIAMOND

Commercial GalleryBLUEROCK GALLERY110 Centre Ave, Box 1290, Black Diamond, AB T0L 0H0T. 403-933-5047 F. 403-933-5050store@bluerockgallery.cawww.bluerockgallery.caBluerock Gallery is a go-to place for one-of-a-kind fi ne art and craft, jewellery, cards and inspiring books. New art arrives regularly and the impressive

collection by more than 100 artists is constantly be-ing expanded and rotated. Wed to Mon 11 am - 5 pm; Dec 1 - 24 daily 11 am - 7 pm.

BRAGG CREEK

Commercial GallerySUNCATCHER’S DESIGN STUDIOPO Box 840, Bragg Creek, AB T0L 0K0T. 403-949-4332 F. 403-278-6299info@suncatchersdesigns.comwww.suncatchersdesigns.comThe gallery boutique, which will re-open in Septem-ber 2013 at the corner of White Ave and Burntall Dr, offers an eclectic mix of original art, antiques, jewellery and artistic clothing. Suncatcher’s contin-ues to provide Calgary and area with custom and pre-made stained glass as they have since 1979.

CALGARY

Artist-run GalleriesTHE NEW GALLERY208 Centre St, Calgary, AB T2G 2B6T. 403-233-2399 F. [email protected] its new location on the second level of Art Central, Calgary’s oldest artist-run centre is com-mitted to providing a forum for a wide spectrum of critical discourse and multi-disciplinary practices within the contemporary visual arts. Tues to Sat 11 am - 5 pm.

TRUCK CONTEMPORARY ART IN CALGARY2009 10 Ave SW, Calgary, AB T3C 0K4T. 403-261-7702 F. [email protected]/TRUCK is a non-profi t, artist-run centre dedicated to the presentation of contemporary art. Their goal is to incite dialogue locally, which contributes to the global critical discourse on contemporary art. TRUCK presents dynamic programming, fosters in-novative artistic practices, encourages experimenta-tion, and promotes a dialogue between artists and the public. Free admission. Tues to Fri 11 am - 5 pm, Sat noon - 5 pm.

Sponsored by:

participating galleries / events listings / maps - available at www.calgaryartwalk.com

2013

SATURDAY SEPTEMBER 21SUNDAY SEPTEMBER 22

11 - 5 Sat / 12 - 4 Sun / rain or shine!

Explore Calgary’s diverse visual arts community! Take the galleries and/or some of the many events over the weekend including:

(pssst... check us out on facebook and twitter too!)

artist demonstrations Q & A with local artists hands-on workshops

60 Galleries West Fall/Winter 2013 www.gallerieswest.cawww.gallerieswest.cawww.gallerieswest.ca

Commercial GalleriesATLANTIS FINE FRAMING STUDIO & GALLERY4515 Manhattan Rd SE, Calgary, AB T2G 4B3T. 403-258-0075 F. 403-259-4211info@atlantisframing.comwww.atlantisframing.comEstablished in 1994, Atlantis has relocated to a larger facility with gallery space dedicated to pro-moting and exhibiting works from local and region-al artists. Atlantis supports emerging to established artists, and features contemporary to traditional artwork. The commercial framing studio also in-cludes art supplies, art classes and workshops. Mon to Fri 9 am - 6 pm, Sat 10 am - 5 pm. AXIS CONTEMPORARY ART203-100 7 Ave SW, Calgary, AB T2P 0W4T. 403-262-3356 [email protected] 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 en-gaging. Mon to Fri 10:30 am - 5:30 pm, First Thurs till 9 pm, Sat 11 am - 5 pm.

CIRCA1226A 9 Ave SE, Calgary, AB T2G 0T1T. 403-290-0145 Toll Free: 1-877-290-0145 [email protected] is a one-of-a-kind gallery specializing in mid-century modern art glass from around the world. All items are hand blown works of art from the 1940-1960s. The focus is on European art glass from the best known studios and furnaces. Circa brings world-class vintage art glass to Calgary from centres across Europe. A visual spectacle of color, form and modernism. Daily 10 am - 5 pm.

CKG / CHRISTINE KLASSEN GALLERY1021 6 St SW (corner 11 Ave), Calgary, AB T2R 1R2T. 403-262-1880 info@christineklassengallery.comwww.christineklassengallery.comCKG / Christine Klassen Gallery, an evolution of The Weiss Gallery, represents a dynamic group of artists united by their craft-intensive approach to

artmaking. CKG endeavours to stimulate gallery visitors through innovative projects and exhibitions of painting, drawing, photography and sculpture. Tues - Sat 10 am - 5 pm or by appointment.

With pending demolition of Art Central block, Calgary's The New Gallery moved to 208 Centre St SE with regular programming in September.

DADE ART AND DESIGN LAB1327 9 Ave SE, Calgary, AB T2G 0T2T. 403-454-0243 F. [email protected] a distinctive product mix and presentation philosophy DaDe ART & DESIGN LAB offers a com-plete product range for modern living — including original art and sculpture by local artists, and exclu-sive furniture from around the world. Tues to Sun 11 am - 6 pm; Thurs till 8 pm.

DIANA PAUL GALLERIES737 2 ST SW, Calgary, AB T2P 3J1T. 403-262-9947 F. 403-262-9911dpg@dianapaulgalleries.comwww.dianapaulgalleries.comRecently relocated to the heritage Lancaster Build-ing just off Stephen Avenue Walk. Specializing in high quality fi ne art — small and large format works — in styles from super-realism to impression-ism to semi-abstract. Featuring the work of emerg-ing and well-established artists. Tues to Sat 10:30 am - 5:30 pm.

ENDEAVOR ARTS200-1209 1 St SW, Calgary, AB T2R 0V3T. 403-532-7800 [email protected] Arts represents local artists who create art in new ways, focusing on mixed media and other types of innovative artwork and avoiding more traditional media and methods. Recognizing that art is being consumed differently, there is also a digital gallery, with 5 monitors, showing rotat-

Monika Sosnowska considers the economic shifts following the collapse

of Communism in her hometown of Warsaw with painted steel sculptures

that resemble twisted vendor stalls. Her work refers to the Jarmark Europa

Stadium, which housed a market that sold everything from imitation Nikes

to pirated CDs and DVDs. The market opened with the arrival of capitalism

and was closed last year when the structure made way for a new national

stadium for the 2012 European soccer championships. The exhibition, earlier

shown at the Contemporary Art Gallery in Vancouver, is her fi rst in Canada.

Sosnowska, who represented Poland at the 2007 Venice Biennale, is known

for architectural and sculptural installations that transform familiar objects.

Sept. 28 to Nov. 24 at the Southern Alberta Art Gallery in Lethbridge

ABOVE: Monika Sosnowksa, Untitled, 2012, steel and lacquer, 75” x 67” x 39”

#3, 215 – 39th Avenue N.E., Calgary, Alberta T2E 7E3Hours vary, please call 403-277-7252

View our collection online at: www.fortunefi neart.com

Sylvia McDougall

Featuring Historical and Contemporary Canadian ArtWith over 1,500 original works available

Little Pink Feather, Pastel, 14” x 11”


ing artwork and videos or photos of the process of how some artists make a specifi c piece. Tues to Sat 11 am - 5 pm.

FORTUNE FINE ART3-215 39 Ave NE, Calgary, AB T2E 7E3T. 403-277-7252 F. 403-277-7364info@fortunefi neart.comwww.fortunefi neart.comThis Canadiana gallery offers an extensive collec-tion of fi ne realism paintings depicting scenes from across Canada. Works by more than 240 artists in-cluding such well-known names as Norman Brown, “Duncan” MacKinnon Crockford, W.R. deGarth, N. de Grandmaison, Roland Gissing, George Horvath, Georgia Jarvis, Glenn Olson, Torquil Reed, Colin Williams and Marguerite Zwicker. For sale or lease. Browsers welcome. Please call for hours.

FRAMED ON FIFTH1207 5 Ave NW, Calgary, AB T2N 0S1T. 403-244-3688 info@framedonfi fth.comwww.framedonfi fth.comA framing shop? Yes, but also a charming gallery presenting local artists in monthly shows. Owner Hannah White offers a unique experience for artists and collectors alike. Located in eclectic Kensington with ample on-street parking. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm.

GAINSBOROUGH GALLERIES441 5 Ave SW, Calgary, AB T2P 2V1T. 403-262-3715 F. 403-262-3743Toll Free: 1-866-425-5373 art@gainsboroughgalleries.comwww.gainsboroughgalleries.comExtensive collection of fi ne artists including Tinyan, Raftery, Wood, Desrosiers, Lyon, Hedrick, Min Ma, Simard, Brandel, Schlademan, Bond, Cameron, Crump and Charlesworth. Calgary’s largest collec-tion of bronze — by Stewart, Cheek, Lansing, Tay-lor, Danyluk and Arthur. Gemstone carvings by Lyle Sopel. Mon to Fri 10 am - 5:30 pm, Sat till 5 pm.

GALLERIA - INGLEWOOD907 9 Ave SE, Calgary, AB T2G 0S5T. 403-270-3612 [email protected] Inglewood represents more than 25 emerging and established artists. Their contem-porary works include oils, watercolour, acrylics and mixed media. In 3 separate galleries they also show functional, decorative and sculptural pottery by local clay artists and fi ne handcrafts by Canadian artisans. Minutes from downtown in historic Ingle-wood. Free parking. Mon to Sat 10 am - 5 pm, Sun noon - 5 pm.

GERRY THOMAS GALLERY100-602 11 Ave SW - lower level, Calgary, AB T2R 1J8T. 403-265-1630 F. 403-265-1634communications@gtgallery.comwww.gerrythomasgallery.comThis contemporary, New York-style gallery boasts an impressive 4600 sq ft of original art ranging from abstract oil paintings, glass sculpture and photography to historic works by Roland Gissing. The stylish Gallery includes an art deco bar, mod-ern lounge furniture and catering facilities perfect for corporate and private events. Tues to Sat 10:30 am - 5:30 pm.

TRUCK Contemporary Art in Calgary celebrated its 30th anniversary with gallery move to Sunalta district at 2009 10 Ave SW in September.

GIBSON FINE ART LTD628 11 Ave SW, Calgary, AB T2R 0E2T. 403-244-2000 info@gibsonfi neart.cawww.gibsonfi neart.caNow located in the Design District, the gallery showcases contemporary art in a wide variety of styles and media and of signifi cant regional and na-tional scope — from emerging and established art-ists of the highest quality. Tues to Sat 10 am - 5 pm.

JARVIS HALL FINE ART617 11 Ave SW (lower level), Calgary, AB T2R 0E1T. 403-206-9942 info@jarvishallfi neart.comwww.jarvishallfi neart.comJarvis Hall Fine Art is committed to supporting the practice of contemporary art by emerging, mid-career and established Canadian artists. Currently representing Mark Dicey, Carl White, Jeffrey Spald-ing, John Will, Larissa Tiggelers, Herald Nix, Billy McCarroll and more. Various works of art are also available throughout the year by historical and con-temporary Canadian and international artists. Tues to Sat 10 am - 5 pm.

LATITUDE ART GALLERY150-625 11 Ave SW, Calgary, AB T2R 0E1T. 403-262-9598 [email protected] in the Design District on 11 Ave SW, Lati-tude Art Gallery showcases a variety of Canadian and international artists. They specialize in contem-

Storybook imagery collides with the everyday in Tall Tales, a whim-

sical show that teams a fanciful dining table

with ceramic settings by Alberta artist Alysse Bowd with mixed-

media works on paper by British Columbia’s

Wanda Lock, who refl ects on the humour and sadness of human

relationships.

Sept. 5 to Sept. 28 at the Art Gallery of St. Albert in Alberta

BELOW: Wanda Lock, She knew she was special, everyone

told her so, 2012, mixed media on paper, 22” x 30”


porary style art including landscapes, still life’s, ab-stract, and fi gurative. Tues to Fri 10 am - 5:30 am, Sat 11 am - 5 pm, and by appointment.

