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
CERA ALBA: L’alliage de l’éphémère à l’éternel

CERA ALBA: L’alliage de l’éphémère à l’éternel

CERA ALBA examines Acadian artist Romeo Savoie’s use of found objects and everyday naturally occurring materials, and how these might be reconfigured in his works to create new and unexpected meaning. The resulting body of work instigates innovative ways of relating organic and inorganic elements unto what can best be described as an “all-over” painterly surface.

Curated by Paul Édouard Bourque, this exhibition focuses on a pared-down selection of works produced during a time when Savoie was seriously questioning the role of the found object in a work of art, and how this issue relates to the overall scheme of his oeuvre. Modular elements figure prominently in the building-up of the pieces, with various references to grid-work and multiples; these are combined with superimposed diptychs and sectional pieces designed to dominate larger areas once installed.

Savoie’s exuberant uses of beeswax, twigs, branches, glass and faded flower petals are brazenly combined with his trademark painterly application of saturated pigments onto a textured, heavily worked-up surface of either canvas or wood panel. These works address the artist’s perennial questioning of the value judgements inherent in the representation of reality, and how mere worldly materiality might somehow lay claim to notions of the eternal.

Recent work by Romeo Savoie. Photographed at his studio in Barachois, 23 September 2014.

Roméo Savoie, Glass, Mixed media on wood, 2013. photo credit: Mathieu Léger

 

This is Judy

This is Judy

Craft Council of Newfoundland and Labrador annex Gallery

A series of exuberant hooked rugs by Nova Scotia based artist Laura Kenney, which tell the story of irrepressible Judy, an eccentric but delightful character that lives in a hooked rug universe that the artist describes as “animated abstraction”.

 

 

Shaped by Clay

Shaped by Clay

Isabella St. John explores themes that have fascinated her for forty-five years. “ My primary joy is with shaping clay but clay has shaped and defined my life, connecting me to my community here and to an ancient lineage of potters around the world.  I love all humble pots and I love the tranquility of Asian ceramics.”

AgitProp: Soviet Propaganda 1905-1945

AgitProp: Soviet Propaganda 1905-1945

Public Lecture with Dr. Susanna Weygandt: Thursday, 6 July, 7 pm

Revolution Revolution Artist Performance: Friday, 14 July, 6 pm

AgitProp: Soviet Propaganda, 1905-45 displays over 40 examples of Soviet poster art from the collection of Dartmouth-based antique book dealer, Major Marcus Brauer, currently on loan to the Saint Mary’s University Art Gallery. This collection was originally compiled by the late Dr. David R. Jones, a local professor of Russian History and longtime leftist activist.

This exhibition of propaganda images—primarily from folios reprinted in the 1970s—visually represents the events leading up to the Russian Revolutions, the Civil War of 1917-22, the mass industrialisation of the USSR in the late 1920s and 1930s and the Great Patriotic War of 1941-45 (WWII).

AgitProp investigates the role of propaganda as a means of collective commemoration and form of political agitation. Feminist and anti-fascist themes are drawn out as this show examines shifts in the representation of women in State propaganda and how opposition to the rise of German fascism was depicted during the Soviet era.

As our current political climate polarises and pitches towards fascism, AgitProp offers an opportunity to examine a key moment in the visual history of the Left.

Revolution Revolution is a new performance work by Gillian Dykeman, which activates the latent radical potential of the human energy amassed through group fitness. Attendees will meet at Saint Mary’s University Art Gallery on Friday, 14 July at 6 pm for an invigorating and inspirational participatory cycling class performance. Attendees are welcome to ride along (wear comfortable gym clothes) or observe this 30 minute spin studio performance. No previous spin workout experience necessary. Attendees will be asked to sign a waiver in the gallery in order to access the Homburg Centre for Health & Wellness.

