Art Gallery of Nova Scotia (Halifax)

Nova Scotia Spotlight: David Brooks

Installation view of David J. Brooks, Lifeforce, 2014, Acrylic on canvas, 153.0 x 127.0 cm. Purchased with funds provided by the Fred and Elizabeth Fountain Endowment for Contemporary Art and the Rowland and Margo Marshall Endowment, 2014. On view in the Nova Scotia Spotlight at the Art Gallery of Nova Scotia.

Nova Scotia Spotlight: David Brooks

David J. Brooks was the first Mi’kmaw artist whose work was collected by the Art Gallery of Nova Scotia (Migration, acquired in 1990). Born in 1950 in Truro, Nova Scotia, Brooks was raised and lived in Sipekne’katic First Nation (Indian Brook), Nova Scotia for most of his life. While living in Toronto in the 1980s, he met fellow Mi’kmaw artist Phillip Young, from whom he received much of his initial training. Within a few years, Brooks began to exhibit in multiple public and private collections throughout North America.

Gigante's Mechanical Eye: Views of 19th Century Naples

Giacinto Gigante, Untitled [View of a Bridge over a Gorge at the Villa Floridiana, 1826, Ink wash over graphite on wove paper, 21.0 x 29.8 cm (support). Gift of Emanuel Laufer, Halifax, Nova Scotia, 2016, with assistance from the Dr. S.T. Laufer and Mrs. Irmgard Laufer Endowment.

Gigante’s Mechanical Eye: Views of 19th Century Naples

Gigante’s Mechanical Eye: Views of 19th Century Naples focuses on a series of 11 landscape drawings using ink wash over graphite that were completed in 1826 during the early stages of the artist’s career as a landscape artist. These drawings were last exhibited publicly at the Mostra del Giardino Italiano in Florence in 1931. This series highlights Gigante’s ability to compose detailed landscapes of impressive views of Naples with accuracy and precision. With an emphasis on vantage point, perspective, and composition, they represent a point in Gigante’s artistic career when he began to receive wider recognition throughout Naples.

Althea Thauberger

The exhibition includes a new film produced in Saddar, a cosmopolitan neighbourhood within Karachi, known as the ‘City of Lights’ for its vivacious 1960s and 1970s nightlife. The area has been profoundly transformed by political and religious changes in the city and across Pakistan. Mad Mad Mad Mad Filmy World is an experimental film, and in essence a portrait of the Modernist-era screening house, the last in a line of historic cinemas along M.A. Jinnah Road in Karachi, burnt by a mob of protesters in 2012 to condemn a controversial Youtube video.

Thauberger’s exhibition parenthetically presents and references a selection of previous works, including Marat Sade Bohnice, a performance and experimental documentary set in the Bohnice Psychiatric Hospital, Prague that was co-produced for the 2012 Liverpool Biennial.

NSCAD Lithography Workshop: Contemporary Editions

The Art Gallery of Nova Scotia will host a group exhibition including artists who participated in the NSCAD Lithography Workshop: Contemporary Editions between 2017-2019. Organized by the Anna Leonowens Gallery this exhibition serves as a launching point for the revival of the famed NSCAD Lithography Workshop (1969-1976), with support from the Canada Council for the Arts’ New Chapters program. Featuring works by: Mi’kmaq artist Jordan Bennett from Stephenville Crossing, Ktaqamkuk (Newfoundland); Kenyan-born Canadian artist Brendan Fernandes, based in New York / Chicago; Métis artist Amy Malbeuf from Rich Lake, AB; Taiwan-born artist Ed Pien from Toronto, ON; Derek Sullivan, also Toronto-based; NSCAD Professor Erika Walker, from the American Midwest; and Shuvinai Ashoona from Cape Dorset, Nunavut in collaboration with the famed Kinngait Studios.