The cover of the current issue

Current Issue: SUMMER 2017

CODES + SYMBOLS

STEPHANIE YEE

URSULA JOHNSON

JORDAN BENNETT

The NSCAD Venice Connection

The NSCAD Venice Connection

Representation of NSCAD across multiple shows and national delegations underline the school’s place in the broader art world, as well as Atlantic Canada’s slow move away from the international art world’s periphery.
Ursula Johnson: Weaving history

Ursula Johnson: Weaving history

Johnson is concerned that Mi’kmaq baskets will become obsolete, referenced only in archives or glanced at as artifacts on the dusty shelves of art collectors.
Unearthing buried histories of African Nova Scotian artists

Unearthing buried histories of African Nova Scotian artists

"Chris! I have been secretly waiting for this email for decades! Talk to me."
Landon Mackenzie’s hidden creative journey

Landon Mackenzie’s hidden creative journey

“People thought I was a guy. I kept secret that I had three kids. I kept secret that I was a woman.”
Ambera Wellmann brings illusion to Instagram

Ambera Wellmann brings illusion to Instagram

Ambera Wellmann's oil and Instagram works are in dialogue with the rich tradition of European painting. Wellmann's pushing both mediums and proving the timeless potency of the unsettling image.
Exhibition Listings
SPECTRA

SPECTRA

Friday, May 12, 2017 at 6:00pm. The artist will be present.

ADAC Gallery Hop in Conversation with the Artist: Saturday, May 13th, at 1pm

Artist Statement: Three separate but connected groups of paintings in this exhibition pay homage to the power of colour. In seven watercolours, I return to the traditional still-life genre, where each painting focuses on a spectrum colour. The rich colour of ripe fruit is enlivened by decorative motifs of dishes, glassware and tablecloths. Revisiting the captured light and colour of Impressionism, and reassessing the formal qualities of abstraction, I have integrated sculptural elements in large acrylic paintings to create shadows and tension on the painting’s surface.
Bridging representation in the watercolour paintings and the complexity of the abstract painting, are seven small relief structures, each one charged with a spectrum colour, varying in tone, intensity and hue. Playing with the energy of individual colour, light and shadow are introduced, highlighting the symbolic and emotional qualities of the spectrum. The experiences of a life lived are the source of my art while light and colour have been my inspiration. Events and emotions are recalled, ideas are revisited, reassessed, and transfigured into paint and the magic of spectra.

Nancy is an established painter in the prime of her career, with a wide range of significant exhibitions in both institutional and commercial galleries. She was born in Vancouver and received a well-rounded art education at the Montreal Museum of Fine Arts under Arthur Lismer, at Mount Allison University under Alex Colville and at the Academy of Fine Arts in Rome. Nancy works in variety of media, including acrylic, watercolour and collage. All these are represented in the current exhibition.

áilleacht nádúrtha

áilleacht nádúrtha

Eric Boutilier-Brown’s newest exhibition, áilleacht nádúrtha (Irish for Beauty Unadorned) presents photographs of the Nude set within the sublime ruins and rich landscapes of Ireland. The show’s images are all centered upon Ingrid, who’s worked with Boutilier-Brown since 1998, and who accompanied him to Ireland in 2016 to create a portfolio marking his 30th year of photography. The exhibition features images drawn from that project; 12 selected by the photographer, and 12 selected by the model, Ingrid. Both classical and contemporary, Boutilier-Brown’s photographs of the Nude celebrate the body as a sensual and universal element within a larger setting of natural beauty and ancient ruins, revisiting and refreshing this traditional artistic theme.

Eric Boutilier-Brown, Dryad’s Leap, digital photograph, 2016

 

Spirit Visible

Spirit Visible

Gerald L. Squires searched for the spirit or essence of his subjects, revealed through the lens of his artistic creativity. Born in Change Islands, NL in 1937, Squires’ imagery often came out of his personal experience of the major political and social changes in this province during his lifetime, as well as from his exploration of religions, art history and literature, and his powerful love of Newfoundland and Labrador’s landscape and people. Gerald Squires, one of our province’s most significant and well-loved artists, died in St. John’s in 2015. This exhibition presents selections from throughout his career

Gerald Squires, The Edge of the Meadow, acrylic on canvas, 1990.photo credit: The Rooms Provincial Art Gallery. Government of Newfoundland and Labrador Collection.

Gerald Squires, Light on the Barrens, oil on canvas, 2005. photo credit: The Rooms Provincial Art Gallery, Government of Newfoundland and Labrador Collection.

Holding Patterns

Holding Patterns

Working in textiles, Rachel Ryan paints fabrics and stitches together a variety of techniques, blurring the boundaries between painting, drawing and quilting.

