There are many ways people are brought into the process of making art. Through my own art practice and experience with producing and participating in socially engaged art projects, I understand that collaboration, participation, and social engagement have the capacity to create transformative experiences and dynamic artwork. Yet, I have felt the edges of collaboration...
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Mi’kmaw artist Alan Syliboy’s retrospective The Journey So Far, curated by Pamela Edmonds at the Dalhousie Art Gallery (May 9 to August 11, 2024), spanned more than fifty years of work. The exhibition included paintings, collage, photography, music, print, mixed media, video, drums, and guitars and even a commissioned wall mural featuring a great horned...
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This summer marked the fortieth anniversary of Eastern Edge Gallery, Newfoundland’s only artist-run centre and the site of some of the wildest and most boldly political art exhibited in Newfoundland since the early 1980s. In preparation for celebrations, which took place in St. John’s in August, the gallery staff dug into their archives, hosted story-sharing...
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We’re eager to hear from writers, artists, and critics to expand and deepen conversations inspired by the artistic vision of emerging and established artists who are pushing the boundaries of art and culture in the Atlantic. For this open call, we are seeking pitches for features, profiles, and exhibition reviews. We prioritize work that pushes...
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Curator Emily Critch notes that the exhibition “presents a visually poetic archipelago of transfeminine and sex worker belonging in Newfoundland and Labrador. Responding to contemporary discourse about trans and sex worker experiences, with hope and histories held by water, an entangled narrative of care, intimacy, and resistance emerges from the coastlines” (2024). Collaboratively, Critch and Jefferies have questioned how we might hold and be held within this archipelago.
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Multiple works on gallery walls As We Rise at the Dalhousie University Art Gallery
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"Being able to express myself in more than one way has been a gift and something I didn’t really realize I was missing. I think that form of expression and being connected to such a strong local gallery has firmed up my yes’s and no’s. I am more careful with my time. I am seeing how quickly time can pass. Being a mother and demonstrating to my kids what is important to me in a day, what brings me joy, and the power of saying no is a daily practice and certainly something I want to be ingrained in them as well."
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If the church is a display of God’s glory, Pitchpole is a display of conceptual art’s glory. Poetry by Erin Langille (acting as a psalm), Pitchpole (the hymn), jewellery by Shaya Ishaq (the relic), a sturdy set of speakers (the organ), and Ader (the saint). Does it matter that we don’t know the story of Ader and his ill-fated journey, or the many legends that have surrounded him since? Or is Ader's story simply Robinson’s invitation to work through whatever unfinished grief we hold in the cathedral of the contemporary art gallery?
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Hooper writes, “I walked out of my studio one day and was overwhelmed by the complexity of it all.” This complexity is what she investigates through her drawings, be it the complexity of a landscape, a human being, an idea, or the world at large. This process is further illustrated through the inclusion in the exhibition of many of her rough drafts and sketchbooks. Flipping through these jumbles of drawing and poetry, sketches and snippets of prose, one can imagine Hooper sitting at her desk in her studio, creating on the fly.
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“What I find inspiring is looking at my many different interests and finding ways of linking them together and creating, like, a mapping of my interests, and threading disparate sources of inspiration, and then creating projects out of those inspirations,” Gallagher says.
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