When you first walk into the Art Gallery of Nova Scotia’s exhibition space holding Ketu’elmita’jik, created by Ktaqmkuk (Newfoundland) artist Jordan Bennett, the colours and designs flood your senses. They enter you like some otherworldly creation that has seeped into your brain and started playing music you can’t quite hear. This site-specific work fills the...
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Juan Ortiz-Apuy’s Fountain Mist is disorienting, like the moment a dream snaps into a nightmare. You are not here. A spectre haunts the mixed-media installation, stalking through the sheen of blues, oranges, and yellows—the spectre of someone else’s dream being imposed on you, also known as advertising. The dream is at its eeriest in a...
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In Nova Scotia and elsewhere people are grappling with the issue of what to do with monuments associated with a painful past, and are asking whether the action of tearing down statues like that of Edward Cornwallis in Halifax helps to redress a history of violence, or whether the removal simply hides or disguises what has happened. In thinking through the dilemma posed by this question, we are forced to consider when it is appropriate to remove a monument, what should happen to it when it is taken down, and what to do with the space left behind.
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Visual Arts News magazine presents Michelle Sylliboy's Halifax launch of her new book of photography and Mi'kmaq (L'nuk) hieroglyphic poetry: Kiskajeyi - I Am Ready, in partnership with the Halifax Central Library and Rebel Mountain Press.
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Artists Christi Belcourt, Maria Hupfield, Ursula Johnson, Tania Willard, and Laakkuluk Williamson-Bathory collaborated and conspired with Isaac Murdoch, Esther Neff & IV Castellanos, Cheryl L’Hirondelle, Meagan Musseau, and Tanya Tagaq to create a series of site-specific works that have continued to evolve as an ongoing project, and result in unique gallery exhibitions and across the country. Engaging with the hashtag #callresponse—perhaps the most ubiquitous symbol of a modern form of conversational structure and organization—viewers are invited to peek into a much larger and more expansive meta-dialogue.
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Hosted at Parsons School of Art and Design in New York City as part of Project Anywhere, the “Elsewhere and Anywhere” conference presents art and research at “the outermost limit of site specificity”. The project hosts artists whose work engages micro to macro – bringing smaller, localized stories into the international art realm and beyond. It offered the opportunity to tap into the artistic psyche and methods used to reach public audiences through art.
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Greeley uses the car windshield as a frame, and the highway as a major compositional element in her paintings. Objects often cropped out of tourism brochures, such as road signs, guardrails and lane markings, become significant features. The aesthetic of the highway is reflected in her refined style. Like the graphics used on highway signs, each element is clear and readable. Layered together, however; they create intricate compositions and complex, open-ended narratives
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Unlike standard economic development, Cobb illustrates an arts-and community-centered approach can only move at the “speed of human trust,” which means that it presents unique barriers. When Cobb and her brothers pitched their proposal to the provincial and federal governments for funding assistance, they heard back that the idea was “not normal, practical, reasonable, or rational.” Cobb said that this was the moment that concretized her faith in Shorefast, which was formed in 2006 and has been an overwhelming success since.
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Indigenous art challenges and overthrows colonial expectations. It combats shame. It pushes beyond prejudice, shimmers with resilience, and counteracts art history’s Eurocentric mythology. First Nations Cree artist and curator, Kent Monkman’s exhibition Shame and Prejudice: A Story of Resilience responds to the Canada 150 celebrations through the subversive lens of his gender-fluid alter ego Miss...
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To “identify” is to name something and render it visible, even if it may have been present all along. Organized by Eastern Edge Gallery, the Identify festival facilitates the gathering and sharing of traditional and contemporary artistic and cultural practices of Indigenous peoples in Newfoundland and Labrador including Mi’kmaq, Inuit, Innu, Southern Inuit of Nunatukavut...
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