Rachel Ryan, Juggernaut, fabric collage, 69 x 55 cm, 2014

The Long Time: 21st Century Art of Steele + Tomczak

The Long Time: 21st Century Art of Steele + Tomczak

Organized and Circulated by On Main Gallery, Vancouver
OPENING RECEPTION Thursday 4 May at 7 PM
TOUR with the artists, Bruce Barber, and Paul Wong at 7:30 PM

Since 1983, Toronto-based artists Lisa Steele and Kim Tomczak have shared an exclusively collaborative practice of performance, video, and photo/text work, investigating the subjectivity and experience of the self, and grounded in social, political engagement and critique. The title of this exhibition, The Long Time: 21st Century Art of Steele + Tomczak, reflects the artists’ long career together, the time-based nature of video, and the digital revolution of the medium.

Central to the exhibition is the long-awaited trilogy …before I wake, a 12-year project in the making. This multi-screen installation brings together the video pieces We’re Getting Younger All the Time (2001), Practicing Death (2003), and Entranced (2012, commissioned by On Main Gallery). Using themselves as subject matter, Steele and Tomczak fearlessly examine their identities as individuals—and in relationship to each other—but also explore subconscious anxieties about mortality, aging bodies, and the fear of pending ‘eternal sleep’.

Becoming…, a 4-channel video installation that observes the built environments of Berlin, Vancouver, Montreal, and Toronto, also dwells on aging and change as subject matter. Within the static video frames, images of neighbourhoods are seen in transition as low-rise buildings and residential vernacular architectural culture are surrounded—consumed—by metal and glass developments.

Branching beyond video and further embracing digital production strategies, …bump in the night is part of a series of digital image-and-text portraits with high-school aged young people who express what haunts their nightmarish fears. The series was produced with students in Toronto, Vancouver, Barrie (Ontario), Caen (France), and Stuttgart (Germany), and two groups of students from Halifax during the artists’ residency at NSCAD in 2014. Most recently, the artists worked with homeless youth at the Windsor Youth Centre as well as Hispanic youth at the Detroit Hispanic Development Corporation.

Recipients of the Toronto Arts Award and the Bell Canada Prize for Excellence in Video Art in 1994, and the 2005 Governor General’s Award for Lifetime Achievement in Visual & Media Arts, Steele and Tomczak continue to be recognized for their significant contributions to contemporary life, art, and politics, both in Canada and abroad. They are co-founders of Vtape, an award-winning media arts centre established in 1983 in Toronto where Steele is Artistic Director and Tomczak is Director of Restoration and Collections Management. Both also teach at the University of Toronto in The John H. Daniels Faculty of Architecture, Landscape, and Design.

Bodies in Translation: Age and Creativity

Bodies in Translation: Age and Creativity

MSVU Art Gallery is collaborating with the SSHRC-funded project entitled “Bodies in Translation: Activist Art, Technology, and Access to Life” and the Nova Scotia Centre on Aging at MSVU.  In keeping with the project’s focus on socially engaged creative work by artists who embody difference, the works in Bodies in Translation: Age and Creativity address various facets of aging, including age-related disability. The exhibition features work by Maritimes-based artists, Cecil Day, Michael Fernandes, Karen Langlois, Onni Nordman, MJ Sakurai, George Steeves and Anna Torma.

Image: Cecil Day, Grasses, linocut, 2016.

 

 

You Are Here

You Are Here

Opening Reception: Thursday, April 6, 6 – 8pm
Artist Talk: Sunday, April 16, 2pm

In this new series of work Roxanne has been responding to media representations of people and places. With this body of work she is asking the viewer to consider the ordinary world that surrounds them. Roxanne has been a member of ViewPoint Gallery since 2004, and has art work in the collection of the Canada Council Art Bank, the Nova Scotia Art Bank, the collection of Mount St. Vincent University Art Gallery, and in private collections.

Leisure: Narrative no. 9

Leisure: Narrative no. 9

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

Other Histories

Other Histories

Other Histories is a solo exhibition by Pakistani-Canadian artist, Amin Rehman, in collaboration with international activist, writer and commentator, Tariq Ali. The exhibition comments on neo-colonialism and assertive globalisation through wall-based text works employing texts by Tariq Ali, Noam Chomsky and Edward Said. Rehman uses Perso-Arabic scripts (Kufi and Talib) to encompass his diasporic identity within a contemporary art practice.

Amin Rehman, For Globalization, Encaustic installation, 2015. photo credit: Amin Rehman

 

Putting Life to Work

Putting Life to Work

Ibghy & Lemmens’ art practice investigates the ways in which the economic sciences and the theories of management represent the world. It focuses on the influence of productivist logic on human activity.