This event is free. To attend, please register on EventBrite: https://www.eventbrite.com/e/revolution-revolution-tickets-35064119726


About the Curators:

This exhibition is the first collaborative curatorial venture for Emily Davidson and Nicole Marcoux. This project combines their interests in Russian history and culture; print and image reproduction; and political art. Emily Davidson (NSCAD, BFA ’09) is an artist, activist and graphic designer. Her practice uses printmaking to investigate the history of the Left, imagine utopian futures and agitate for social justice. Nicole Marcoux (Dalhousie, BA ’13) is a crafter, holistic nutritionist and community organiser. Her past academic work in Russian Studies focused on a political and social analysis of the Soviet cookbook, The Book of Tasty and Healthy Food.

 

 

 

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

Tombées dans les interstices: A Current Perspective on the Contributions of Women Artists to Contemporary Acadie

Tombées dans les interstices: A Current Perspective on the Contributions of Women Artists to Contemporary Acadie

Tombées dans les interstices showcases some of the women artists that have participated in the forging of a contemporary Acadian identity, while also addressing feminist art theories that have fallen off the radar in Acadie and which remain mostly absent from Acadian art practices today.

The exhibition and accompanying publication contextualize Acadian art history within the broader scope of feminist art history, highlighting links to the effervescence of 1970s feminism – also notable as a period of awakening for the contemporary Acadian identity – so as to understand how and why these women artists have been forgotten.

The Acadian sociopolitical context of the time, with its fight for linguistic equality, were such that sparks of feminist debate coming from the visual art milieu were stifled leaving little room for women artists to succeed. Discussions emanating from this project will look at the causes and effects that are still prevalent today, while reviving feminist discourse in the visual arts.

Yolande Desjardins, sans titre, streched and starched textile, 1983. photo credit: Galerie d’art Louise-et-Reuben-Cohen archives

 

Wije’wi (Come with Me)

Wije’wi (Come with Me)

Wije’wi (Come with Me) consists of paintings on wood, a series of drawings and two carvings in yellow cedar with an interactive audio component. The artist uses known Beothuk and Mi’kmaq visual patterns, symbols and colours to create landscapes which represent the island of Ktaqamkuk (Newfoundland). The artist conducted research at several institutions including the Museum of History in Ottawa and The Rooms in St. John’s. The artist states: Through observing and spending time with Beothuk as well as Mi’kmaq objects I’ve created a series of landscapes that aim to tell the story and journey of our people on the island of Ktaqamkuk (Newfoundland).

Jordan Bennett is a Mi’kmaq multi-disciplinary visual artist from Stephenville Crossing, NL. The artist received his BFA from Sir Wilfred Grenfell Campus, Memorial University in 2008, and his MFA from the University of British Columbia in 2016. He has exhibited his work extensively in venues throughout Canada, including solo exhibitions at the Vernon Public Art Gallery in Vernon, BC, Trinity Video Square in Toronto, ON, and SNAP Gallery in Edmonton, AB. As well, he has exhibited his work internationally in venues such as the Campbelltown Art Centre in NSW, Australia; Galleria Ca’Rezzonico in Venice, Italy, as part of Newfoundland and Labrador’s contribution to the Venice Biennale; and the Arab World Institute in Paris, France. His work was included in Beat Nation, De-Colonize Me, and Changing Hands: Art without Reservation, all of which toured extensively. He was the recipient of the Artist of the Year Award in 2014 from the Newfoundland and Labrador Arts Council. He was both awarded the Aboriginal Graduate Scholarship from the University of British Columbia and long listed for the Sobey Art Award in 2015 and 2016.

EPHEMERA

EPHEMERA

This exhibition deals with artifact and thought, and their shifting presence in contemporary society. Things we think of as permanent become transitive in this installation. Landscapes, objects, and ideas mix with other ephemera in Jennifer Morgan and Caroline Clarke’s prints and three-dimensional artifacts.

 

New Works

New Works

Barbara McLean, Centering 2, mixed media (tea, coffee, ink and acrylic.), 24” x 24”.

 

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

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.

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.

More Exhibition Listings »

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