This exhibition provides an overview of printmaking in this province, using examples drawn mainly from The Rooms collections. Setting current fine art printmaking in this province in context, this exhibition will engage gallery visitors with an image-making technique that is already a part of their daily lives, and expand their understanding of it. St. Michael’s Printshop, which celebrates its 40th anniversary that same year, will collaborate by providing didactic material and printmaking workshops.The emphasis will be on fine art prints and artists’ books of the last 50 years, but earlier illustrations and decorative landscapes will be referenced.
An interdisciplinary exhibition circulated by the Textile Museum of Canada, includes landmark Canadian artifacts from the Museum’s collections integrated with the work of contemporary Canadian artists to create a dialogue of personal and cultural expressions across time and space. Celebrating the imagination of landscape and the human presence in and around it, the exhibition embodies significant social histories, regional traditions and local stories. Artists include Amalie Atkins, Douglas Coupland, John Henry Fine Day, Jérôme Fortin, Grant Heaps, Jason McLean, Graeme Patterson, Ruth Scheuing, Michael Snow and Barbara Todd.
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.
Stephen Hutchings spent 10 days in the summer of 2013 on Nova Scotia’s south shore. The resulting series of paintings invoke the coast as the edge of land and sea. “Our experience of life is heightened at the edges of things, at moments of transition or change,” says Hutchings. His charcoal and oil paintings are considerations—in the form of landscape images—about life “at the edge,” whether that edge is the line between land and sea, or between sky and earth, or quite simply, between our internal and our external experiences.
A landmark exhibition of more than 100 works by over 60 Canadian artists, organized by the Massachusetts Museum of Contemporary Art and curated by Denise Markonish. This large exhibition will be presented in a collaborative, multi-venue format at the Owens Art Gallery, Mount Allison University; the Confederation Centre Art Gallery; the Louise-et-Reuben-Cohen Art Gallery at Université de Moncton; and Galerie Sans Nom, Moncton. Sponsored by TD Bank Group with funding from the Canada Council for the Arts and the Province of New Brunswick.
A selection of large works from the MSVU Art Gallery permanent collection including sculpture, painting, and textile-based media. The exhibition features artists Frances Dorsey, Gathie Falk, and Peter Walker among others.
Zalman Amit’s life has always focused on shaping ideas and combining disparate elements to reach conclusions that have far reaching benefits for the public at large. Fortunately for the arts community and folk art collectors, the retired behavioral clinical psychologist and retired professor at Concordia University in Montreal, has turned the “shaping” concept into something tangible and beautiful. When he moved from Montreal to Kingsburg some years ago, he decided to take up the art of wood-turning, bought himself a high-end wood lathe, and started to “shape” his ideas. Today, Amit’s objects, made from Nova Scotia wood exclusively, are much sought after. “I’ve tried to create one-of-kind-stand-alone pieces that highlight interesting colors and textures, allowing the grain of the wood to support my overall design,” Zalman says. “Turning a burl into a bowl, allowing the natural deformities to emerge in all their beauty, presents unique challenges for a wood-turner, ” he says, adding that it’s not uncommon for a piece to literally fall apart on the lathe. “But, I persevere, and when I get one just right, it’s absolutely thrilling.” And, lucky for the collector.
David Pember’s work includes the use of brushed stainless steel and EVA board, a relatively new surface recently archived in Ottawa. On stainless steel, David creates unique images using fiberglass grinders and acrylics. Although the surface is flat, by manipulating grinders, three-dimensional shapes emerge and change as the onlooker walks by. Colors appear to float on the surface, compelling the viewer to seek out different viewpoints. The works on EVA board endeavour to take commonplace themes and scapes, to try to evoke a “felt sense” in the abstract. “When I achieve this felt sense, my images appear energized and worthy of contemplation,” David says. EVA board is a relatively new surface to paint on and was recently archived by the Canadian Conservation Institute. The CCI confirmed that using acrylics on EVA board is a new and viable creative process. Prior to joining Peer Gallery 13 years ago, David worked in public affairs for Air Canada. He studied art and design under the late Ethel Curry of Haliburton, Ontario. He now resides in Bridgewater, N.S.
Daniell’s 8 x 40’ long installation is comprised of sculptural units ranging in size from 2” to 8’. The sculptures are based on individual natural elements such as plankton, diatoms, spores and roots and function as contemporary hieroglyphics charting elements and processes observed in the natural environment.
Members Only Week: October 3-10, 2014
Members’ opening: Saturday, October 4, 2014, 2 p.m.
General Admission: October 11 – February 25, 2015
Mary Pratt brings a sharply focused, contemporary lens to deceptively simple subject matter, demonstrating sophisticated skill rooted firmly in the history of painting. Nuances of tone, composition and choice of perspective leave the viewers of Pratt’s images with a sense of wonder and, sometimes, unease. Pratt’s work reveals the breadth of emotion, technique and maturity brought to her practice.
This exhibition presents Mary Pratt in a new light, offering visitors a rare opportunity to view the range, subtlety and power of this much-celebrated artist’s oil paintings and mixed media artworks. It considers her career’s work as a conversation of themes. Artworks from the past five decades are assembled, highlighting the diversity of her subject matter, from the political to the domestic. These substantial paintings have multiple meanings for the artist and the viewer. They are paintings that surprise us, and help us to look at our own world with greater sensitivity.
The exhibition has seen significant success in each venue of its national tour. It has broken attendance records, and events like artists’ talks have been sold out.
The touring exhibition débuted at The Rooms in May 2013, and has travelled to the Art Gallery of Windsor (Ontario), the McMichael Canadian Art Collection (Kleinburg, Ont.) and the MacKenzie Art Gallery (Regina). It is on view at the Art Gallery of Nova Scotia October 11 to February 25, 2015, with an exclusive members’ week October 3-10.
The exhibition Mary Pratt is a collaboration between The Rooms Provincial Art Gallery Division and the Art Gallery of Nova Scotia. It is curated by Sarah Fillmore, Art Gallery of Nova Scotia, and Mireille Eagan and Caroline Stone, The Rooms.
About Mary Pratt
Since her first solo exhibition at the Memorial University Art Gallery in St. John’s in 1967, Mary Pratt’s paintings have been exhibited in major galleries in Canada. They are works are featured in public, corporate, and private collections, including those of the National Gallery of Canada, the Art Gallery of Nova Scotia, The Rooms (St. John’s, NL), the Art Gallery of Ontario, the Beaverbrook Art Gallery, Memorial University of Newfoundland, and Canada House in England. Mary Pratt holds nine honorary degrees, has served with non-profit boards, government committees, and cultural initiatives, and has been the subject of several books. In 1996, she was named a Companion of the Order of Canada. In 1997, she was awarded the Canadian Molson Prize from the Canada Council.
Andrzej Maciejewski’s large black and white photographic portraits of potatoes blend the humorous and the serious, the commonplace and the monumental. Celebrating that which often goes unnoticed, the potatoes are chosen for their diverse shapes and textures which easily lend themselves to abstraction.
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.”