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Dance Like No One’s Watching

CELEBRATION AS LIBERATION As you venture deeper into the exhibition, a spread of black-and-white photographs lines the walls on either side of the room. On the right side is Allen D. Crooks’s Lose yourself to dance,most of which was photographed during a fiftieth-anniversary family celebration and vow renewal at the East Preston Recreation Centre. The photos pull you into a room full of joy, laughter, and celebration. Glistening suits and well-worn floors set the scene, as family members—old and young, anonymous and identified—strut their stuff, skirts swaying with the music, arms raised in jubilation.

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Sarah Maloney’s Pleasure Ground

Sarah Maloney’s Pleasure Ground

Sculptor Sarah Maloney’s idea of a pleasure ground is a little more literal. It's the title of her most recent solo exhibition, on display at the Beaverbrook Art Gallery in Fredericton, New Brunswick, until October 12, 2025. Pleasure Ground investigates both the body and sexuality (pleasure) as well as plants and other elements of the natural world (ground).

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Jacoby Battiste, photo by Mackenzie Pardy

Aaron Prosper and Mackenzie Pardy’s Amalkewinu’k

Walking into the Treaty Space Gallery at Nova Scotia College of Art and Design University on a bitter cold February morning I smell the lingering sage from the exhibition opening of Amalkewinu’k from the previous night. For the public portion of the opening, Michelle Peters sang a Mi’kmaq song, and curators Aaron Prosper and Mackenzie...

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Justin Augustine, The Faith Catchers, 2000, oil on canvas. Dalhousie Art Gallery permanent collection, purchased with funds donated by Dr. John A. Scrymgeour, 2001. Photo: Steve Farmer

Mapping Black Resilience: Three Perspectives

Mapping Black Resilience: Three Perspectives at Dalhousie Art Gallery, which ran from February 4 until May 4, 2025, is an exhibition in three acts, which independently, yet in tandem, reconsider archival material and its role in the documenting and redocumenting of Black identity. The exhibition explores personal and collective experiences as archival documentation of Black...

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