- 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 | 69 Programs
Medium PaintingA picture or image made with paint such as oils or watercolours.
- February 15, 2002 to March 9, 2002
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Robert Burke was born and raised in the North West Territories. This is where much of his experience and concepts are drawn from. He refers to himself as an "Aboriginal" because of the two cultures he has experienced through his black military father and Chipewyan mother. His visions are accounts of the timberland and wildlife within the forests where he lived and worked as a logger most of his life. His triptychs are abstracted ideas and thoughts, jumbled together to create a vividly fascinating world of human and animal figures. It was during his early twenties that Robert Burke started his artistic endeavours but then went into logging. It hasn't been until recently that he has taken up the brush again, becoming an emerging artist with a background as colourful as his paintings.
By Robert Burke - Curated by Daina Warren
Aboriginal Immersion
- November 4, 1986 to November 15, 1986
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"These works are large (4 x 5) paintings on canvas. The mediums are acrylics, pencil, collage, pastel, and modelling paste. Four of these paintings portay important historical women. The others represent 'types' of women."
By Laurie Papou
Adam’s Rib
- January 17, 1995 to February 4, 1995
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No description available
By Thomas Anfield - Curated by Glenn Alteen
Altar Pieces
- October 8, 1996 to November 2, 1996
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I would like to propose a show of paintings and text to be presented at the grunt gallery. The title of the show would be called The Hardy Boys Revisited. The premise of the work would be that the Hardy Boys would be freed from the narrative time warp in which they are trapped perpetually as seventeen and eighteen year olds. By using fictitious book covers and titles the works chronicle their progression into adulthood and bring Frank and Joe Hardy into the 90's. For the purposes of this show they will begin aging from the late 60's, making them in 1995 in their mid 40's
By Andrew Short - Curated by Glenn Alteen
An Orgy Of Pansemics
- 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
- July 9, 1985 to July 20, 1985
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Avrom was born in Vancouver in 1952, a descendent of the Tolstoys of Russia. This is evident in his art. His narrative, descriptive style and a fine eye for detail are a feature in this work. Although Avrom has completed his Bachelor of Fine Arts degree, he doesn't old much faith in art schools. "The primitives didn't go " is his usual reply. His work is bright, colourful and vibrant. His use of line and colour is rigorous yet sedentary. His refined aesthetic contradicts his raw primitive style. His parody of the fashion world is both scathing and loving at once. A damnation and glorification in the same work.
By Avrom
Arte (Dats Italian)
- May 5, 1998 to May 23, 1998
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The artist is a white male, heterosexual, and judging by the surroundings, also middle class or more likely the dissatisfied heir of the middle class. Many of the references here are from black culture recognizing the huge influence African Americans have asserted in North American culture. The perfectly quoted Miles Davis or James Brown record covers sit like altars in these rooms. But the newspapers and magazines often tell a very different story.
By David Ostrem - Curated by Donna Hagerman
Between Being And Looking
- September 10, 2015 to October 10, 2015
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Castillo's work refers to a cultural past and contemporary present, fusing a hybridized aesthetic to engage issues about migration, historical trauma, identity, and memory. His narratives express a multifacted, interlocking and non-linear approach. Consequently, the body of work revises and casts new personal interpretations on memory-building as a form of resistance, political commentary and healing.
By Osvaldo Ramirez Castillo
Catastrophe, Memory, Reconciliation
- September 25, 2020 to December 12, 2020
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Vancouver-based printmaker Marlene Yuen’s explorations of Chinese Canadian labour histories have through the years taken the form of intricately produced print and paper-based media. Through ‘zines, comics, lovingly crafted artists books and – new for this exhibition – site-specific artworks, Yuen’s body of work comes off the pages and onto the walls. In precise and attentive craftsmanship, Yuen brings dimension to both the known and the overlooked histories of immigrant labour. Drawing from oral histories and archival research inspired by Yuen’s own family history, Cheap! Diligent! Faithful! acknowledges the complexities of labour and immigration in this country – and lifts up the small, remarkable details of lived experience. The exhibition includes the launch of Yuen’s new publication that explores the graphic and cultural history of Ho Sun Hing Printers which closed in 2014, after 106 years of business in Vancouver’s Chinatown.
By Marlene Yuen - Curated by Vanessa Kwan, Whess Harman