LOCH GALLERY1516 4 St SW, Calgary, AB T2R 1H5T. 403-209-8542 [email protected] in 1972 in Winnipeg, the Loch Gallery specializes in building collections of quality Cana-dian, American, British and European paintings and sculpture. It represents original 19th and 20th cen-tury artwork of collectable and historic interest, as well as a select group of gifted professional artists from across Canada including Ivan Eyre, Leo Mol, Ron Bolt, Peter Sawatzky, Anna Wiechec, Philip Craig and Carol Stewart. Also located in Winnipeg and Toronto. Tues to Sat 10 am - 5:30 pm.

MASTERS GALLERY2115 4 St SW, Calgary, AB T2S 1W8T. 403-245-2064 F. 403-244-1636mastersgallery@shawcable.comwww.mastersgalleryltd.comCelebrating more than 35 years of quality Canadian historical and contemporary art. Tues to Sat 10 am - 5:30 pm.

MOONSTONE CREATION NATIVE GALLERY1219 10 Ave SE, Calgary, AB T2G 0W6T. 403-261-2650 F. 403-261-2654yvonne@moonstonecreation.cawww.moonstonecreation.caAlong with showcasing the traditional artwork of owner Yvonne Jobin, the gallery represents many First Nations and Metis artists. Fine art, pottery, carvings, turquoise and Westcoast jewellery, bead-work, leatherwork and authentic, locally-made gifts can be found in this unique gallery. Tues to Sat 10:30 am - 6 pm, Sun 11 am - 4 pm.

NEWZONES GALLERY OF CONTEMPORARY ART730 - 11 Ave SW, Calgary, AB T2R 0E4T. 403-266-1972 F. [email protected] in 1992, Newzones is one of Canada’s leading contemporary art galleries, promoting prominent Albertan, Canadian and international artists as well as young, up-and-coming artists both at home in Calgary, and internationally. The gallery’s program has an emphasis on process-orientated artwork that challenges both the tradi-tional use of materials and formal aesthetics. Tues to Fri 10:30 am - 5:30 pm, Sat 11 am – 5 pm.

PAUL KUHN GALLERY724 11 Ave SW, Calgary, AB T2R 0E4T. 403-263-1162 F. 403-262-9426paul@paulkuhngallery.comwww.paulkuhngallery.comFocuses on national and regional contemporary Ca-nadian paintings, drawings, prints and sculpture; also shows contemporary American prints. Exhibi-tions change monthly featuring established and emerging artists along with themed group shows. Tues to Sat 10 am - 5:30 pm.

RUBERTO OSTBERG GALLERY2108 18 St NW, Calgary, AB T2M 3T3T. 403-289-3388 [email protected] bright exhibition space in the residential com-munity of Capitol Hill shows a variety of contempo-rary 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.

STEPHEN LOWE ART GALLERY2nd level, Bow Valley Square III, 251, 255 - 5 Ave SW, Calgary, AB T2P 3G6T. 403-261-1602 F. 403-261-2981stephenloweartgallery@shaw.cawww.stephenloweartgallery.caandWest Market Square 509-1851 Sirocco Dr SWCalgary, AB T3H 4R5Established since 1979, and now with two loca-tions, the gallery features an extensive portfolio of distinguished Canadian artists offering fi ne original paintings, glass, ceramics and sculptures in tradi-tional and contemporary genres. Ongoing solo and group exhibitions welcome everyone from brows-ers to experienced collectors. Personalized corpo-rate and residential consulting. Mon to Sat 10 am - 5 pm. (Free Sat parking).

THE COLLECTORS’ GALLERY OF ART1332 9 Ave SE, Calgary, AB T2G 0T3T. 403-245-8300 F. [email protected] in important Canadian art from the 19th to the 21st century including early topograph-ical paintings, Canadian impressionists and Group of Seven. The Collectors’ Gallery represents over 30 prominent Canadian contemporary artists. Tues to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm.

TRÉPANIERBAER105, 999 8 St SW, Calgary, AB T2R 1J5T. 403-244-2066 F. [email protected] progressive and friendly commercial gallery spe-cializing 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 Cana-dian artists’ work. Tues to Sat 11 am - 5 pm and by appointment.

VAN GINKEL ART GALLERY & STUDIO1312A 9 Ave SE, Calgary, AB T2G 0T3T. 403-830-0061 [email protected] opened, Calgary artist Paul Van Ginkel paints in oils and watercolours while specializing in Western and Dance themes. He also does custom (commission) pieces and has limited edition paper and giclee prints available. “In the heart of Ingle-wood” Tues to Fri 11 am - 2 pm, Sat 11 am - 4 pm and by appointment.

WALLACE GALLERIES LTD500 5 Ave SW, Calgary, AB T2P 3L5T. 403-262-8050 F. 403-264-7112colette@wallacegalleries.comwww.wallacegalleries.comIn the heart of downtown Calgary, Wallace Galler-ies Ltd. has been a part of the art community since

Calgary artist John Eisler’s

paintings refl ect on the visual

complexity of contemporary

life with its buzz of colour

and light, technology and

popular culture.

Sept. 21 to Oct. 19 at Paul

Kuhn Gallery in Calgary

ABOVE: John Eisler, Said

Again (Four), 2012, acrylic

on paper, 17” x 13”

West End Gallery12308 Jasper Ave 780-488-4892www.westendgalleryltd.com

SHOP THE WALK

The close proximity and diversity of the galleries provides an attraction for art lovers everywhere.

Just west of the downtown core in the 124th Street area.

www.gallery-walk.com

Daffodil Gallery10412 124 St780-760-1278www.daffodilgallery.ca

Scott Gallery10411 124 St 780-488-3619www.scottgallery.com

Peter Robertson Gallery12304 Jasper Ave 780-455-7479www.probertsongallery.com

FALL WALK • October 19 and 20, 2013

Take a self-guided walk-ing tour of the eight member galleries on the Edmonton Gallery Walk.

The Front Gallery12312 Jasper Ave780-488-2952www.thefrontgallery.com

Bugera Matheson Gallery10324 124 St. 780-482-2854www.bugeramathesongallery.com

SNAP Gallery10123 121 St780-423-1492www.snapartists.com

Bearclaw Gallery10403 124 St 780-482-1204www.bearclawgallery.com


1986. With regular group and solo shows the gal-lery is proud to represent some of Canada’s most accomplished and upcoming contemporary artists working in oils, acrylics, mixed media and water-color as well sculpture and pottery. There is always something visually stimulating to see at Wallace Galleries Ltd. Mon to Sat 10 am - 5:30 pm.

WEBSTER GALLERIES812 - 11 Ave SW, Calgary, AB T2R 0E5T. 403-263-6500 F. 403-263-6501info@webstergalleries.comwww.webstergalleries.comEstablished in 1979, the gallery exhibits an exten-sive collection of original oil and acrylic paintings, bronze, ceramic, stone sculptures and Inuit art in a 10,000 square foot space. Webster Galler-ies Inc also houses a complete frame design and workshop facility. Free parking at the rear of the gallery for customer convenience. Tues to Sat 10 am - 6 pm.

Cooperative GalleriesARTPOINT GALLERY AND STUDIOS1139 - 11 St SE, Calgary, AB T2G 3G1T. 403-265-6867 F. [email protected] galleries and 23 onsite-artist studios. The 50+ artist members and invited artists show and sell their works in monthly changing exhibitions —from painting to sculpture; photography to textiles. Lo-cated next to the CPR tracks in Ramsay. Turn E from 8 St onto 11 Ave SE and follow the gravel road. Thurs & Fri 1 pm - 5 pm, Sat 11 am to 5 pm, or by appointment.

Public GalleriesART GALLERY OF CALGARY117 - 8 Ave SW, Calgary, AB T2P 1B4T. 403-770-1350 F. 403-264-8077info@artgallerycalgary.orgwww.artgallerycalgary.orgThe Art Gallery of Calgary is an interactive and dy-namic forum for contemporary art exhibitions and activities that foster appreciation and understand-ing of visual culture. Tues to Sat 10 am - 5 pm. To 10 pm every fi rst Thursday of the month.

ESKER FOUNDATION GALLERY444-1011 9 Ave SE, Calgary, AB T2G 0H7T. 403-930-2490 [email protected] in June 2012, the Esker Foundation, an initiative of Calgary philanthropists and art patrons Jim and Susan Hill, is the largest privately-funded, non-commercial gallery in Calgary. Featuring over 15,000 square feet of environmentally-controlled, purpose-built exhibition space, it’s a cultural plat-form for innovative and exceptional contemporary art exhibitions and educational events. Tues to Sat 10 am - 5 pm, Thurs & Fri till 8 pm, Sun noon - 5 pm.

GLENBOW MUSEUM130 - 9 Ave SE, Calgary, AB T2G 0P3T. 403-268-4100 F. [email protected]/Located in the heart of downtown Calgary - visitors experience Glenbow Museum’s diverse exhibits, special programs and vast collections including Asian, Contemporary, Modernist and Historical Art. Tues to Thurs 9 am - 5 pm; Fri 11:30 am - 7:30 pm; Sat 9 am - 5 pm; Sun noon - 5 pm. Adult $14, Se-niors $10, Students $9, Family $32; Members and under 6, free. Glenbow Shop open Mon to Sat 11 am - 6 pm; Sun noon - 5:30 pm.

LEIGHTON ART CENTREBox 9, Site 31, R.R. 8Site 31, Comp. #9., RR 8 By Millarville, 16 km south of Calgary off Hwy 22 west, Calgary, AB T2J 2T9T. 403-931-3633 F. [email protected] Centre is a public art gallery, museum and shop located just outside Calgary, overlooking the Alberta Foothills and Rocky Mountains. It is open to the public year round and offers a wide range of art exhibitions, museum displays, programming, art sales and special events. A not-for-profi t organi-zation, it strives to promote artistic community, and to sustain a setting for art and the creative process. Tues to Sun 10 am - 4 pm.

MUSEUM OF CONTEMPORARY ART - CALGARY104-800 Macleod Tr SE, Calgary, AB T2G 2M3T. 403-262-1737 F. [email protected],org

Dedicated to the presentation of contemporary Ca-nadian visual arts, architecture and design within a context of international art, the gallery is engaged in the advancement of knowledge and understand-ing of contemporary art practices through a bal-anced program of visual art exhibitions to the pub-lic of Calgary and visitors. Admission: adults - $4; senior/students - $2; family - $8; members - free; free general admission on Thurs. Tues to Fri 11 am - 5 pm, Sat noon - 4 pm.

NICKLE GALLERIESTaylor Family Digital Library, University of Calgary, 410 University Court NW, Calgary, AB T2N 1N4T. 403-220-7234 [email protected]/nickleNow reopened in a landmark location on campus, the Nickle Galleries showcases the best of Alberta artists, currently featuring Marion Nicoll and Arthur Nishimura. Mon to Fri 10 am - 5 pm, Thurs till 7 pm, Sat noon - 5 pm, closed Sun. FREE admission.

THE LEDGE GALLERY205 8 Ave SE, EPCOR CENTRE, Calgary, AB T2P 0K9T. 403-294-7455 [email protected] unique exhibition space in the EPCOR CENTRE for the Performing Arts +15 pedway system over-looks Centre Court from the second fl oor of the Centre. The glass-walled space is most conducive to sculpture and installation. Exhibitions are selected through calls for submissions and curatorial prac-tice and run for three month intervals.

THE MILITARY MUSEUMS — FOUNDERS’ GALLERY4520 Crowchild Tr SW, Calgary, AB T2T 5J4T. 403-974-2847 F. 403-974-2858artcurator@themilitarymuseums.cawww.themilitarymuseums.ca/gallery-foundersOffi cially opened in 2009, and under The University of Calgary administration since 2012, The Found-ers’ Gallery contributes to Canadians’ understand-ing of military experience by displaying historic and contemporary works of art and related artifacts. The gallery hosts local, national, and international exhibitions, which change every few months. Mon to Fri 9 am - 5 pm, Sat and Sun 9:30 am - 4 pm.

