Opening Reception: Friday, February 3rd, 2017 | 6:00PM – 8:00PM
Many visitors to last year’s Lumière Arts Festival will remember Karen Stentaford’s travelling tintype studio, which was located in downtown Sydney at the top of Charlotte Street. The Sackville-based photographer spent the evening making portraits using the 19th century tintype technique and made pictures of dozens of visitors using the now-rare photographic process. The results of this work will be on display at the CBU Art Gallery in conjunction with the ‘Proletariart’ community art exhibition.
Karen Stentaford is an artist and educator who works primarily in medium and large format photography, often employing toy cameras and alternative processes. Since 2012, much of her work has been made using the wet plate collodion process—glass negatives and tintypes. Her recent bodies of work investigate ideas of place and memory influenced by the Newfoundland landscape of her childhood. Karen is the photography technician and lecturer in the Department of Fine Arts at Mount Allison University, Sackville, NB.
In 1977, a flamingo landed on the coast of Newfoundland and was immediately shot. Now preserved in the collection of The Rooms, the strange story of how this tropical bird came to be in its final resting place far from home is the starting point for this contemporary art exhibition that explores the inherent absurdity and poignancy of collecting behaviour. What motivates us to collect? How do we choose what to include and exclude from our collections and exhibitions? Artworks by local, national, and international artists are bought together with a selection of works from The Rooms Permanent Collections that have never before been exhibited. Throughout, works that incorporate song and voice elude to absence and elegy, but also to the limitless power of sound to exclaim presence, even when there is no “room” for physical inclusion. The end result is a sumptuous, poetic experience for the eyes, and ears.
David R. Harper, Learning to Love You (detail), Wood, steel, cast polymer with virgin paper pulp, photo paper, enamel, paint.2015. photo credit: Photo: Toni Hafkenscheid
Sara Cwynar, Soft Film, 16mm film transferred to digital video, 2016
A major new video work by the Vancouver-based artist explores the practiced rhythms of everyday motions in a montage of documentary and narrative.
Cutline: Allison Hrabluik, video still from The Splits, 2015, digital video, 15:00. Image courtesy of the artist.
Naturally Dyed & Handwoven, each moon piece is bisected horizontally between sky and ground or water, and collectively they ask questions about location, space, scale, concreteness, control. As we speed up in all our interactions, the slow, incremental woven, dyed progress of these pieces seems satisfying and rich, and possessing of serenity.
Frances Dorsey, Black Moon, handwoven and naturally dyed fibres,2015. photo credit: image courtesy of the artist
Frances Dorsey and Rachel Morouney, Black Moon and Crenellated Fan,handwoven and naturally dyed fibres, carved and glazed ceramic, 2015. photo credit: images courtesy of the artists
Artist presentation: Wed 1 February, 12 Noon
Regarding her sculptural installation, Madeleine Scott offers, “An assemblage of objects reflect on language tied up in both the passage of time and the body. A few small shoes – some cast in bronze, others fired clay – stand in for the hands and face of a clock.”
Jennie Williams was born and raised in Labrador in the most southern Inuit region in the circumpolar Arctic. She photographs people in their everyday environments and circumstances, working to document practices and traditions in the manner that they are celebrated today in Labrador. Recent bodies of work reveal her deep interest and love for Inuit cultural traditions, especially the photographic series Nalujuk Night, shot in Nain where she lives. At a summer residency at The Rooms, Williams will develop a new portrait series of urban Inuit living in St. John’s.
The exhibition is part of the Elbow Room Residency Series
Jennie Williams, Nalujuk, photograph,2015. Courtesy of the artist
Opening Reception: Wednesday, March 1, 7pm-9pm
The Walking With Our Sisters – K’jipuktuk / Halifax planning committee would like the community to join us for the Pjila’si / Welcoming for Walking With Our Sisters on January 14 at 2pm, located in Mount Saint Vincent University’s McCain Centre Atrium (166 Bedford Highway). This will be followed by a feast and everyone is welcome to visit the Walking With Our Sisters commemoration in the MSVU Art Gallery afterwards. There will be volunteers on site to help direct visitors to these locations. All are welcome.
Walking With Our Sisters is a commemoration honouring missing and murdered Indigenous women, girls and Two-Spirit people through ceremony, community and reflection. It presents more than 1800 pairs of moccasin tops (vamps) made by contributing artists. The moccasins are unfinished, symbolizing over 1180 sisters, mothers, aunties, daughters, cousins, grandmothers, wives and partners whose lives were tragically cut short over the last thirty years. This project has been entirely crowd-sourced and supported by thousands of Indigenous and non-Indigenous women and men across Turtle Island who care deeply about this issue. All of our efforts in bringing this exhibit to life have been on a strictly voluntary basis.
Walking With Our Sisters is rooted in the four principles of love, humility, protocol and volunteerism, and is guided by local Elders and community members. As Walking With Our Sisters is experienced in ceremony, footwear is to be removed before entering the space. Women are encouraged to wear skirts if they feel comfortable doing so. Smudging (the burning of sage) will take place inside the MSVU Art Gallery, cleansing the space for the Sisters. There will be no photography permitted at any time. Public figures and dignitaries are welcome to attend but there will be no public speakers.
Borrowing heavily from the language of wine, this 3-part exhibition strategy proposes to look at regional artistic production through the cultural milieu from which it emerges. Terroir is defined as “the complete natural environment in which a particular wine is produced, including factors such as the soil, topography, and climate.” Terroir is a survey of the AGNS permanent collection with a special focus on Nova Scotia roots — the history and culture of place informing its artistic community’s output. This exhibition tours the province exploring the flavour and makeup of the work collected over the AGNS’ history.
Image credit: Jones Bannerman, Frances M, Still Life with Lobster (detail), c.1883, Oil on canvas, 51.5 x 65.0 cm. Collection of the Art Gallery of Nova Scotia, 1933.4
Artist Talk: Sunday, January 15, 2pm
SymphoNY is a ViewPoint Member Solo Exhibition by Stephen Brake. SymphoNY is based on a series of images Stephen took from 2006 to 2007 while in New York City. Using a slow shutter technique on the streets of Manhattan, he created blurred images of people and things moving around the solidity of the city. Stephen has been making photographic images for over 30 years. He studied photography at NSCAD University, where he graduated with a Bachelor of Fine Arts in Photography. He is passionate about creating visually inspiring photographs. His expertise in light and composition guide him in capturing compelling images that tell a story and invoke a sense of place.
Organized and circulated by the Musée d’art contemporain de Montréal With the support of the Government of Canada through its Department of Canadian Heritage Museums Assistance Program
The exhibition consists of an installation version of the hour-long creative documentary Hotel Machine that was filmed by Emanuel Licha in five cities—Beirut, Sarajevo, Gaza, Kyiv and Belgrade—in five hotels that house war correspondents covering conflicts. The film is presented in one central projection space surrounded by five adjacent archive stations, which through texts, images and documents define aspects of the concept of the “war hotel.”
Emanuel Licha, Hotel Machine (film still), 2016. Courtesy of the artist and Les Contes Modernes
During their 2016 artist residency at The Rooms, Meredith Carruthers and Susannah Wesley became fascinated by the many stories of people losing track of time and place while berry-picking and the associated folkloric narratives that attempt to explain this phenomena. Using archival images, sound, and berry-dyed fabrics, they reflect upon how perception can shift to disorientation even in the most familiar landscapes.
Leisure, Narrative no. 9, Digital photograph, 2016