This first in-depth exhibition of their work in Canada looks at the internalization of productivity by individuals. The installations, sculptures, videos, and performative projects examine the ways in which the injunction to perform affects the body—actions, thought, attitudes, language—from the point of view of work and life, two spheres that tend to be conflated within a model that many researchers refer to as “cognitive capitalism”.

Produced by the Leonard & Bina Ellen Art Gallery/Concordia University. Also presented at Owens Art Gallery, Mount Alison University, January 20 to March 12 2017

Richard Ibghy & Marilou Lemmens title of work: Each Number Equals One Inhalation and One Exhalation (Detail), installation and mixed media, 2016. photo credit: Paul Litherland

Richard Ibghy & Marilou Lemmens title of work: Is there anything left to be done at all? Multi-channel video installation, sound and mixed media, 2014. photo credit: Paul Litherland

Florilegia

Florilegia

Beth Biggs’ work engages with symbols, signs, gender classification and their social and political implications. The installation of her work explores the tension between the intimate nature of jewellery and the public space of the gallery.

Beth Biggs, Seduced: Chrysanthemum, sterling, copper enamel, cast, fabricated, 25x12x1.5cm, 2016. photo credit: Roger Smith

The Salon Hanging

The Salon Hanging

A floor to ceiling feast for the eyes. Visitors will see over 100 works of art, many from the Owens original collection first acquired in the 1880s. The collection includes eighteenth and nineteenth century European paintings, many still found in their original gilded frames, and full-scale plaster copies of classical Greek sculptures. Originally this collection was used to teach Mount Allison Fine Arts students through copying these early pieces. The exhibition is designed and installed by the Owens’ preparator Roxie Ibbitson.

More Exhibition Listings »

Latest articles
Words of resistance

Words of resistance

Johnson and Bennett create a fitting metaphor for the original and ongoing white-washing of Indigenous language and culture in our society at large and artistic culture in Canada.
Amery Sandford: Master of ceremonies

Amery Sandford: Master of ceremonies

Amery Sandford draws upon the history of touristic paraphernalia, such as postcards and brochures from the early 20th Century that depicted North America as a pristine escape from the cultural and economic troubles of one’s homeland—a new frontier.
In This Place: The lasting impact of Nova Scotia's first exhibition of Black artists' work

In This Place: The lasting impact of Nova Scotia’s first exhibition of Black artists’ work

Why In this Place was a groundbreaking exhibition for Black artists in Nova Scotia
Daniel Hutchinson: Shades of black

Daniel Hutchinson: Shades of black

Daniel Hutchinson explores the artistic possibilities of black paint, sculpted with striations that capture or reflect light in ways that create the illusion of space.
Looking back: Our version of "women in the arts" in the 70's

Looking back: Our version of “women in the arts” in the 70’s

The 70's art world "was a desert for women! Let alone any person of colour!” But in 1977, in the second issue of Visual Arts News, we published a list of publications focusing on "women in the arts." Our research intern Chris Shapones reflects on the impact of that list, what endures and what could...
Looking back, Looking forward

Looking back, Looking forward

Meet Visual Arts News' new research intern, who's going to be trawling through our archives revisiting all the stories we've told about the visual arts scene in Atlantic Canada over the past 40 years.
Call for Artist Pages

Call for Artist Pages

Visual Arts News invites all Atlantic Canadian print media/paper-based artists to create new works for our Special 40th Anniversary Edition of the magazine. The bonus issue is scheduled to be released in December 2017. We will commission up to three artists to create new work that focuses on the theme of “connecting the past and...
Holding space with Rachel Beach

Holding space with Rachel Beach

That these pieces “live” as they do is overwhelmingly apparent in Mid-Sentence; they exist in conversation with each other across distance and time, a living interaction, and they evoke a sense beyond the physically sculptural, beyond image, to live in relation to the viewer.
New Found Lands magnifies the margins

New Found Lands magnifies the margins

With New Found Lands, curators Pamela Edmonds and Bushra Junaid have reimagined a narrative by magnifying its margins.
Walking With Our Sisters pays homage to missing and murdered Indigenous women

Walking With Our Sisters pays homage to missing and murdered Indigenous women

Community members commemorate each individual life lost: "They are sisters, mothers, aunties, daughters, cousins, grandmothers, wives and partners. They have been cared for, they have been loved, they are missing and they are not forgotten."
Mocean Dance animates its past in lightening speed

Mocean Dance animates its past in lightening speed

At fifteen years, the 2016 Lieutenant Governor of Nova Scotia Masterworks Arts Award winner Mocean Dance is one of the longest surviving contemporary dance companies in Atlantic Canada and well-known for its highly physical, collaborative work.
Flesh and fiber

Flesh and fiber

WhiteFeather Hunter is creating living textiles: using her own hair, silk or gut sutures and mini 3D-printed looms and crochet hooks to weave scaffolding upon which connective tissue can foster.