CAMROSE

Commercial GalleryCANDLER ART GALLERY5002 50 St, Camrose, AB T4V 1R2T. 780-672-8401 F. 780-679-4121Toll Free: 1-888-672-8401 [email protected], vibrant and alive describe both the artwork and the experience when you visit this recently re-stored gallery. You will discover a diverse group of both emerging and established artists including J. Brager, B. Cheng, R. Chow, H. deJager, K. Duke, J. Kamikura, E. Lower Pidgeon, J. Peters, A. Pfan-nmuller, K. Ritcher, D. Zasadny — all well priced. Mon to Fri 9 am - 5:30 pm, Sat 9:30 am - 5 pm. Or by appt.

CANMORE

Commercial GalleriesCARTER-RYAN GALLERY AND LIVE ART VENUE705 Main St, Canmore, AB T1W 2B2T. 403-621-1000 [email protected] Gallery is home to one of Canada’s most prolifi c contemporary Aboriginal artists, Jason Carter. Both a painter and soapstone carver, Carter illustrated “WHO IS BOO: The Curious Tales of One Trickster Rabbit”. And 21 of his 66 illustrations, on 30” x 40” canvases are now on display. Musical and theatrical acts change weekly in the back half of this 1700 sq ft gallery. Tues to Sat 10 am - 5:30 pm, Sun noon - 4 pm.

THE AVENS GALLERY104-709 Main St, Canmore, AB T1W 2B2T. 403-678-4471 theavensgallery@telusplanet.netwww.theavensgallery.comEstablished in 1980, the Avens Gallery is a fi xture in the town of Canmore. Their mandate is to show-case high quality western Canadian artists and they take an understandable pride in their eclectic col-lection of original paintings and sculpture. Open daily with extended summer and Christmas hours.

• Art Classes • Art Supplies • Professional hanging and design

• Restoration and conservation • Textile stretching • Gift certificates

• Conservation framing materials as standard• Timely completion, even on large orders

ATLANTISFINE FRAMING STUDIO INC.

New, expanded location4515 Manhattan Road SE

(just south of 42 Ave between Macleod and Blackfoot)

Calgary, AB T2G 4B3 • [email protected] • www.atlantisframing.com

Tracy Proctor“Wax and Wayne”

September 6 - 27, 2013opening reception Sep. 13, 6-9 pm

Triarts Group Show

“Colour Found”October 2 - 23, 2013opening reception Oct 4, 6-9 pm

PPOC (professional photographers of Calgary)

“Featured Fine Art in the Fall”October 25 - 26, 2013opening reception Oct 25, 6-9 pm

Liba Labik

“Dimensions”November 4 - 29, 2013opening reception Nov 15, 6-9 pmTracy Proctor, The Unannounced Guest

Liba Labik, Layers of Time XII

www.ruberto-ostberg.com 2108 - 18 Street N.W., Calgary, AB T2M 3T3

Phone: 403-289-3388

October 18 - November 9

Cameron Lee Roberts

November 15 - December 22

Anna Ostberg

Suspension,Soft Pastel on Hardboard,18” x 24”

Glimpse of Lower Lake, Acrylic on Canvas, Diptych, 30" x 40" x 2


SNAP GALLERY10123 121 St, Edmonton, AB T5N 3W9T. 780-423-1492 F. [email protected] in 1982 as an independent, coopera-tively-run fi ne art printshop, the SNAP (Society of Northern Alberta Print-artists) mandate is to pro-mote, facilitate and communicate print and print-related contemporary production. A complete print shop and related equipment are available to mem-bers. Ten exhibitions are scheduled each year. Tues to Sat noon - 5 pm.

Commercial GalleriesBEARCLAW GALLERY10403 124 St, Edmonton, AB T5N 3Z5T. 780-482-1204 F. 780-488-0928info@bearclawgallery.comwww.bearclawgallery.comSpecializing in Canadian First Nations and Inuit art since 1975 from artists including Daphne Odjig, Norval Morrisseau, Roy Thomas, Maxine Noel, Jim Logan, George Littlechild, Jane Ash Poitras, Alex Janvier and Aaron Paquette. A wide variety of paintings, jade and Inuit soapstone carvings, and Navajo and Northwest coast jewellery. Mon to Sat 10 am - 5:30 pm.

BUGERA MATHESON GALLERY10435 124 St, Edmonton, AB T5N 1R1T. 780-482-2854 F. 780-482-2591info@bugeramathesongallery.comwww.bugeramathesongallery.comWith a brand new location, designed from the ground up to suit the needs of clients and artists, the Bugera Matheson Gallery continues a 20-year tradition of serving Edmonton’s art-loving commu-nity. Experience a rich variety of unique fi ne art in-cluding abstract, landscape, still life and fi gurative painting, and sculpture. Mon to Sat 10 am - 5:30 pm, Thurs till 7 pm.

CHRISTL BERGSTROM’S RED GALLERY9621 Whyte (82) Ave, Edmonton, AB T6C 0Z9T. 780-439-8210 F. 780-435-0429christl@christlbergstrom.comwww.christlbergstrom.comThis storefront gallery and studio, in the Mill Creek area of Old Strathcona, features the work of Ed-monton artist Christl Bergstrom, both recent and past work including still lifes, portraits, nudes and landscapes. Mon to Fri 11 am - 5 pm, Sat by appt.

DAFFODIL GALLERY10412 124 St, Edmonton, AB T5N 1R5T. 780-760-1278 [email protected]“From England, with love” is the theme of Daffodil Gallery, fulfi lling a dream of Karen Bishop and part-ner Rick Rogers to create an unpretentious gallery, welcoming to both experienced and new art collec-tors. It features established and emerging Canadian artists, representing a wide range of artistic styles — from traditional to contemporary. Tues to Sat 10:30 am - 5 pm.

DOUGLAS UDELL GALLERY10332 124 St, Edmonton, AB T5N 1R2T. 780-488-4445 F. 780-488-8335dug@douglasudellgallery.comwww.douglasudellgallery.comIn the art business in Edmonton since 1967 and Vancouver since 1986, Douglas Udell Gallery rep-resents many of Canada’s leading contemporary artists as well as some of the leading young art-ists gaining momentum in the international play-ing fi eld. The gallery also buys and sells in the secondary market in Canadian historical as well as international. Tues to Sat 9:30 am - 5:30 pm, Mon by appt.

GALERIE PAVA9524 87 ST, Edmonton, AB T6C 3J1T. 780-461-3234 F. [email protected] in 2011 by the Société francophone des arts visuels de l’Alberta, PAVA is committed to the promotion of contemporary art by emerging and established artists from the local, provincial and na-tional art scenes. Artists are encouraged to research projects refl ecting cultural and social diversity. Jur-ied themed exhibitions change monthly. Tues to Sat 10 am - 4 pm or by appointment at 780-461-3427.

LANDO GALLERY103-10310 124 St NW, Edmonton, AB T5N 1R2T. 780-990-1161 [email protected]’s largest commercial art gallery is now located on the corner of 103 Avenue and 124

THE EDGE GALLERY612 Spring Creek Drive, Canmore, AB T1W 0C7T. 403-675-8300 [email protected] the gallery: ongoing exhibitions of historical paintings and prints to contemporary, abstract works. In the frame shop: experienced staff with 25 years experience offers a wide selection of frames for mirrors, objects, needlework, paintings and prints, specializing in the handling and care of original artwork. Tues to Sat 10 am -5:30 pm or by appointment.

COCHRANE

Commercial GalleryJUST IMAJAN ART GALLERY/STUDIO3-320 1 St West,, Cochrane, AB T4C 1X8T. 403-932-7040 [email protected] inviting gallery features ten Canadian artists including two resident artists who paint in the back studio and welcome visitors to watch. A cherry wood bar, fi replace and antique accent pieces add interest and ambiance. Special event painting and commissions welcome. Tues noon - 5 pm; Wed to Fri 11 am - 5 pm; Sat 10 am - 5 pm; Sun noon - 4 pm.

DRUMHELLER

ATELIERO VERDABox 1708, 40 3 Ave W, Drumheller, AB T0J 0Y0T. 403-823-2455

[email protected] resident artist, Jacqueline Sveda is originally from Magog, Quebec, but has lived in Western Canada for the last 30 years. Her work is inspired by her surroundings, in which imagination plays a big role. She works in acrylic and mixed media fl at art, as well as stone and wood carving. Guest art-ists participate in periodic exhibitions. Thurs to Sun 1:30 pm - 5 pm.

FINE PHOTOGRAPHY GALLERY & GIFTSBox 338, 20 3 Ave West, Drumheller, AB T0J 0Y0T. 403-823-3686 Toll Free: 1-866-823-3686 [email protected] Western Canadian art. Featuring the works of over 30 artisans. Unique selection of photogra-phy, fi ne art originals, prints, pottery, glass objects and jewellery. Owned and operated by visual artist Michael Todor. Mon to Sat 10 am - 5:30 pm; Daily Jul, Aug.

GREATER EDMONTON

Artist-run GalleriesHARCOURT HOUSE GALLERY10215 112 St - 3rd Flr, Edmonton, AB T5K 1M7T. 780-426-4180 F. [email protected] Arts Centre delivers a variety of services to both artists and the community, and acts as an essential alternative site for the presentation, distribution and promotion of contemporary art. The gal-lery presents 10 fi ve-week exhibitions, from local, provincial and national artists, collectives and arts organizations as well as an annual members’ show. Mon to Fri 10 am - 5 pm, Sat noon - 4 pm.

Aaron Nelson entwines digital

technology with traditional ceram-

ic objects to explore links between

electronics, communication and

craft in a playful and innovative

exhibition, Conductivity. Nelson,

artistic director of the residency

program at Medalta, the historical

clay district in Medicine Hat, Alta.,

has created vases, platters and tea

cups that are interconnected with

electrical and electronic circuitry,

telephones, iPods, generators, light

bulbs and audio speakers. Surface

decoration acts as a simplifi ed

circuit board to transmit electrical

current and data.

Oct. 26 to Dec. 7 at the Esplanade

Arts and Heritage Centre in

Medicine Hat

BELOW: Aaron Nelson, Untitled,

2012, porcelain plate with in-glaze

decal of scannable quick response

code, 6.5” diameter

Longtime Edmonton artist

Douglas Haynes exhibits some

20 little-seen abstracts on paper

– monoprints, paintings and

collages – that date from the early

1960s through to the mid-1980s.

Oct. 5 to Oct. 26 at Scott Gallery

in Edmonton

ABOVE: Douglas Haynes, XWP-

1963-11, 1963, monoprint, 24”

x 18.5”

William Webb’s paintings demonstrate his love of Alberta landscapes, whether humble views of rutted country roads or more majestic mountain vistas. Executed in realist style with technical skill that lifts them out of the ordinary, the British-born retired teacher’s paintings have been displayed at Rideau Hall in Ottawa.Nov. 9 to Nov. 21 at the West End Gallery in EdmontonABOVE: William Webb, Coulee Crossing, 2013, acrylic on canvas, 40” x 30”


Street. Lando Gallery continues to offer superior quality Canadian and international fi ne art and fi ne objects, expert custom picture framing, fi ne art ap-praisals and many other art related services. Open Mon to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm, or by appointment.

PETER ROBERTSON GALLERY12304 Jasper Ave, Edmonton, AB T5N 3K5T. 780-455-7479 [email protected] a roster of over 40 emerging, mid-ca-reer, and senior Canadian artists, this contemporary gallery space features a wide range of media and subject matter. Whether working with established collectors, or with those looking to purchase their fi rst piece, Peter Robertson Gallery strives to inform, challenge, and retain relevance within the broader art community. Tues to Sat 11 am - 5 pm.

PICTURE THIS!959 Ordze Road, Sherwood Park, AB T8A 4L7T. 780-467-3038 F. 780-464-1493Toll Free: 1-800-528-4278 [email protected] This! framing & gallery have been helping clients proudly display their life treasures and as-sisting them to discover the beauty of the world through fi ne art since 1981. Now representing the Western Lights Artists Group and offering a diverse selection of originals by national and international artists. Mon to Fri 10 am - 6 pm, Thurs till 9 pm, Sat till 5 pm.

