- June 24, 1986 to July 5, 1986
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Digby is located on the Bay of Fundy in Southwestern Nova Scotia. This marginal farmland, it's divisions basically unchanged for 150 years, is the birthplace of the artist and the home of The Herd.... The second part of this show entitled "Taking the TV for Granite" consists of a group of sculptural paper pieces and are descendants of the rocky farmland of Digby County."
By Kempton Dexter
medium | 55 Programs
Medium SculptureA work of art carried out (caved, cast, modeled, or otherwise) in three dimensions.
- April 15, 1986 to April 27, 1986
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"Danielle's present work revolves aroun the same image. This image is repeated hundreds of times, row upon row, hand-drawn on paper, then placed behind silicone or plastic . The work is personal but it is not oblique. The rows of fogures suggest continuum; time passing and generation following generation. playful use of materials and thoughtful construction combine to produce objects that are unique and beautiful."
By Danielle Peacock - Curated by Glenn Alteen
Works
- November 19, 1985 to December 3, 1985
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No description available
By Georgie Haggerty
New Shapes
- 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
- November 1, 2014 to December 19, 2014
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grunt gallery kicks off our 30th anniversary programming with a residency and exhibition with Vancouver-based artist Julia Feyrer entitled, Kitchen. Taking the form of an evolving installation in the main gallery space, Feyrer’s work engages with materials and documentation from the grunt archives in the production of a new, site-specific environment.
By Julia Feyrer - Curated by Vanessa Kwan
Kitchen
- September 5, 2013 to October 12, 2013
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A multimedia exhibition with work by artists Bracken Hanuse Corlette and Csetkwe Fortier. The artists turn our attention toward the stcuwin (salmon) as a traditional food source via process and connection. The decline of cultural harvest due to disease, climate change and overfishing has left both animal and human in a struggle to survive; the exhibition investigates this topic with new works in painting, drawing, sculpture and digital media. The artists acknowledge an active and ongoing mentorship with artist, Lawrence Paul Yuxweluptun, throughout the creation of this exhibition. Bracken describes the relationship as multifaceted. “He has given us invaluable tips and tricks that have helped our technical process in painting and we have had good talks about concept, form, Indian politics and life, art world dealings, and the history of Indigenous art on the coast and in the Interior [of British Columbia].
By Bracken Hanuse Corlett, Csetkwe Fortier
Don’t Go Hungry
- September 6, 2012 to October 6, 2012
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Villeneuve makes poetic machines by assembling familiar materials that he barely transforms. His works move, emit light and produce sounds in ways that challenge one’s assumption about it’s imaginary function.
By Jonathan Villeneuve
Do The Wave
- January 1, 1994 to January 6, 2016
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The Al Neil Collection includes materials on artist, musician, and writer Al Neil whose long and storied career has included grunt's Al Neil Project (see 2005.1015ALN) as a part of the LIVE Biennale of Performance Art 2005, features in brunt Magazine and the web project Ruins In Process: Vancouver Art in the 60s, and continues with grunt's involvement with the relocation, preservation, and reactivation of Al Neil and Carole Itter's cabin from the Dollarton shore. The Al Neil Collection includes physical copies of Neil's music recordings, photocopied and original articles on Neil, and various ephemera related to Neil's life and work.
By Al Neil
The Al Neil Collection
- July 5, 2012 to August 4, 2012
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BLIZZARD: Emerging Northern Artists looks at indigenous artists working in the North who are using their traditions to forge new ideas around contemporary art. The exhibition and publication, in development for over two years, looks at the influence of Inuit and Northern traditional art forms and how these are translated by a younger generation of artists whose roots are in the North. How does the landscape and context of the North influence the visions of its young artists and how do our interpretations of that dreaming - our preconceptions about the North - influence our understanding? Curated by Artist/Curator Tania Willard, BLIZZARD looks at a younger generation of Northern Artists breaking barriers by questioning relationships that tie North and South.
By Geronimo Inutiq, Jamasie Pitseolak, Nicholas Galanin, Tanya Lukin Linklater - Curated by Tania Willard
Blizzard: Emerging Northern Artists
- December 13, 2012 to January 6, 2013
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Working with The City of Vancouver's Transit Shelter Advertising Program, grunt facilitated the production and distribution of posters by Mark Mizgala. Artist Mark Mizgala presents posters of pop bottles and other containers coated in slip, creating a look of ancient clay vessels in this off-site exhibition entitled, Remains. Mizgala investigates contemporary food and beverage packaging, represented as mock archaeological findings. The artwork appears in a form that is intrinsic to advertising: posters printed on commercial-grade paper and displayed in bus shelters across the City of Vancouver. Having worked as an art director for most of his professional career, advertising is familiar territory for Mizgala. He is fascinated by the corporate machine, its by-products, and the manner in which they are presented in popular culture. Mizgala immortalizes on film that which is already immortal: garbage, enjoying a particularly long life in our landfills, rivers, and ocean floors. The poster series is a testament to long-term environmental impact – a sharp contrast to the ephemera of advertising and mass media.
By Mark Mizgala