Galerie Bernad-Jean du Centre culturel de Caraquet
This touring exhibition and accompanying catalogue showcases over 50 artworks produced by Paul Édouard Bourque as part of what has come to be known as the Mikeys series. Described as “like the weather, always changing” by celebrated photographer Robert Frank, the works represent a multitude of variations in technique and media superimposed onto a reoccurring image.
Paul Édouard Bourque, Mikey, photocopy and mixed media mounted on Masonite, 1982. photo credit: Paul Édouard Bourque
Paul Édouard Bourque, Mikey, Screen print and mixed media on masonite, 1978. photo credit: Jim Dupuis
This exhibition presents the work of Mount Allison graduate and Ottawa graphic designer and artist Robert Tombs in the first survey exhibition of his work to date.
Not a retrospective, per se, Index is offered as a summary in the form of 100 works, including exhibition catalogues, artist’s books, posters and related ephemera, literary books, preliminary studies, and sketchbooks expressed in drawing, xerography, letterpress, and offset printing, created for a range of clients including artist-collaborators, writers, artist-run centres, art galleries, and academic presses. The exhibition is accompanied by a catalogue designed by Robert Tombs — functioning as the one-hundredth artefact of Index — with essays by Michael Davidge and Marina Roy.
Robert Tombs: Index. Graphic Works 1985–2015 is produced with the support of The Canada Council for the Arts, the New Brunswick
Opening reception: Thursday Nov 19 at 5:30pm
My work explores images and associations with the land, earth and sea as well as the human form using mixed media to convey the depth of sensuality and fragility of the world.
Marking the 250th anniversary of Holland’s survey and map, this exhibition will explore how the map is a product of imperial rivalries and imperial policymaking for the British Empire and the critical role it played as a template for the settlement and development of PEI. Curated by Boyde Beck and Dr. Edward MacDonald
Cutline: Samuel Holland’s 1765 manuscript map of St. John’s Island (now Prince Edward Island). On loan from The National Archives, UK, ref. CO 700/PrinceEdwardIsland3
A traveling exhibition developed by the Canadian War Museum. The First World War was a defining moment in Canadian history. To commemorate its centenary, The Rooms is proud to bring this exhibition to St. John’s. Supported by National Presenting Sponsor TD Bank Group, this uniquely evocative exhibition gives Canadians an opportunity to view never-before-seen paintings and drawings, and to appreciate how art was used to document and communicate wartime experiences to families and the public a hundred years ago.
Arthur Lismer, Olympic with Returned Soldiers, oil on canvas, 1919. photo credit: © Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, Ontario 19710261-0343
Mabel May, Women Making Shells, oil on canvas, 1919. photo credit: © Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, Ontario 19710261-0389
The canoe is as much a part of Canadiana as the beaver, the majestic moose or maple syrup. It was the mode of transportation for the First Nations people and enabled early explorers to venture into vast Canadian wilderness. It still is the best way to see the beauty of the back country. Canoeing and art are almost inseparable for Peter Gough, an internationally recognised artist based in Nova Scotia. The canoe is both form and function as it both conveys Gough to the locations depicted in his paintings and becomes part of the artwork in his latest exhibition “Canoe.”
This monumental exhibition brings together the work of twenty-four artists from all four Atlantic Canadian provinces to consider the imaginary and geographic role of place. Probing beneath the surface of the landscape, the artists reveal complex layers of histories and mythologies, and critique the notion of landscape as ‘natural,’ uncovering and examining how technologies, socio-political agendas, and economics mark the geographic.
Presented is a diverse range of work from photography to installation, painting, sculpture, intervention and performance that explores ideas of communications and invisible landscapes, and challenges the demarcation, colonization, and militarization of the land. The exhibition investigates how memory, histories and mythologies mark place and expose how habitats are radically altered and manipulated. By responding to both specific Atlantic Canadian narratives, as well as broader concepts of place, the exhibition maps the real and imagined marks made by human habitation and technological progress, both of which are indelibly tied to creativity and destruction equally.
Organized by the Beaverbrook Art Gallery and made possible with the generous support of the McCain Family, the Harrison McCain Foundation, and The McCain Foundation.
In 2011, artist Christine Koch travelled to Labrador’s Torngat Mountains National Park with a team of geographers researching climate change in the Arctic. New large works, created for this exhibition, document her experience of this changing glacial landscape, and reveal the interrelationship of Koch’s painting and printmaking practices. The exhibition is accompanied by images from the artist’s travels, as well as a full-colour catalogue with interviews and essays by geographer Trevor Bell and CBC Radio host Shelagh Rogers.
Matthew Hollett explores the shifting architectural landscape of this province. Working in a variety of media, Hollett shows that architecture is not only a building’s formal attributes — it is also the relationship that is shaped with neighbours, the surrounding landscape, the past, and potential futures.
This exhibition presents new work created as part of the Elbow Room Residency Series.
jè-st’, performance and intervention art festival, is a biannual event that infiltrates and transforms public space organized by Imago Artist-run Print Studio, Galerie Sans Nom, and Galerie d’art Louise-et-Reuben-Cohen of Université de Moncton.
Within the theme of wayfinding, artists are invited to delineate a space, a path or a standpoint in Moncton’s urban landscape.
A full schedule is available on the festival blog at http://festivaljest.blogspot.ca/
The jè-st’ festival is supported by the Canada Council for the Arts, the City of Moncton, the Department of Tourism, Heritage and Culture of New Brunswick, and festival partners.
Emerging artist Frankie Macaulay creates carefully executed composite images through the collection of images of decay. Through this process of collection, Macaulay constructs imagined spaces, and makes them real through building physical three-dimensional objects then placing those objects in situ through photographs.
Describing the intent of the work on view, Macaulay explains: Urban Paper is a series of miniature photographic paper buildings viewed as 3D objects and digital photographs of cityscapes that incorporate the paper structures. The works examine urban structures in various stages of neglect, decay and reconstruction. Boundaries of habitability are questioned against damaged exteriors, broken windows, vandalization and attempts of repair. All around our city there are crumbling houses, neglected buildings and vacant lots. Interacting with themes of temporality and materiality this project asks how long and to what state these buildings remain habitable before they are abandoned.