ROWLES & COMPANY LTD108 LeMarchand Mansion, 11523 100 Ave, Edmonton, AB T5K 0J8T. 780-426-4035 F. [email protected] to LeMarchand Mansion. Features over 100 western Canadian artists in original paintings, bronze, blown glass, metal, moose antler, marble and soapstone. Specializing in supplying the corpo-rate marketplace, the gallery offers consultation for Service Award Programs, and complete fulfi llment for a wide variety of corporate projects. Open to the public. Mon to Fri 9 am - 5 pm, Sat - by appt.

RR GALLERY10219 106 St, Edmonton, AB T5J 1H5T. 780-757-3463 F. [email protected] Gallery offers original paintings, pastels and photography by such artists as Anna Bereza-Piorkowska, Jonathan Havelock and, from Brazil, Litza Cohen. Partners Richard Lajczak and Robert Thomas also have more than twenty years experi-ence in museum-grade printing, limited edition prints, drymounting and laminating, canvas stretching and custom picture framing. Mon to Fri 9 am - 5:30 pm, Thurs till 7 pm and Sat 10 am - 5 pm.

Bugera Matheson Gallery moved in July to 10345 124 Street in Edmonton, just south of Bearclaw Gallery within the Gallery Walk area.

SCOTT GALLERY10411 124 St, Edmonton, AB T5N 3Z5T. 780-488-3619 F. [email protected] in 1986, the Scott Gallery features Ca-nadian contemporary art representing over thirty established and emerging Canadian artists. Exhibits include paintings, works on paper including hand-pulled prints and photography, ceramics and sculp-ture. Tues to Sat 10 am - 5 pm.

THE FRONT GALLERY12312 Jasper Ave, Edmonton, AB T5N 3K5T. 780-488-2952 F. 780-452-6240thefrontgallery@shaw.cawww.thefrontgallery.comLocated in Edmonton’s gallery walk district. Since opening in 1979 the gallery has specialized in ex-hibiting fi ne art and craft by Alberta artists, with exhibitions changing every three weeks. Tues to Fri 11 am - 5 pm, Sat 10 am - 5 pm.

WEST END GALLERY12308 Jasper Ave, Edmonton, AB T5N 3K5

T. 780-488-4892 F. 780-488-4893info@westendgalleryltd.comwww.westendgalleryltd.comEstablished in 1975, this fi ne art gallery is known for representing leading artists from across Canada — paintings, sculpture and glass art in traditional and contemporary styles. Exhibitions via e-mail available by request. Second location in Victoria since 1994. Tues to Sat 10 am - 5 pm.

Public GalleriesALBERTA CRAFT COUNCIL GALLERY10186-106 St, Edmonton, AB T5J 1H4T. 780-488-5900 F. [email protected]’s only public gallery dedicated to fi ne craft presents four exhibitions in the main gallery each year. The Discovery Gallery features new works by ACC members. The gallery shop offers contempo-rary and traditional fi ne crafts including pottery, blown glass, jewelry, woven and quilted fabrics, home accessories, furniture and much more. All are hand-made by Alberta and Canadian craft art-ists. Mon to Sat 10 am - 5 pm, Thurs till 6 pm; closed Sun.

The Avens Gallery in Canmore has changed ownership and Sue Ward is the new Director.

ART GALLERY OF ALBERTA2 Winston Churchill Square, Edmonton, AB T5J 2C1T. 780-422-6223 F. [email protected] in 1924, the Art Gallery of Alberta is an 85,000 square foot premier presentation venue for international and Canadian art, education and scholarship. The AGA is a centre of excellence for the visual arts in Western Canada, expressing the creative spirit of Alberta and connecting people, art and ideas. Tues to Sun 11 am - 5 pm, Wed till 9 pm.

ART GALLERY OF ST ALBERT19 Perron St, St Albert, AB T8N 1E5T. 780-460-4310 F. 780-460-9537ahfgallery@artsheritage.caartgalleryofstalbert.comLocated in the historic Banque d’Hochelaga in St. Albert, the gallery features contemporary art, usu-ally by Alberta artists, who show their painting, sculpture, video, quilts, glass and ceramics at both the provincial and national level. Monthly exhibi-tions, adult lectures and workshops, “Looking at Art” school tours, art rental and sales plus a gallery gift shop. Tues to Sat 10 am - 5 pm, Thurs till 8 pm.

CENTRE D’ARTS VISUELS DE L’ALBERTA (CAVA)9103 95 Ave, Edmonton, AB T6C 1Z4T. 780-461-3427 F. [email protected] Centre is an eclectic mix of fi ne art and craft from the Société’s 165 members. These Alberta-based artists work in a variety of media including painting, sculpture, woodworking and other fi ne crafts including pottery, jewellery, woven and quilt-ed fabric and much more. The ‘galerie’ exhibitions change twice monthly. Mon to Fri 10 am - 6 pm, Sat 10 am - 5 pm.

STRATHCONA COUNTY ART GALLERY @ 501120-501 Festival Ave, Sherwood Park, AB T8A 4X3T. 780-410-8585 F. [email protected]/artgalleryStrathcona County opened the doors on March 10, 2011 to Gallery @ 501 located in the Community Centre in Sherwood Park, AB. The gallery will be exhibiting contemporary artwork from regional, provincial, national and international artists and is currently accepting exhibition proposals from art-ists and curators. Mon to Fri 10 am - 6 pm, Tues and Thurs 10 am - 8 pm, Sat 10 am - 4 pm, Sun noon - 4 pm.

VAAA GALLERY10215 112 St, 3rd Flr, Edmonton, AB T5K 1M7T. 780-421-1731 F. 780-421-1857Toll Free: 1-866-421-1731 [email protected]

NEW WORKS ALEX JANVIER

OCTOBER 19 – 30, 2013

Bearclaw Gallery10403-124 St.Edmonton, Alberta T5N 3Z5

TEL: 1+(780) [email protected]

bearclaw gallerySpecializing in First Nations Art

Deer Lifeline, Watercolour on Paper, 22” x 30”

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

5002 - 50 Street Camrose, AB T4V 1R2

1-888-672-8401

Featuring Parkland

Prairie Artists

[email protected] Alty-Arscott, Autumn Burst,

Acrylic on Canvas, 24” x 36”

3101 - 31st Ave, VernonP. 250.542.8544 • C. 250.308.0758www.nadinesfi neart.com

Fine Art &Frames

Nadines

Original painting by Shannon FordUnspoken UnderstandingAcrylic on Canvas, 36” x 36”


Visual Arts Alberta Association is a non-profi t Pro-vincial Arts Service Organization (PASO) for the vi-sual arts which celebrates, supports and develops Alberta’s visual culture. The gallery hosts an ongo-ing exhibition schedule. Wed to Fri 10 am - 4 pm, Sat noon - 4 pm.

GRANDE PRAIRIE

Public GalleryART GALLERY OF GRANDE PRAIRIE103-9839 103 Ave, Grande Prairie, AB T8V 6M7T. 780-532-8111 F. [email protected] Prairie Art Gallery has been renamed the Art Gallery of Grande Prairie in celebration of its major expansion into the restored 1929 Grande Prairie High School building. It is a public, non-commercial environment dedicated to assisting in the enjoy-ment of visual arts. It maintains the largest public art collection in the Peace Region. Mon to Thurs 10 am - 9 pm, Fri 10 am - 6 pm, Sat 10 am - 5 pm, Sun 1 pm - 5 pm.

JASPER

Commercial GalleryMOUNTAIN GALLERIES AT THE FAIRMONTFairmont Jasper Park Lodge, #1 Old Lodge Rd, Jasper, AB T0E 1E0T. 780-852-5378 F. 780-852-7292Toll Free: 1-888-310-9726 [email protected] in The Fairmont Jasper Park Lodge, Moun-tain Galleries is a favourite stop for collectors of Canadian art, featuring museum-quality paintings, sculpture and unique Inuit carvings. With three galleries, a combined total of 6080 square feet of exhibition space, and a state of the art warehouse/studio in Jasper, they frequently host exhibitions, artist demonstrations and workshops. Daily 8 am - 10 pm.

LETHBRIDGE

Commercial GalleryTRIANON GALLERY104 5 St S - Upstairs,

Lethbridge, AB T1J 2B2T. 403-380-2787 F. 403-329-1654Toll Free: 1-866-380-2787 [email protected] the Trianon Ballroom (1930s-1960s), the gallery is an informal mix between a gallery and an architectural offi ce. Its open space and philosophy allows for creative community responses. Exhibi-tions range from nationally-renowned artists to as-piring students. A second exhibition space, Le Petit Trianon is now open downstairs.

Public GalleriesGALT MUSEUM & ARCHIVES502 1 St S ( 5 Ave S & Scenic Dr), Lethbridge, AB T1J 0P6T. 403-320-3898 F. 403-329-4958Toll Free: 1-866-320-3898 [email protected] vibrant gathering place meeting historical, cul-tural and educational needs, the Galt engages and educates its communities in the human history of southwestern Alberta by preserving and sharing collections, stories and memories that defi ne collec-tive identity and guide the future. Award-winning exhibits, events, programs. (May 15 - Aug 31) Mon to Sat 10 am - 6 pm; (Sep 1 - May 14) Mon to Sat 10 am - 4:30 pm; (year-round) Thurs till 9 pm, Sun 1 - 4:30 pm. Admission charge.

The new Creating Arts in Southern Alberta (CASA) art centre and gallery opened recently at 230 8 St S in Lethbridge.

SOUTHERN ALBERTA ART GALLERY601 3 Ave S, Lethbridge, AB T1J 0H4T. 403-327-8770 F. [email protected] of Canada’s foremost public galleries, SAAG fosters the work of contemporary visual artists who push the boundaries of their medium. Regularly

7: The Professional Native Indian Artists Inc. looks at an early artist alli-ance that demanded professional recognition and stimulated a new way of thinking about aboriginal peoples and their art. Sometimes called the Indian Group of Seven, the alliance incorporated in 1974 and was known for political work that addressed historical and contemporary realities. The exhibition brings together more than 100 works by Jackson Beardy, Eddy Cobiness, Alex Janvier, Norval Morrisseau, Daphne Odjig, Carl Ray and Joseph Sanchez. Sept. 21 to Jan. 12 at the MacKenzie Art Gallery in ReginaBELOW: Carl Ray, Medicine Bear, 1977, acrylic on canvas, 39” x 29”

www.reddeermuseum.comfb.com/RedDeerMuseumAndArtGallery

@RedDeerMuseum

August 17 to November 11, 2013Mary-Beth Laviolette, Curator

September 13 - October 27, 2013 Opening Reception: September 13 @ 7:00 pm, Artist in Attendance

Margaret WitschlRules of Play

gallery 501#120, 501 Festival Avenue

Sherwood Park, Alberta780-410-8585

www.strathcona.ca/artgallery

Curated by Brenda Barry Byrne

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Robert Dmytruk, Les Graff & Paddy Lamb

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gallery 501#120, 501 Festival Avenue

Sherwood Park, Alberta780-410-8585

www.strathcona.ca/artgallery

Nov. 1 - Dec. 20, 2013 Opening Reception:

Nov 1 @ 7:00 pm, Artists in Attendance

Curated by Brenda Barry Byrne


changing exhibitions are featured in three distinct gallery spaces. Learning programs, fi lm screenings and special events further contribute to local cul-ture. Gift Shop and a Resource Library. Tues to Sat 10 am - 5 pm, Sun 1 pm - 5 pm.

UNIVERSITY OF LETHBRIDGE ART GALLERYW600, Centre for the Arts, 4401 University Drive, Lethbridge, AB T1K 3M4T. 403-329-2666 F. [email protected]/artgalleryThe gallery serves the campus community and gen-eral public with a permanent collection of more than 13,000 works; by presenting local and touring exhibitions; and by supporting research at all lev-els through publications and an on-line database. Main Gallery Mon to Fri 10 am - 4:30 pm, Thur till 8:30 pm. Helen Christou Gallery - Level 9 LINC, Daily 8 am - 9 pm. Special activities on website.

