The Spirit of the Caribou – The caribou has fed our bodies, souls and imagination for generations. In the Craft Council’s Main Gallery from September 6 – October 4, fourteen artists explore this rich cultural icon. Strong, graceful, resilient and threatened, the caribou is inextricably linked to the people of the North and rich in symbolism for Newfoundland and Labrador.
This group exhibition examines the caribou, a haunting animal that has sustained generations of Innu, symbolized strength for soldiers of the Royal Newfoundland Regiment and inspired numerous artists across northern lands. Migratory, enduring – yet fragile – the caribou is a potent paradox for our time and culture. Shirley Moorhouse’s paintings reflect her concerns for Labrador caribou “Years ago I read an Inuit legend that explained where the vast caribou herds of Labrador once originated. Many years later I went on a caribou hunt in the Mealy Mountain foothills. Those once vast herds have disappeared.”
The Gallery was drawn to the theme of the Caribou because of its resonance with a multiplicity of communities and cultures. It is a potent metaphor for settler, aboriginal and contemporary artists interested in the relationship of people to land and nature in the past, present and future. Exhibitor Susan Furneaux reflects on her deep connection to the barrens of Newfoundland “ Caribou are ethereal creatures; a glimpse is always magical”.
The caribou is also the emblem of the Royal Newfoundland Regiment. Five bronze caribou memorials symbolize our soldiers’ spirit and determination. It is a significant symbol as the province begins its 100 year commemorative activities honouring the sacrifices made by Newfoundlanders and Labradorians in World War I.
This exhibition is curated by Gallery director Sharon LeRiche and independent curator and writer Gloria Hickey. Hickey writes in her essay, “When the Craft Council Gallery put out the call for The Spirit of the Caribou it was clear that a nerve was touched. It had a direct resonance with craftspeople and artists of many communities and interests: historical and military, ecological and environmental and let’s not forget pure childhood fantasy. The caribou has fed our bodies, souls and imagination for generations.”
Marking the 100th anniversary of WW1, the NS Designer Crafts Council members created works exploring the concept and meaning of “peace”.
A 50th anniversary exhibition that celebrates the generative genius of L.M. Montgomery, her novel Anne of Green Gables, and the golden 50th season of the Confederation Centre’s beloved Anne of Green Gables – The Musical™.
Guest curated by Dr. Elizabeth R. Epperly and organized by Confederation Centre Art Gallery
Technology/ Transformation: Wonder Woman (‘78-‘79)
Kiss the Girls and Make them Cry (1979)
Installation and video artist Dara Birnbaum returns to NSCAD University after almost 35 years to exhibit two video works that were produced, in part, at NSCAD; Technology/ Transformation: Wonder Woman (‘78-‘79) and Kiss the Girls and Make them Cry (‘79). Birnbaum’s provocative video works are among the most influential and innovative contributions to the contemporary discourse on art and television. In her videotapes and multi-media installations, Birnbaum applies low-end and high-end video technology to subvert, critique or deconstruct the power of mass media images and gestures to define mythologies of culture, history and memory. Through a dynamic televisual language of images, music and text, she exposes the media’s embedded ideological meanings and posits video as a means of giving voice to the individual. Her work also has been concerned with the role of women, and attempts to find a new voice (or questioning the voice) assigned to women historically.
This is the 17th of the Prospect exhibitions, which showcase the works of selected Nova Scotian artists during the early stages of their careers. Joanna Close presents a series of hooked rugs depicting buildings from a former family farm in New Brunswick, now given over to an industrial gravel quarry. The rugs, all hooked using hand-dyed and cut wool, commemorate rural maritime farming heritage and underscore the financial hardship facing many such small family farms.
Land Lost is a solo exhibition that attempts a modest lineage of Christie’s art practice: from experimental film, to performance, through to photography and installation. The exhibit will look at the influence of spectacle and performance found in Christie’s work, the implications of nature in the artist’s films, and the personal sometimes self-deprecating world of DIY technology. Here, Land Lost means to negotiate between one’s own site-specific state and the non-narrative space of memory and the mind.
Touring to Fredericton from Dawson City, the works in Revel in It (Cold Cuts International Video Festival 2014) explore the world of pop culture and mass media – they envelop it and wallow in it, and from within this spectrum, reflect on the possibilities of social reconfiguration and plurality of identity. The critique of contemporary culture is a shameless and simultaneous embrace. Notions of confining gender constructs and otherness are blown apart and rebuilt in endless configurations for the purposes of imagining something different.
The exhibition revisits the building programs of the Centennial Commission leading up to the centennial celebration in 1967, particularly in light of the Commission’s overt agenda to help construct a distinctly Canadian identity. Architectural projects such as the Confederation Centre of the Arts and the National Arts Centre, along with about 14 other buildings from across Canada will be represented. Guest curated by Professors Marco Polo and Colin Ripley of Ryerson University.
Jewellery works exhibited will be selected from eight bodies of work by Pamela Ritchie that have been inspired by mythology, physics, history, and process.
In this exhibition, Pamela Ritchie brings together a group of new and previous works that underscore her long-standing fascination with the consistent threads that artists will often weave through otherwise distinctive and varied bodies of work. Ritchie writes: “The subject matter of my work may change from series to series, but the overall intent remains the same: to create work that is visually intriguing, that is open for the viewer’s subjective notions to influence the interpretation, that may amuse or provoke and most importantly that will empower the wearer.”
The Centre for Art Tapes has partnered with Dalhousie Art Gallery for the exhibition “(im)mobile”, featuring established media artists Edith Flückiger (Lucerne, Switzerland) and Germaine Koh (Vancouver). The exhibition is curated by Mireille Bourgeois, independent curator (Halifax), and Chantal Molleur, curator and co-founder of White Frame (Basel, Switzerland).
The two artists in “(im)mobile” present conceptual artwork, made up of electronic installation, video, digital text pieces in a conversation surrounding mobility and balance.