- April 11, 1995 to April 29, 1995
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Addison's and Canyon's work are a current and contemporary insistence on the older genres they employ. There is an urgency to their need to pull new meaning out of old forms. Together the revitalize the flower as a post modern subject. (for full curatorial statement see attached brochure below)
By Brice Canyon, Merle Addison - Curated by Glenn Alteen
Category | 313 Programs
Exhibition- July 21, 2016 to August 20, 2016
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Four Faces of the Moon is multi-media installation that provides a behind-the-scenes glimpse into the elaborate sets, puppets, and props created for the new stop motion animated film by the same name. The story is told in four chapters, which explore the reclamation of language and Nationhood, and peel back the layers of Canada’s colonial history. A personal story told through the eyes of director and writer Amanda Strong, as she connects the oral and written history of her family as well as the history of the Michif (Métis), Cree and Anishinaabe people and their cultural ties to the buffalo. Canada’s extermination agenda of the buffalo isn’t recorded as fervently as it was in the United States, yet the same tactics were used north of the border to control the original inhabitants of the land. This story seeks to uncover some of that history and establish the importance of cultural practice, resistance and language revival from a personal perspective. Artistic collaborators include: Bracken Hanuse Corlett, Raven John, Femke van Delft, Chloe Bluebird, Dora Cepic, Dusty Hagerud, William Weird, Daniel Guay, Lydia Brown, Terrance Azzuolo, Callum Paterson, Tim Daniel, Joce Weird, Ian Nakamoto, Lynn Dana Wilton, Zed Alexander, Danielle Wilson, Damien Buddy Eaglebear, Colour Sound Lab Studio, Boldly Creative, Outpost Media and Menalon Music, along with the support of many others.
By Amanda Strong - Curated by Glenn Alteen
Four Faces of the Moon
- May 24, 1994 to June 11, 1994
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No description available
By Taiga Chiba
Fox Shrine
- April 2, 1985 to April 13, 1985
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Exhibition of two painters origianlly from Europe now living in Vancouver. Mickey Stankovic set about to paint his own series of icons and it is from this collection that this show is drawn. The paintings, done in acrylics and oils, also represent historical scenes in Yugoslavian history. Most of Dietmar's work centers around wildlife and reflects his intense interest in nature. Through each painting Dietmar strives to express his feelings about the subjects he paints. He pays close attention to detail in these works.
By Dietmar Peter, Mickey Stankovic - Curated by Kempton Dexter
Freelance Peinters
- April 30, 1985 to May 11, 1985
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"Beesack's chairs are actually portraits of women she knows. "A favourite chair ", says Beesack, "takes on the characteristics of its owner."
From Where We Sit
- February 3, 1987 to February 14, 1987
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Sammy Sammy, the legend of Hornby Island has come to grunt, despite his urgings that grunt should come to him. "Bring them all up here," he said, to his Place of the Woods where he creates his masterpieces of folk art. For those who have never heard of him, Sammy Sammy was a poet, philosopher, troubadour, cowboy who made sculptures out of reinforced concrete that were "suitable for decorations in flower beds or lawns." He worked with cement, moss, concrete, and paint (among other things) to create raw, stark pieces of folk art. http://www.firstvisionart.com/daina/sammy.html
By George dePape, Sammy Sammy
Funkie – The Legend Of Hornby Island
- January 9, 2004 to January 31, 2004
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Marianne Corless has produced a series of portraits and flags, constructed out of recycled animal pelts, recycled blankets and human hair, that symbolize the historical origins of Canada.
By Marianne Cortess - Curated by Daina Warren
Further
- December 3, 2015 to December 19, 2015
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grunt gallery presents new works by Vancouver-based artist Zoe Kreye. Continuing the artist’s established practice of working through movement-based workshops and community-engagement, FutureLoss explores the gallery’s immediate surroundings: Main Street. Space, on this strip and in this city, is currency, and Kreye’s work reaches through overarching narratives of real estate, gentrification and speculation to consider the poetics of an individual’s connection to place. Over the course of a 12-week residency, the artist engaged directly with shopowners, organizers and residents in discussions around what it means to hold space in this neighbourhood. Together, Kreye and each participant created sculptures in plaster: shapes that addressed the connection of their bodies to specific sites in their storefronts, studios and workspaces. Central to their discussions was the question of loss: how does the body connect to place? And, further: how does the body absorb change? These works emerge as evocative portraits of the participants and the architectures they occupy. The objects will be on view in grunt’s exhibition space, and are accompanied by a publication featuring commissioned texts by Neil Eustache, Kimberly Phillips and Donato Mancini, with contributions from participating community members, and the artist.
By Zoe Kreye - Curated by Vanessa Kwan
FutureLoss
- February 6, 2004 to March 5, 2004
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The three artists work with the wearable costume as a means to represent the indigenous body, while dealing with the stereotypes and realities of aboriginal communities. They reconnect with history through the language of ceremonial clothing, the use of traditional family crests and the incorporation of organic materials.
By Daina Warren, Peter Morin, Sonny Assu - Curated by Daina Warren
Futuristic Regalia
- February 9, 2001 to March 3, 2001
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This exhibition features long patch paper murals combining mixed media techniques of papermaking, painting, staining, printmaking, and collage and explores animist imagery from folklore and mythologies. Ihaya's work is based in printmaking techniques of etching and chine colle. Her work evokes the natural world and uses archetypal images in a new and exciting way.
By Tomoyo Ihaya