MEDICINE HAT

Public GalleriesESPLANADE ART GALLERY401 First St SE,Medicine Hat, AB T1A 8W2T. 403-502-8580 F. [email protected] is home to the Medicine Hat Museum, Art Gallery and Archives, as well as a 700-seat theatre. The gallery accommodates a wide range of art ex-hibitions, including contemporary and historical, regional, national and international art. Exhibitions are often accompanied by receptions, talks and tours. Adults - $4.30, Youth and Student - $3.20, 6 & Under - Free, Family - $12.90, Thur Free for all ages. Mon to Fri 9 am - 5 pm, Sat noon - 5 pm.

MEDALTA IN THE HISTORIC CLAY DISTRICT713 Medalta Ave SE, Medicine Hat, AB T1A 3K9T. 403-529-1070 [email protected]

Medalta is a century-old factory which has been converted into an industrial museum, working pottery and contemporary ceramic arts centre. The Yuill Family Gallery features contemporary artwork from the Medalta International Artists in Residence program and travelling art exhibitions. (Summer) Victoria Day to Labour Day - Daily 9:30 am - 5 pm; (Winter) Tues to Sat 10 am - 4 pm.

OKOTOKS

Public GalleryOKOTOKS ART GALLERY | AT THE STATIONPO Box 20, 53 North Railway St, Okotoks, AB T1S 1K1T. 403-938-3204 F. [email protected] OAG refl ects the creativity and dynamic energy of both the Town of Okotoks and the Foothills re-gion. It presents an ongoing series of contempo-rary and historical art exhibitions. Recent exhibits include “Alberta and the Group of Seven”, Lou Lynn’s “Retro-active”, and “Celebrity Icons” which featured six works by Andy Warhol. (Summer) Mon to Sat 10 am - 5 pm; Sun and hols noon - 5 pm; (Fall & Winter) Tues to Sat 10 am - 5 pm. (closed statutory holidays)

PONOKA

Commercial GallerySIDING 14 GALLERY5214 50 St, PO Box 4403, Ponoka, AB T4J 1S1T. 403-790-5387 [email protected] 14 Gallery takes its name from early CPR days when Ponoka was a waterstop on the Ed-monton-Calgary mainline. Today it features artwork from Western Canada, across the country and be-yond. At its core is the studio of Mary MacArthur and Danny Lineham (“Those Great Little Books”) who are proud to showcase not only their own work in the ‘ancient book arts’, but that of other fi ne artists and artisans. Mon to Sat 10 am - 5:30 pm, and by appointment.

Winnipeg artist Ian August refl ects on the rise and fall of the 20th century

Bauhaus movement – one of the biggest infl uences on modernist architecture

– in Build Them, which includes oil paintings on canvas, three-dimensional

maquettes and video inspired by his research in Europe. August is interested

in modernist theory and notes that architecture and design students at the

Bauhaus school in Germany were often taught by abstract painters. “I am eager

to take concrete structures that were rooted in abstract painting theory and

translate them back into painting,” says August, who completed a Master’s

degree in Fine Arts at Toronto’s York University in 2011. He uses wood, paper

and everyday items to construct scale models of buildings, documenting them

in photographs or videos to create source material for paintings that seek to

subvert modernism’s concern with ideal forms.

Nov. 7 to Dec. 7 at Gallery 1C03 in Winnipeg

BELOW: Ian August, Factory (detail), 2013, mixed media, 12” x 29” x 24”

25 Forks Market RoadJohnston Terminal at the ForksIn the heart of Winnipeg, MB

204-957-7140 [email protected] www.pulsegallery.ca

Kathleen Crosby, New Day, acrylic on canvas

Showcasing the diversity of Manitoba�s talented artists� colour is the star here�

inspired works of spirit, nature, colour and light

Kathleen Crosby • Oct. 1 - 31meet the artist - Oct 11th, 7-9 pm

Beauty by the Brushstroke

A R T G A L L E RYwww.saag.ca

Diana ZasadnyContemporary Landscapeswww.dianazasadny.net 403 715-8990Call to visit studio downtown Lethbridge, Alberta


RED DEER

Public GalleryRED DEER MUSEUM + ART GALLERY4525 47A Ave, Red Deer, AB T4N 6Z6T. 403-309-8405 F. [email protected] The MAG combines elements of a museum and art gallery to inspire a passion for history and art while creating memorable experiences for visitors of all ages. The rotating exhibit schedule presents a glimpse of Red Deer’s historical and contemporary life, and brings world-class exhibitions to the city. In March 2013 the MAG opened a permanent history exhibition “Remarkable Red Deer: Stories from the Heart of the Parkland”. Mon to Fri 10 am - 4:30 pm, wknd noon - 4:30 pm.

WATERTON

Commercial GalleryGUST GALLERY112A Waterton Ave, Waterton Lakes, AB T0K 2M0T. 403-859-2535 [email protected] Gust Gallery embraces the art and landscapes of Southern Alberta refl ected by the extraordinary talents of artists working in 2 and 3 dimensional mediums. Open daily mid-May to end-September.

SASKATCHEWANGALLERIES

ASSINIBOIA

Public GallerySHURNIAK ART GALLERY122 3 Ave W, PO Box 1178, Assiniboia, SK S0H 0B0T. 306-642-5292 F. 306-642-4541info@shurniakartgallery.comwww.shurniakartgallery.comThe gallery features its founder’s private collection of paintings, sculptures, and artifacts from around the world. Rotating exhibitions by invited artists. New Beginnings TeaRoom on premises. Admission free. Tues to Sat 10 am - 4:30 pm, Sun (Apr - Dec) 1 pm - 5 pm, closed public holidays and holiday weekends unless otherwise posted.

ESTEVAN

Public GalleryESTEVAN ART GALLERY & MUSEUM118 4 St, Estevan, SK S4A 0T4T. 306-634-7644 F. [email protected] public gallery offers a free exchange of ideas and perspectives to refl ect the rapidly expanding social and cultural diversity. With the collaboration of provincial and national institutions, the gallery

seeks to make contemporary art accessible, mean-ingful, and vital to diverse audiences of all ages. Tues to Fri 8:30 am - 6 pm, Sat 1 pm - 4 pm.

MELFORT

Public GallerySHERVEN-SMITH ART GALLERY206 Bemister Ave East, Box 310, Melfort, SK S0E 1A0T. 306-752-4177 F. 306-752-5556l.terry@cityofmelfort.cawww.kerryvickarcentre.caLocated 2 hours north of Saskatoon, the gallery is dedicated to the presentation and promotion of emerging local and provincial artists. Since open-ing in 2010, the gallery has held an eclectic mix of exhibits With new exhibits each month, the gallery is always looking for artists interested in showcasing their work.Admission free. Mon to Fri 9 am - 5:30 pm.

MOOSE JAW

Commercial GalleryYVETTE MOORE FINE ART GALLERY76 Fairford St W, Moose Jaw, SK S6H 1V1T. 306-693-7600 F. [email protected] the award-winning works of Yvette Moore, her gallery features her original art-work, limited edition prints, framed artcards and art plaques along with the works of other artisans, shown amid the copper grandeur of the former 1910 Land Titles Offi ce. Food service. Corner Fair-ford and 1 Ave. Mon to Sat 10 am - 5 pm.

PRINCE ALBERT

Public GalleryTHE MANN ART GALLERY142 12 St W, Prince Albert, SK S6V 3B8T. 306-763-7080 F. [email protected] Mann Art Gallery features a varied exhibition schedule promoting local, provincial and national artists, as well as curated exhibitions, lectures and workshops. It also houses a permanent collection of over 600 individual works from well-known provincial artists. Their education and professional development initiatives encourage public aware-ness and appreciation of the visual arts. Mon to Sat noon - 5 pm.

REGINA

Artist-run GalleryNEUTRAL GROUND203-1856 Scarth St, Regina, SK S4P 2G3T. 306-522-7166 F. 306-522-5075neutralground@accesscomm.cawww.neutralground.sk.caNeutral Ground supports contemporary art prac-tices through both presentation and production activities. Its curatorial vision is responsive to its regional milieu in a translocal context. Program-

Winnipeg artist Megan Krause is known for paintings that juxtapose organic imagery with inorganic infrastructure to confront environmental issues such as the disappearance of honeybees and the killing of whales.Sept. 6 to Sept. 20 at Gurevich Fine Art in WinnipegABOVE: Megan Krause, DIY Garden Party, 2013, watercolour, acrylic and oil on canvas, 24” x 48”

S L A T EF I N E A R T G A L L E R Y

photo: Susan Wiebe

2078 Halifax Street, Regina, SK., S4P 1T7 306 775 0300 slategallery.ca [email protected]

Apple Pedestal Table, 2006


ming emphasizes the contribution to new and experimental processes and supports inclusion and diversity. Tues to Sat 11 am - 5 pm and designated evening performances, openings, screenings.

Commercial GalleriesASSINIBOIA GALLERY2266 Smith St, Regina, SK S4P 2P4T. 306-522-0997 [email protected] in 1977, the Assiniboia Gallery show-cases contemporary and traditional works of art by established and emerging visual artists. The main focus is professional Canadian artists including Sheila Kernan, Robert Genn, Kimberly Kiel, Rick Bond, Angela Morgan and many more. Tues to Fri 10 am - 5:30 pm, Sat 10 an -5 pm.

MYSTERIA GALLERY2706 13 Ave, Regina, SK S4T 1N3T. 306-522-0080 F. [email protected] Gallery is an artist-owned venue for estab-lished and emerging local artists. Explore diverse media in a modern context. Experience fi ne art and fi ne jewelry in a fresh atmosphere. Mon to Sat noon - 5:30 pm or by appt.

Co-owners Gina Fafard & Kimberley Fyfe have recently opened their SLATE Fine Art Gallery in a heritage area of Regina at 2078 Halifax St.

NOUVEAU GALLERY2146 Albert St, Regina, SK S4P 2T9T. 306-569-9279 [email protected] Nouveau Gallery, formerly the Susan Whitney Gallery, look forward to works by many of Sas-katchewan’s most recognized artists, the continu-

ation of the Whitney Gallery’s vision plus a few surprises as Meagan Perreault puts her personal stamp on the new gallery. Tues to Sat 10 am - 5 pm, and by appt.

SLATE FINE ART GALLERY2078 Halifax St, Regina, SK S4P 1T7T. 306-775-0300 [email protected] in Regina’s heritage neighbourhood, SLATE’s 2,000 sq. ft. gallery features works from iconic and compelling contemporary Canadian art-ists. SLATE owners, Gina Fafard & Kimberley Fyfe offer advice and support for new and experienced buyers; assistance with the acquisition and invest-ment of artworks for private, corporate and public collections; and quality framing services. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm.

TRADITIONS HANDCRAFT GALLERY2714 13 Ave, Regina, SK S4T 1N3T. 306-569-0199 traditions@sasktel.netwww.traditionshandcraftgallery.caTraditions exhibits the work of professional craft ar-tisans who have successfully completed the exact-ing jury process of the Saskatchewan Craft Council. The gallery carries a full range of fi ne craft media, including ceramics, wood, fi bre, metal, glass, and jewellery. Mon to Sat 10 am - 5:30 pm.

Public GalleriesART GALLERY OF REGINANeil Balkwill Civic Arts Centre, 2420 Elphinstone St, Regina, SK S4T 3N9T. 306-522-5940 F. 306-522-5944info@artgalleryofregina.cawww.artgalleryofregina.caFeatures contemporary art with an emphasis on Saskatchewan artists. Exhibitions change frequent-ly. Access via 15 Ave and McTavish St. Mon to Thur 1 pm - 5 pm and 6:30 pm - 9 pm. Fri to Sun 1 pm - 5 pm.

DUNLOP ART GALLERY2311 12 Ave, PO Box 2311, Regina, SK S4P 3Z5T. 306-777-6040 F. [email protected]

They Made A Day Be A Day Here considers the shifting identities of contem-

porary artists on the Prairies. A dozen artists – Amalie Atkins, Heather Ben-ning, Jennifer Bowes, Tammi Campbell, Brenda Draney, Sarah Anne Johnson,

Wednesday Lupypciw, Maria Madacky, Mary-Anne McTrowe, Divya Mehra,

Jennifer Stillwell and Leesa Streifl er – address issues of time, labour and place,

exploring histories and methodologies that range from craft to modernism.

