- October 15, 2005 to November 25, 2005
In conjunction with the 4th LIVE Biennial of Performance Art, The Al Neil Project presents four evenings of interdisciplinary work by, and inspired by, Vancouver innovator Al Neil, a seminal force in the multi-disciplinary practices that have flourished on the West Coast over the past 50 years. Al Neil's career as a musician, composer, writer, bricoleur, and performance artist has spanned 60 years. His influence on Vancouver's artistic communities has been profound and enduring. This project endeavours to both assess and celebrate Neil's contribution to the development of avant-garde practices in Vancouver. LIVE 2005 will feature four events celebrating Al Neil's legacy in the community, including concerts, screenings, readings and performances.
By Al Neil, Ben Wilson, Carole Itter, Clyde Reed, Coat Cooke, Giorio Magnanensi, Gregg Simpson, Hank Bull, Kate Hammett-Vaughan, Kedrick James, Kevin Chong, Krista Lomax, Maxine Gadd, Michael Turner, Paul Plimley, Randy Gledhill, Ron Samworth, Stephen Smolovitz
artist | 2 ProgramsArtists Hank Bull
- September 7, 2018 to October 20, 2018
In conjunction with the Textile Society of America conference being held this September in Vancouver, grunt gallery presents Woven Work From Near Here, curated by Emily Hermant and T’ai Smith. Inspired by traditional weaving practices—including Indigenous methods for weaving blankets and baskets alongside structures and patterns that have come from elsewhere—the exhibition presents recent experiments by artists who live and work near here. Juxtaposing materials and methods, the works in the show stretch what it means to be a woven textile. The curators understand being “near here” as a spatial and temporal condition that defines the region currently known as the Pacific Northwest—a mesh of overlapping Indigenous and Settler cultures, legal-political systems, and territories. To live, work, and weave near here is to contend daily with the legacy of colonial settlement and expropriation. Marked by the dislocation of Indigenous weaving traditions between the early decades of the 20th century and the 1980s—decades after the Potlatch ban in Canada was lifted in 1951—the region has seen the re-emergence of this conceptual, functional, aesthetic and spiritual form. At once capacious and precise, new developments in weaving signal the potential of this practice to realign protocols and values.
By Debora Sparrow, Gabrielle L’Hirondelle Hill, Hank Bull, Jovencio de la Paz, Kerri Reid, Matt Browning, Melvin Williams, Merritt Johnson
- Curated by Emily Hermant, T'ai Smith