- June 30, 1992 to July 30, 1992
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No description available
By Ken Gerberick, Marcia Pitch - Curated by Glenn Alteen
724 Programs
Programs- September 9, 2004 to October 2, 2004
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Using the idea of the moccasin as a starting point, Vickers creates a personal connection to these objects. Growing up without the teachings or practices of moccasin making, she has had to acquire these skills from the world in which she lives- in fact, the one into which she was born. One pair of moccasins is beaded like the identity bracelets used for newborns in hospitals. Vickers beads the letters A-N-I-S-H-A-B-E and V-I-C-K-E-R-S into the material as a reclamation to her cultural history and personal identification. For another pair, she uses denim, which signals the contemporary lives of Aboriginal artists, whose histories of change have demanded adaptation to new materials and new contexts for art making...Another aspect of commercialism that inspires her work is the way traditional Native ideas and beliefs are used to sell products. One pair of moccasins is labeled "Kokanee", a beer company that uses the image of the Sasquatch in its media advertisements...Another pair carries labels from Shaftebury, a Vancouver brewery that produces Rainforest Ale. Vickers here highlights the irony of an urban business using the rainforest - most of which has been decimated in the name of commercial enterprise - as a marketing device. Judy Chartrand, of the Cree nation, is equally willing to confront the darker issues and histories of native people. She has created cabinets similar to Victorian cabinets of curiosities in which collectors devoid of understanding would house the (looted) treasures of their travels or their pocketbooks. However Judy's 'Cabinet of Contention' contains rows of Warholian soup cans, highly recognizable as signifiers of mass culture and contemporary art practice, and relabels them with words that name the negative repercussions of colonialism. A second cabinet houses pill bottles, each labeled with soporifics or 'snake oil' medicines meant to alleviate (but not cure) the discomforts of white guilt over historical racism...In addition to the cabinets, Judy has used traditional materials and techniques to produce a series of men's thongs, complete with thick bushes of hair peeking from underneath, which she calls her "Buffalo Soldiers". Made from traditionally tanned moosehide, these unusual garments are decorated with beadwork, caribou or moosehair tufting and porcupine quillwork. Each lined in red satin material for the comfort of the wearer, these very well endowed thongs play on the tradition of the openness of sexuality in Native culture. - Daina Warren, August 2004
By Charlene Vickers, Judy Chartrand
Two/ Many Tribulations
- September 7, 1990
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No description available
By Chris Creighton-Kelly - Curated by Glenn Alteen, Susi Milne
Unanswered Questions
- September 7, 2001 to September 29, 2001
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These large-scale paintings (5'x6') painting collages resist being read as abstracts or narrative, landscape or figure. Much of Paley's materials involve magazine photographs that are cut and manipulated to engulf the viewer into a world of chaotic thoughts and emotions. The densely coated surfaces seduce viewers into associations and narratives of their own making. This opening is part of SWARM, a city-wide celebration of artist run culture produced by PAARC.
By Stewart Paley
Uncut
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No description available
Under the influence…
- November 19, 1991 to December 14, 1991
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Unforgettable Ancestors is an exhibition of the dreams of Amos Glick Zook. These dreams take the form of figurative sculptures which combine woodcarving with neon. Zuck was born Amish but his work is a marked contrast from their stark, Spartan design. The wood is his connection to his past; both his father and grandfather were woodcarvers. The neon to him represents energy, breath and spirit. The figures in these sculptures come to Amos in dreams and represent for him emotional states such as steadfastness, loneliness, disillusionment, listening stillness, sadness, and comfort. These works attempt to balance his past and present; the wood and neon combine to create new visions.
By Amos Glick Zook - Curated by Glenn Alteen
Unforgettable Ancestors
- June 9, 2017 to July 29, 2017
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“Ungalaq” is an Inuvialuktun word for the west wind. When the west wind comes up, tides rise and as the earth softens, things that are staked to the ground pull lose. Suddenly untethered, dogs run free and smoke houses drift up the beach. It is a period of unpredictability and, ultimately, of re-formation. Drawing from five bodies of work, this solo exhibition will be the most extensive mounting of Gruben’s work to date. Currently a Victoria based artist, Gruben has developed a strong aesthetic and practice of working with materials linked to her home in the Inuvialuit hamlet of Tuktoyaktuk in the North West Territories and to the Coast Salish territories of Vancouver Island. Her aesthetic practice can be seen as rippling outward from the land itself. She delves deeply into broad issues like climate change in a way that is both eloquent and pared down, pushing viewers to extend their own process of thought and interpretation, and allowing them to feel their way through each gesture of weaving, tufting, encasing, and assembling in her material process. As an Inuvialuit artist her exploration of Indigenous materials variously includes polar bear fur, seal skin and whale intestines in combination with anodized aluminum, pvc, wool and other materials associated with industry. These substances do not function in binary structure of opposing traditional and industrial materiality. Rather, Gruben’s material sense reverberates throughout her choices, conceptually linking her experiences of home to ways in which materials are reused, re-appropriated and reimagined.
By Maureen Gruben - Curated by Kyra Kordoski, Tania Willard
UNGALAQ (When Stakes Come Loose)
- August 1, 1993 to August 31, 1993
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No description available
By Brian Howell
Unofficially Scheduled Show, During Summer Break
- November 30, 2002
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No description available
By Ahasiw Maskegon-Iskwew, Anthony McNab Favel, Dana Claxton, Lori Blondeau
Unregenerated: Action, Ritual, Offerings
- September 19, 1985 to September 21, 1985
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This strong script contains an emotional, almost irrational awareness of social issues, which is juxtaposed against a preoccupation with visual impact. This stark piece is a demand from a young woman's life.