Guest curator Amy Fung, who met hundreds of artists between 2007 and 2011,

says the show is a refl ection on invisibility in artistic labour. “Conversations can

reverberate as resonances of a specifi c time and place, conjuring a shade of pur-

pose and identity,” she says. “We were all isolated geographically and perhaps

politically, but we each held a space, and together we made a place.”

Sept. 27 to Jan. 5 at the Mendel Art Gallery in Saskatoon

BELOW: Amalie Atkins, The Summoning, 2013, chromogenic print, 40” x 50”

STORM AND SPIRITSYMPOSIUM ON GERMAN EXPRESSIONIST ART

Friday, November 15An exploration of the German Expressionist movement between 1900-1925, held in conjunction with the exhibition Storm and Spirit: The Eckhardt-Gramatté Collection of German Expressionist Art. With Dr. Christian Weikop, University of Edinburgh (keynote);

Dr. Ihor Holubizky, McMaster Museum of Art; Dr. Oliver Botar, University of Manitoba; and Andrew Kear, WAG, with remarks by Dr. Stephen Borys, WAG Director. Register at: wag.ca/visit/events/specialevents

Winnipeg Art Gallery wag.ca

Emil Nolde, Mann und Wiebchen (Male and Female) (detail), 1912. Woodcut.

September 27, 2013 – January 5, 2013

Rewilding Modernity Curated by Lisa Baldissera

Join art critics Barry Schwabsky and Bart Gazzola and the artists for a special half-day symposium on September 28. Details at www.mendel.ca.

They Made A Day Be A Day HereIn partnership with the Art Gallery of Grande Prairie and the School of Art Gallery, University of Manitoba. Guest curated by Amy Fung.

Saskatoon, SK www.mendel.ca

Jennifer Steinkamp, Sharpie, 2009, video installation. Image courtesy the artist and Lehmann Maupin.


www.dunlopartgallery.orgThe Dunlop Art Gallery informs the practices and understanding of visual art through activities in-cluding exhibitions, interpretive and public pro-grams, research, publishing and collecting. A unit of the Regina Public Library, the gallery has two locations: within the RPL Central Library: and the RPL Sherwood Village Branch, 6121 Rochdale Blvd. Mon to Thurs 9:30 am - 9 pm, Fri 9:30 am - 6 pm, Sat 10 am - 5 pm, Sun 1:30 pm - 5 pm.

MACKENZIE ART GALLERYT C Douglas Building, 3475 Albert St, Regina, SK S4S 6X6T. 306-584-4250 F. 306-569-8191mackenzie@uregina.cawww.mackenzieartgallery.sk.caExcellent collection of art from historical to contem-porary works by Canadian, American and interna-tional artists. Major touring exhibits. Gallery Shop, 175-seat Theatre, Learning Centre and Resource Centre. Corner of Albert St and 23rd Ave, SW cor-ner of Wascana Centre. Mon to Fri 10 am - 5:30 pm, Fri till 9 pm; Sun and hol noon - 5:30 pm.

ROCKGLEN

Commercial GalleryNEIL JONES STUDIO GALLERY1006 4 St N, PO Box 382, Rockglen, SK S0H 3R0T. 306-535-9079 [email protected] wildlife artist, Neil Jones opens his studio gallery to the public to view his own work and that of other Saskatchewan artists. Painting in oils, his fi nely-painted images are rich with colour and action, capturing his passion for his subjects. His works have been featured by Ducks Unlimited and are held in both public and private collec-tions throughout North America. Commissions welcome. Wed to Sun noon - 5 pm (Summer); by appointment or by chance (Jan to May).

SASKATOON

Commercial GalleriesART PLACEMENT INC

228 3 Ave S, Saskatoon, SK S7K 1L9

T. 306-664-3385 F. [email protected]

Established in 1978, the gal-lery’s primary emphasis is on senior

and mid-career Saskatchewan artists while also representing several established

western Canadian painters and overseeing a number of artist estates. Presents a year round ex-hibition schedule alternating solo and group exhibi-tions. Centrally located downtown in the Traveller’s Block Annex. Tues to Sat 10:30 am - 5:30 pm.

COLLECTOR’S CHOICE ART GALLERY625D 1 Ave N, Saskatoon, SK S7K 1X7T. 306-665-8300 F. 306-664-4094sales@collectorschoice.cawww.collectorschoice.caRepresents Saskatchewan and Canadian artists including Lou Chrones, Malaika Z Charbonneau, Julie Gutek, Cecelia Jurgens, Paul Jacoby, Valerie Munch, Jon Einnersen, Don Hefner, Reg Parsons, Bill Schwarz. The gallery offers a variety of contem-porary paintings in watercolour, acrylic, oil, and mixed media and sculpture in bronze, stone and metal plus a collection of estate art. Tues - Fri 9:30 am - 5:30 pm, Sat 9:30 - 5 pm.

DARRELL BELL GALLERY405-105 21 St E, Saskatoon, SK S7K 0B3T. 306-955-5701 [email protected] contemporary Canadian art with an em-phasis on professional Saskatchewan artists, includ-ing David Alexander, Darrell Bell, Lee Brady, Megan Courtney Broner, Inger deCoursey, Kaija Sanelma Harris, Hans Herold, Ian Rawlinson and various Inuit artists. Media include painting, sculpture, tex-tiles, jewellery, glass and ceramics. Rotating solo and group shows year-round. Tues to Sat noon - 4 pm or by appointment.

Public GalleriesAFFINITY GALLERY - SASKATCHEWAN CRAFT COUNCIL813 Broadway Ave, Saskatoon, SK S7N 1B5T. 306-653-3616 F. 306-244-2711saskcraftcouncil@sasktel.netwww.saskcraftcouncil.orgThe only public Saskatchewan gallery dedicated to exhibiting fi ne craft through solo, group, juried, curated or touring shows. Up to eight dynamic

and diverse exhibitions each year. Free admission. 1 pm - 5 pm daily (except Christmas Day, Boxing Day, New Year’s Day, Good Friday, Remembrance Day).

KENDERDINE ART GALLERYUniversity of Saskatchewan, 51 Campus Dr - 2nd level, Saskatoon, SK S7N 5A8T. 306-966-4571 F. [email protected]/kenderdineThe Kenderdine Art Gallery is the home of the Permanent Collection of the University of Saskatch-ewan. The gallery also organizes exhibitions which are local, national or international in scope. Exhibi-tions are approximately 6 weeks in duration. Mon to Fri 11:30 am - 4:30 pm, Sun noon - 5 pm.

MENDEL ART GALLERY950 Spadina Cres E, Saskatoon, SK S7N 5A8T. 306-975-7610 F. [email protected] the South Saskatchewan River, the Mendel Art Gallery has been Saskatoon’s premier destination for contemporary and historical art since it opened in 1964. The Mendel has Saskatch-ewan’s largest permanent collection in the public trust, with more than 7,500 works. The gallery has four annual exhibition periods, and is open 9 am - 9 pm daily except Christmas Day. Admission free.

SWIFT CURRENT

Public GalleryART GALLERY OF SWIFT CURRENT411 Herbert St E, Swift Current, SK S9H 1M5T. 306-778-2736 F. 306-773-8769k.houghtaling@swiftcurrent.cawww.artgalleryofswiftcurrent.orgAGSC is a public art gallery featuring exhibitions of regional, provincial, and national works of visual art. Contact the gallery to arrange guided tours. See something to think about — visit your public art gallery. Mon to Wed 1 - 5 pm and 7 - 9 pm, Thurs to Sun 1 - 5 pm. Closed between exhibitions, statutory holidays, and Sundays in Jul and Aug. Admission free.

MANITOBAGALLERIES

BRANDON

Public GalleryART GALLERY OF SOUTHWESTERN MANITOBA710 Rosser Ave, Suite 2, Brandon, MB R7A 0K9

T. 204-727-1036 F. [email protected] its roots back to 1890, the gallery’s mis-sion is to lead in visual art production, presentation, promotion and education in western Manitoba. Its focus is on contemporary art while respecting lo-cal heritage and culture. Tues to Fri 10 am - 5 pm, Thurs till 9 pm, Sat noon - 5 pm (Sat closed Jul/Aug).

GIMLI

Commercial GalleryMERMAID’S KISS GALLERYPO Box 509, 85 Fourth Ave, Gimli, MB R0C 1B0T. 204-642-7453 [email protected] an hour’s scenic drive north from Winnipeg the gallery presents an eclectic mix of original art in painting, pottery, photography, raku, fi bre and jewellery. Established and emerging artists take their inspiration from the lake and surrounding areas. Also offering archival giclée printing, photo restoration, certifi ed custom conservation framing. Mon, Thur to Sat 10 am - 5 pm, Sun noon - 4 pm.

PORTAGE LA PRAIRIE

Public GalleryPORTAGE & DISTRICT ARTS CENTRE GALLERY & GIFT SHOP11 2 St NE, Portage la Prairie, MB R1N 1R8T. 204-239-6029 [email protected] gallery features a schedule of diverse exhibi-tions showcasing the works of local, regional and national artists. The gift shop offers art supplies as well as a mix of original art including pottery, stained glass, photography, wood turning, books and paintings by local and regional artists. Located within the William Glesby Centre. Tues to Sat 11 am - 5 pm.

GREATER WINNIPEG

Commercial GalleriesBIRCHWOOD ART GALLERY6-1170 Taylor Ave, Grant Park Festival, Winnipeg, MB R3M 3Z4T. 204-888-5840 F. 204-888-5604Toll Free: 1-800-822-5840 info@birchwoodartgallery.comwww.birchwoodartgallery.comSpecializing in originals, prints, sculptures and bronzes, featuring a large selection of Manitoba and international artists. They also provide conser-vation custom framing, art restoration and clean-ing, and home and offi ce art consultation. Original commissions available on request. Mon to Thurs 10 am - 6 pm, Fri 10 am - 5 pm, Sat 10 am - 4 pm or by appointment.

Victor Cicansky focuses on one of

his favourite themes – gardening –

in an exhibition at Regina’s newest

gallery.

Oct. 24 to Nov. 23 at Slate Fine Art

Gallery in Regina

BELOW: Victor Cicansky, Kabob,

2013, glazed clay, 16.5” x 12”

x 12”

Canadian forests have been the fo-

cus of Peter McConville’s work for

several years. McConville’s method

of breaking colour into decorative

shapes is infl uenced by an early

job at a textile print company in

his native Ireland.

Dec. 7 to Dec. 21 at Mayberry Fine

Art in Winnipeg

BELOW: Peter McConville, Inner

Grove, 2013, acrylic on canvas,

24” x 36”

From the Outer Edges features landscape paintings of three remote national parks by Whitehorse artist Jane Isakson. A former Olympic athlete in biathalon, Isakson visited Gwaii Haanas in the Pacifi c Northwest, Ivvavik in Yukon and Gros Morne in Newfoundland seeking to represent the dynamism of the land. “Regardless of the presence of various populations over time, these are not conquered or tamed places,” says Isakson. Yet by emphasizing the land’s forms and geometric patterns, Isakson implies an underlying order in nature.To Sept. 29 at the Two Rivers Gallery in Prince George, B.C., and Nov. 28 to Feb. 22 at the Yukon Arts Centre Public Art Gallery in Whitehorse ABOVE: Jane Isakson, Firth River into the Beaufort Sea, Ivvavik, 2013, acrylic on canvas, 48” x 84”


GUREVICH FINE ART200-62 Albert St, Winnipeg, MB R3B 1E9T. 204-488-0662 Toll Free: 1-888-488-0662 info@gurevichfi neart.comwww.gurevichfi neart.comGurevich Fine Art represents contemporary paint-ing, photography, prints and sculpture. They pro-vide art consulting and framing services. Mon to Sat 11 am - 5 pm, Thurs, Fri till 6 pm or by ap-pointment.

