- October 28, 2016 to December 10, 2016
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CALL To support the work of Indigenous North American women and artists through local art commissions that incite dialogue and catalyze action between individuals, communities, territories, and institutions. To stand together across sovereign territories as accomplices in awakened solidarity with all our relations both human and non. RESPONSE To ground art in responsible action, value lived experience, and demonstrate ongoing commitment to accountability and community building. To respond to re/concilliation as a present day negotiation and reconstruction of communities in the aftermath of colonial trauma. callresponseart.ca
By Cheryl L'hirondelle, Christi Belcourt, Esther Neff, Isaac Murdoch, IV Castellanos, Laakkuluk Williamson-Bathory, Marcia Crosby, Maria Hupfield, Tania Willard, Tanya Tagaq, Ursula Johnson - Curated by Maria Hupfield, Tania Willard, Tarah Hogue
medium | 30 Programs
Medium AssemblageArt produced by the assembling of disparate elements, often scavenged or bought by the artist.
- March 7, 2003 to March 29, 2003
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Converging in the space of a gallery, the proposed exhibition, Anatomica Nervosa, will unify a synthesis of two project series, Project Series: Preserves and What She Saw. Installed concurrently, a body of work will surface, each project[ion] intent on informing an independent yet synchronous discourse of bodily disclosure, a narrative set in reference to a visual and textual process coherent within interdisciplinary practices. Realized on site, the work will reflect an atmosphere of archive, multiple sites constructed of multiple mediums performing multiple readings, a visual shifting of textual boundaries between the mediums and the exhibition state. The exhibition will unfold, collecting, compiling, and housing images, the objects of photographic image and the specimens of anatomical waxes. Over the months, the proposed work will continue to actualize, substantially increasing in collection and size, image and text yet; the premise and [psycho] analysis will remain unaltered. Accompanying the exhibition is further support material, in particular, a text entitled Lapsus Lingae: [Slip of the Tongue], a narrative of fact/fiction/friction that informed and initiated the beginnings of this project, and photographic images wherein the sites were of chance and circumstance, the collection only a construct in assemblage.
By Sue Camm
Anatomica Nervosa
- December 6, 1988 to December 17, 1988
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Garry Ross' objects are easy to dismiss. They are old and for the most part obsolete. By changing the context in which the object is seen, the former use is nulified and it takes on a transformed meaning. Ross subtly alters these elements by transorming the mechanical into a pastoral where they become like a river or a mountain and the contemplation of which brings forth a multiplicity of meanings which speak to the metaphysical.
By Garry Ross
Animate Objects
- June 26, 1985 to July 6, 1985
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No description available
By David Asmodeus
Assemblage
- February 18, 1986 to March 1, 1986
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"...glass assemblage by Jean Mcrae. On a textural background of various cloths, and using an overlay of glass in various shapes and sizes, she place found objects in the form of copper or bits and pieces collected. The resulting abstract is alive visually with each layer visible and accounted for."
Built on Glass
- 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
- August 26, 1986 to September 6, 1986
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".. You can expect to see : a saxophone, an xylophone, Colonel Sanders, Spiderman, pink fluorescent eggs, a whirling dervish, a devil dancer, a pair of ears, black enamel paint, a basketball hoop, Billy Graham, ET, a zeliva, a mirror, Dr X, acetate, text, pieces of a hair dryer, 1/2 of a frisbee, watercolours, a lizard, a purple bag and much more."
By Roy Green
Hyper-Modern !?
- October 20, 1992 to November 7, 1992
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No description available
By Joseph Haag
Industrial Reliefs
- July 22, 1986 to July 31, 1986
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"His work in assemblage is bright and colourful it has the texture and feel of a Woolworths store in the toy section srrounded by useless bits of plastic. The work is alive with miniature scenarios and stil lives that are both insightful and silly."
By Ron La Pierre
Kibbles’n’ Bits
- February 12, 1985 to February 23, 1985
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"This work can turn the noun angst into a verb carrying the viewer into a dark forest of lost hope. Ultimately we find the hope within ourselves and are better for seeing the work." - unknown
By Howard Brenton, Ken Gerberick, Mickey Stankovic, Susan McKinley