GUREVICH FINE ART @ MCNALLY ROBINSON1120 Grant Ave, Winnipeg, MB R3M 2A6T. 204-475-0483 [email protected] Fine Art @ McNally Robinson is the cul-mination of art, intellect and culture. Specializing in smaller works by gifted artists, Gurevich Fine Art @ McNally Robinson curates a new exhibit each month. Mon to Sat, 9 am – 10 pm; Fri, Sat till 11 pm; Sun 10 am – 6 pm.

LOCH GALLERY306 St. Mary’s Road, Winnipeg, MB R2H 1J8T. 204-235-1033 F. [email protected] in 1972, the Loch Gallery specializes in building collections of quality Canadian, American, British and European paintings and sculpture. It represents original 19th and 20th century artwork of collectable and historic interest, as well as a se-lect group of gifted professional artists from across Canada including Ivan Eyre, Leo Mol, Peter Sawatz-ky, Anna Wiechec, Philip Craig and Carol Stewart. Mon to Fri 9 am - 5:30 pm, Sat 9 am - 5 pm.

MAYBERRY FINE ART212 McDermot Ave, Winnipeg, MB R3B 0S3T. 204-255-5690 bill@mayberryfi neart.comwww.mayberryfi neart.comLocated in Winnipeg’s historic Exchange District, the gallery represents a select group of gifted Cana-dian artists including Joe Fafard, Wanda Koop, John MacDonald and Robert Genn. With over 30 years experience, they also specialize in historic Canadian and European works of collectible interest. Regular exhibitions feature important early Canadian art as well as gallery artists. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm.

Gurevich Fine Art in Winnipeg branched out from Albert St location, specializing in smaller works in McNally Robinson Books at 1120 Grant Ave.

PULSE GALLERY25 Forks Market Rd (Johnston Terminal), Winnipeg, MB R3C 4S8T. 204-957-7140 [email protected] in the historic Johnston Terminal at the Forks Development in the heart of Winnipeg, Pulse Gallery showcases the diversity of Manitoba’s tal-ented artists — with a modern twist. Colour is the star in this gallery. Art can stimulate; art can inspire; art can ignite. Daily 11 am - 6 pm.

WAYNE ARTHUR GALLERY186 Provencher Blvd, Winnipeg, MB R2H 0G3T. 204-477-5249 www.waynearthurgallery.comArtist Wayne Arthur and wife Bev Morton opened the Wayne Arthur Sculpture & Craft Gallery in 1995. After Wayne passed away, Bev moved the gallery to Winnipeg and together with new hus-band, Robert MacLellan, has run the Wayne Arthur Gallery since 2002. Some of Wayne’s drawings are available for purchase as well as the creations of more than 60 Manitoba artists, working in paint-ing, print-making, mixed media, sculpture, pottery, jewellery, glass and photography. Tues to Sat 11 am - 5 pm.

WOODLANDS GALLERY535 Academy Road, Winnipeg, MB R3N 0E2T. 204-947-0700 [email protected] among the boutiques and restaurants of Academy Road, Woodlands Gallery represents

an engaging selection of contemporary works by emerging and established Canadian artists. In ad-dition to original paintings, the gallery offers hand-made jewellery, ceramics, blown glass and mono-prints as well as professional custom framing. Tues to Fri 10 am - 5:30 pm, Sat 10 am - 5 pm.

Cooperative GalleriesGWEN FOX GALLERY101-250 Manitoba Ave, Selkirk, MB R1A 0Y5T. 204-482-4359 [email protected] in 1907 and twice rescued from demolition, the ‘old Post Offi ce’ is now the Selkirk Community Arts Centre and home to the Gwen Fox Gallery witn over 100 members. The gallery exibits the works of individual members monthly through the year with June and September reserved for member group shows. Tues to Sat 11 am - 4 pm.

MEDEA GALLERY132 Osborne St in The Village, Winnipeg, MB R3L 1Y3T. 204-453-1115 [email protected] artist-run cooperative was established in 1976, and features traditional and contemporary original fi ne art by Manitoba artists, including oils, water-colors, acrylics, pastels, mixed media, intaglio and serigraph prints, ceramics, sculpture and photog-raphy. Layaway plan and gift certifi cates available. Tues to Sat 10:30 am - 5 pm, Sun 1 pm - 4pm.

Public GalleriesGALLERY 1C03University of Winnipeg, 515 Portage Ave, Winnipeg, MB R3B 2E9T. 204-786-9253 F. [email protected] non-profi t public art gallery at the University of Winnipeg, exhibits work in diverse media by local, national and international artists from September through March. Mon to Fri noon - 4 pm, Sat 1 pm - 4 pm.

SCHOOL OF ART GALLERY180 Dafoe Road, 255 ARTlab, University of Manitoba, Fort Garry Campus, Winnipeg, MB R3T 2N2T. 204-474-9322 [email protected]/schools/art/gallery.htmlFormerly Gallery One One One, the expanded School of Art Gallery exhibits and collects contem-porary and historical art, maintaining, researching and developing collections in the School of Art’s Permanent Collection and the FitzGerald Study Centre collection. This fully equipped, state-of-the-art contemporary artspace, is wired to present all forms of contemporary and historical art, including work that makes use of newer technologies. Mon to Fri 9 am - 4 pm.

WINNIPEG ART GALLERY300 Memorial Blvd, Winnipeg, MB R3C 1V1T. 204-786-6641 [email protected]’s premiere public gallery founded in 1912, has nine galleries of contemporary and his-torical art with an emphasis on work by Manitoba artists. Rooftop restaurant, gift shop. Tues to Sun 11 am - 5 pm, Thurs til 9 pm.

YUKONGALLERIES

WHITEHORSE

Public GalleryYUKON ARTS CENTRE PUBLIC ART GALLERY7300 College Dr, PO Box 16, Whitehorse, YT Y1A 5X9T. 867-667-8485 [email protected]/gallery.htmTThe gallery hosts 10 - 14 exhibitions a year. It is committed to excellence in the visual arts and pre-senting innovative exhibitions that explore the rich diversity of contemporary art from local, regional, national and international perspectives. The gal-lery shows works of professional Yukon artists while bringing exhibitions of national importance to the Yukon. Tues to Fri noon - 6 pm, Sat, Sun noon - 5 pm.

Echoes #23 Classic Summer, acrylic on wood panel with natural clear quartz crystal

INTRODUCING NEW ARTIST TO THE GALLERY

Marilyn Blumer-Cochraneopening October 23, 2013

Suite 6 -1170 Taylor Avenue Winnipeg, MB R3M 3Z4Phone: (204) 888-5840Toll-free 800-822-5840www.birchwoodartgallery.comGround Floor Gallery, Ample parking

MICHEL SAINT HILAIRE

Landscapes | Architectural Paintings

michelsainthi la i re.com

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BIRCHWOODARTGALLERY.COM | WINNIPEG | 800.822.5840DIANAPAUL.COM | CALGARY | 403.262.9947

SEEKING BC REPRESENTATION


DIRECTORYOf Art-related Products and Services

To advertise, call 403-234-7097 or 1-866-697-2002

ARTIST STUDIOS/EVENTS

ARTISTS’ STUDIOSPETER MCFARLANE - ARTISTSalt Spring Island, BC [email protected] coast artist Peter McFarlane uses re-contextual-ized non-traditional materials, incredibly long hours and serendipity to create vivid, memorable and inter-esting images. He is represented by Pegasus Gallery of Canadian Art on Salt Spring Island, Mayberry Fine Art in Winnipeg and Toronto, Madrona Gallery in Victoria and Canada House Gallery in Banff.

MICHEL SAINT HILAIRE/FINE ARTISTWinnipeg, MB T. 204-298-9400 www.michelsthilaire.comFine Artist, Michel Saint Hilaire works in a variety of media, creating mainly with acrylic paint. Currently he enjoys exploring and painting the aesthetics of architecture upon landscapes. His works have been shown in diverse galleries, including the Maison des Artistes, the Winnipeg Art Gallery and the Birchwood Art Gallery where he is represented. He lives in Winnipeg, Manitoba. Call for appointment. Inquiries for representation are welcomed.

SWIRL FINE ART & DESIGNCalgary, AB T. 403-266-5337tracy@swirlfi neart.comwww.tracyproctor.comFounder Tracy Proctor is an established artist spe-cializing in the encaustic medium. She teaches encaustic workshops at her Calgary studio, hosts corporate team building events and shows in ex-hibits throughout Alberta. For more information, or to book an event, visit her on-line gallery.

DIANA ZASADNY STUDIOLethbridge, AB T. 403-715-8990 www.dianazasadny.netDiana Zasadny blends the boundaries of impres-sionism and abstraction in her landscape paintings. Using acrylic on canvas, she is inspired by outdoor excursions in Canada and the US. Her work is part of many private and corporate collections. Call ahead to visit studio in downtown Lethbridge. Visi-tors welcome.

ART SHOWSSIDNEY FINE ART SHOW - OCTOBER 18 - 20, 2013Mary Winspear Centre, Sidney, BC T. 250-656-7412 info@sidneyfi neartshow.comwww.sidneyfi neartshow.comThe 11th annual Sidney Fine Art Show takes place October 18 - 20, 2013 in beautiful Sidney by the Sea. This juried show offers an exhibition that is always fresh, exciting and diverse. Since work is available for sale, this is a ‘must’ for collectors. Visit website for details.

ART TOURSCALGARY ARTWALKGALLERY WALK OF EDMONTONOctober 19 and 20, 2013, Edmonton, AB [email protected] fi rst gallery walk of its kind in Canada was formed in 1981 to promote both art and artists of merit within the community, focusing especially on work by Canadian artists. The eight member galleries are easily accessible within a nine block walking distance. There are two self-guided events presented per year. Unique exhibitions are planned for gallery walks. Details on website.

ART COMPETITIONSKINGSTON PRIZE CANADIAN PORTRAIT COMPETITION

PO Box 1005, Kingston, ON K7L 4X8T. 613-544-6329 [email protected] Kingston Prize is to encourage and reward the creation of contemporary portraits by Cana-dian artists, through a biennial competition for paintings and drawings. The jury chooses the 30 fi nalists for the exhibition, and later awards the Kingston Prize and two Honourable Mentions. The Prize of $20,000 is presented by the W. Garfi eld Weston Foundation. The exhibition of fi nalists will be shown Gananoque, Ontario, October 4 to 20, and at the Art Gallery of Calgary from November 2 to December 21, where the winner will be an-nounced.

PRODUCTS AND SERVICES

ART AUCTIONSHODGINS ART AUCTIONS LTD5240 1A St SE, Calgary, AB T2H 1J1T. 403-252-4362 F. 403-259-3682kevin.king@hodginsauction.comwww.hodginsauction.comHodgins is one of western Canada’s largest and lon-gest running auction companies dedicated to quality fi ne art. They hold catalogued auctions of Canadian and international fi ne art every May and November. In addition, appraisal services are offered for estate settlement, insurance, matrimonial division and oth-er purposes. Individual and corporate consignments of artworks for sale are always welcome.

ART CRATINGVEVEX CORPORATION955 East Hastings St, Vancouver, BC V6A 1R9T. 604-254-1002 F. [email protected] produces made-to-order crates for shipping and storing fi ne art. Computer-generated estimates and engineered manufacturing ensure fast quotes and prompt delivery. A range of designs offers choice for commercial, collector and institutional needs. Certifi ed for worldwide export. Supplier of museum-quality crates to the Vancouver Art Gallery.

ART FRAMINGATLANTIS FINE FRAMING STUDIO & GALLERY4515 Manhattan Rd SE, Calgary, AB T2G 4B3T. 403-258-0075 F. [email protected] Atlantis, artwork, textiles and collectibles receive the skilful design choices they deserve. Top quality products are offered in a large selection of custom frames and ready-mades. The gallery space shows work from local and regional artists and the new, larger location also includes art supplies, art classes and workshops. Mon to Fri 9 am - 6 pm, Sat 10 am - 5 pm.

FRAMED ON FIFTH1207 5 Ave NW, Calgary, AB T2N 0S1T. 403-244-3688 info@framedonfi fth.comwww.framedonfi fth.comOwner Hannah White is an experienced custom picture framer -- and an artist in her own right. Her specialized frame shop offers original art framing at reasonable prices for artists, collectors and the general public. Located in eclectic Kensington with ample on-street parking. Tues to Fri 10 am - 6 pm, Sat 10 am - 5 pm.

JARVIS HALL FINE FRAMES617 11 Ave SW, Calgary, AB T2R 0E1T. 403-206-9942 [email protected] Hall Fine Frames is a full service frame shop offering all levels of custom framing from conserva-tion to museum grade. Frames can be chosen from a wide variety of manufacturers or can be designed,

When they discovered an army of lost warriors

They also found the right people to move them

They have Armstrong

[email protected]

The

2 November to 21 December 2013

presented by

Jessie BabinSarah BeattieAlex BierckIan BodnarykCandace CouseRichard DavisKelcie De WildtMarina DieulKim DorlandKristy GordonDmitri GretskyDana HolstPhil IrishSarah KaneNelly KazenbrootWilliam LazosTony LucianiMichelle MacKinnonJen MannKatherine McNenlyDenis NadeauNoa Ne’emanSuzanne PalecznyTammy SalzlJay SenetchkoIan ShatillaMomcilo SimicSara SniderhanElizabeth TophamKristine Zingeler

KINGSTON PRIZECANADA’S

PORTRAIT COMPETITION

Exhibition of

Thirty Finalist Portraits

The Art Gallery of Calgary

www.kingstonprize.cawww.artgallerycalgary.org


carved and gilded by hand. They also offer a variety of gallery frames for artists. Tues to Sat 10 am - 5 pm and by appointment.

THE PETERS GALLERY AND FINE ART FRAMING1225 18 Ave NW, Calgary, AB T2M 0W3T. 403-269-3475 [email protected] can feel comfortable with a 20-year vet-eran in the art and framing industry. Peters offers inspirational framing designs, quality workman-ship and on-site consultations. Fine art leasing is also available with art suitable to individual offi ce decor and budget, presented by a knowledgeable, results-oriented consultant who can work with the designated space and budget. Wed and Thurs 10 am - 5 pm, Sat 9 am - 1 pm.

ART INSTALLATIONON THE LEVEL ART INSTALLATIONST. 403-263-7226 [email protected] fully insured, full service fi ne arts handling com-pany with 24 years experience providing consult-ing, design and installation service throughout western Canada.

ART REPRODUCTIONART-MASTERS.NET DIGITAL ART INC1608 29 Ave SW, Calgary, AB T2T 1M5T. 403-229-2953 [email protected] in professional, archival, custom giclée printing for more than 15 years with complete in-house service, they cater to over 400 discriminat-ing artists, galleries, and art publishers locally and around the world. Expertise in colour correction creates the rich colours, textures and high defi ni-tion of original artwork, and printing is done with special UV inhibiting inks (200 years) and varnishes.

ART SHIPPINGARMSTRONG FINE ART SERVICES LTD.630 Secretariat Court, Mississauga, ON L5S 2A5T. 905-670-3600 F. 905-670-0764Toll Free: 1-866-670-3600

art@shipfi neart.comwww.shipfi neart.comArmstrong Fine Art Services Ltd. is part of the Arm-strong Group of Companies, with over 40 years of professional experience in packing, crating, stor-ing and shipping fi ne art, antiques and antiquities across Canada and around the world. They have the people, services and facilities to assure the han-dling of a single piece of art, or an entire collec-tion. Email for details about their cross-country and inter-USA shuttles.

ART STORAGE AND APPRAISALSLEVIS FINE ART AUCTIONS, APPRAISALS & ART STORAGE1739 10 Ave SW, Calgary, AB T3C 0K1T. 403-541-9099 [email protected] a single item to a complete collection, Le-vis can safely store artwork. The company offers professional and knowledgeable staff, a safe and confi dential environment, a thorough security sys-tem, controlled temperature and constant on-site presence. Costs are based on a rate of $10.00 per cubic foot per month. For larger collections volume rates are available.

ART SUPPLIESARTISTS EMPORIUM1610 St James St, Winnipeg, MB R3H 0L2T. 204-772-2421 [email protected] Canadian based company supplying highest quality products since 1977 with over 100,000 items offered in a 12,000 square feet retail space. The fun-friendly atmosphere extends from the free Saturday morning art classes, through the extensive art library and spinning the roulette wheel at their annual Artists Open House. They are committed to maintaining a high level of inventory at competitive prices while continually expanding product lines. Mon to Thur 9 am - 6 pm, Fri til 9 pm, Sat 9 am - 6 pm, Sun noon - 4 pm.

CLASSIC GALLERY FRAMING INC3376 Sexsmith Road, Kelowna, BC V1X 7S5T. 250-765-6116 F. 250-765-6117Toll Free: 1-800-892-8855

[email protected] quality mouldings, liners and liner profi les are produced by utilizing the most effi cient manufac-turing processes combined with the care and detail that comes with creating handcrafted products. All steps of production are done inside their factory. The full range of products may be previewed on-line and are available through most fi ne art dealers and framers.

INGLEWOOD ART SUPPLIES1006 9 Ave SE, Calgary, AB T2G 0S7T. 403-265-8961 [email protected] claims best selection and prices in Calgary on pre-stretched canvas and canvas on the roll. Golden Acrylics and Mediums with everyday prices below retail. Volume discounts on the complete selection of Stevenson Oils, Acrylics and Mediums. Other name-brand materials, brushes, drawing supplies, easels, an extensive selection of paper and more. Mon to Fri 9 am - 6 pm, Sat 10 am - 5 pm, Sun noon - 5 pm.

KENSINGTON ART SUPPLY130 10 St NW, Calgary, AB T2N 1V3T. 403-283-2288 [email protected] in a new, bigger space featuring an expanded selection of quality fi ne art supplies including more paints, brushes, easels, paper and canvas. Also carry over 500 titles of art instruction books, en-caustic paints, and an enhanced airbrush section. Friendly, knowledgeable staff. Art classes next door. Discounts available. Mon to Thurs 10 am - 8 pm, Fri, Sat 10 am - 6 pm, Sun & Hol 11 am - 5 pm.

MONA LISA ARTISTS’ MATERIALS1518 7 St SW, Calgary, AB T2R 1A7T. 403-228-3618 [email protected] to one of Western Canada’s largest fi ne art supply retailers. Established in 1959, Mona Lisa provides excellent customer service combined with a broad spectrum of products and technical knowl-edge. Clients from beginner to professional, fi nd

everything they need to achieve their artistic goals. Volume discounts and full-time student and senior discounts available. Mon - Fri 8:30 am - 6 pm, Sat 9 am - 5 pm.

OPUS FRAMING & ART SUPPLIEST. 604-435-9991 F. 604-435-9941Toll Free: 1-800-663-6953 [email protected] has stores in Vancouver, Victoria, Kelowna, North Vancouver, and Langley, plus online shop-ping and mail order service. They offer an extensive selection of fi ne art materials and quality framing supplies. Check them out online, or drop by for some inspiration. They also produce an e-newslet-ter full of sales, art news and articles, and provide ëhow to’ handouts and artist demos. Western Canada’s favourite artists’ resource.

SKETCH ARTIST SUPPLIES (FORMERLY STUDIO TODOROVIC)1713 - 2 St NW, Calgary, AB T2M 2W4T. 403-450-1917 [email protected] offers framing and carries Copic sketch markers (full selection), sketchbooks, J. Herbin cal-ligraphy inks, Brause nibs, Faber-Castell products, Moleskine, Rhodia, Golden acrylics & mediums, M. Graham oils & watercolours, Gotrick canvas and more. Student and senior discounts. Just north of TransCanada in Mount Pleasant opposite Balmoral School. Free parking. Mon to Fri 10 am - 6 pm, Sat 11 am - 6 pm.

THE GALLERY/ART PLACEMENT INC.228 3 Ave S (back lane entrance), Saskatoon, SK S7K 1L9T. 306-664-3931 [email protected] artists, University art students, art edu-cators and weekend artists rely on The Gallery/Art Placement’s art supply store for fi ne quality mate-rials and equipment at reasonable prices. A con-stantly expanding range of materials from acrylics, oils and watercolours, to canvas, brushes, specialty paper, soapstone and accessories. Mon to Sat 9 am - 5:30 pm.

AUC TION November 25 & 26

Roland GissingFIRST SPRING DAY; 1953oil on canvas, 22.25 x 30.25 in.

Nicholas de GrandmaisonPEIGAN WOMAN WITH PIPEoil on canvas, 28 x 22 in.

Ted HarrisonVICTORIA HARBOURSIDE; 2008acrylic on canvas, 20 x 16 in.

5240 1A St. SE Calgary AB T2H 1J1 403 252 4362 [email protected]

hodginsauction.comOngoing Auctions, Live and Online.Enquire about our gallery referral program.

Quality Consignments Always WelcomeNo matter the decade, quality is always in fashion. These works available at our Fall 2013 Auction.


MAUD LEWIS (1903 – 1970)

BACK ROOM

A cheery springtime spirit radiates from Maud Lewis’ painting oof three birds amid the apple blossoms. It’s crudely painted,

for sure – the birds’ caps sit on their heads like helmets – but, then, technical fi nesse is not really the point of folk art. It’s more about sentiment and nostalgia, perhaps for a specifi c place, like rural Nova Scotia, where Lewis sold paintings to both locals and passing tourists; but often just a vague yearning for some simpler past, whether real or imagined.

Whatever the reason, Lewis’ paintings have climbed dramati-cally in value over the years. A large piece fetched some $20,000 at a Toronto auction in 2009, but most of her works are small, and worth about half that amount, says Brent Luebke, an owner of Edmonton’s Lando Gallery. He’s handling a recent consignment of two Lewis paintings – the birds and a second piece showing an oxen team fi tted with a red yoke and yellow bells. He says Lewis, if she were alive today, would be shocked at their value, particu-arly because her work, like much folk art, is rarely singular. “She’d probably think people were crazy that they would be willing to spend so much money on a piece of art. But, at the same time, she’d probably be quite pleased, as most artists are. They’ve cre-

ated them so people would buy them and enjoy them.” The provenance of the pieces is almost as interesting as the

life story of Lewis, who painted in her tiny home with whatever supplies were at hand, her smile chipper despite hands ravaged by rheumatoid arthritis. Luebke says two women approached him after fi nding the paintings in a trunk following their mother’s death. For the older sister, they brought back memories of a family trip to a lighthouse on the Bay of Fundy around 1968. After stopping en route at Lewis’ place, their mother decided to help the artist even though she didn’t like the work, buying the paintings for $5 each, then the cost of a nice dinner out. When she returned home, she promptly stowed them away.

As Lewis’ work has grown in popularity, so too have the number of forgeries. In this case, the type of paint and substrate, along with Lewis’ trademark style and bright colours, helped convince Luebke the work was legitimate. He says one giveaway with forgeries is that the technique is too refi ned. “That simplicity often is where people screw it up,” he says. “When I’ve seen fakes of her work, they make them too fancy and they make them too good.”

— Portia Priegert

Maud Lewis, Untitled - Birds with Apple Blossoms, circa 1968, oil on paper board, 12” x 12”

Images from Top to Bottom, Left to Right: Nicholas de Grandmaison, Illingworth Kerr, William Kurelek, J.E.H. MacDonald, Frederick Verner, Walter J. Phillips

SPECIALIZING IN WORKS OF HISTORICAL SIGNIFICANCE

FOR 40 YEARS www.lochgallery.comCalgary Toronto Winnipeg

Selling your historical works of significance?If so, you may wish to consult with us for an appraisal.

- outright purchase - confidential - no hidden fees

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

403 209 8542 [email protected]

galleries west fall/winter 2013

Documents

lost art

canadian art opinion

successful art collectives

artworld map

artist previews

morethe royal art lodge

western canadian galleries

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