Category Archives: Galleries

Sonny Assu’s New Solo Exhibition Opens at Equinox Gallery

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The new show, titled Omnibus, addresses the ways traditions of the past inform contemporary ideas and identities, particularly as related to the effects of colonization.

An exhibition of new works by artist Sonny Assu (BFA 2002) is now open for viewing at Equinox Gallery.

Titled Omnibus, the show includes collage and paint works which advance Sonny’s longstanding exploration of contemporary political and ideological issues via the convergence of Indigenous and pop-culture iconography.

“Assu’s work focuses on Indigenous rights, consumerism, branding and technology as totemic representations of identity,” Equinox writes in an exhibition text. “Within this, he addresses the ways in which traditions of the past have come to inform contemporary ideas and identities, particularly as related to the effects of colonization, and the loss of language and cultural resources in Indigenous culture.”

Full article: https://www.ecuad.ca/news/2021/sonny-assu-omnibus

New Access Gallery Show Features Works, Curation by ECU Community Members

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Posted on August 24, 2021 | Updated August 26, 2021, 7:42AM

Titled Conditional Belonging, the exhibition aims to make space for “alternative ways of being, knowing, and making.”

A new exhibition at Access Gallery curated by artist and curator Rebecca Wang (BFA 2021) foregrounds personal and communal narratives around power relations, access, resistance, and healing.

The show, titled Conditional Belonging, features work by local emerging artists Art Action EarwigTaryn Goodwin (4th year BFA), Maria-Margaretta (BFA 2018), Sydney Pickering (BFA 2021), Neena Robertson (BFA 2021), and Tadafumi Tamura each of whom contributes to the show’s enactment of “a temporary belonging for alternative ways of being, knowing, and making,” according to Rebecca’s curatorial statement.

“Beginning with the question, ‘What does it mean to make art with limited access and capacity?’, the making of this exhibition has evolved into an investigation of how multi-faceted limited access and/or capacity could look like for artists in intersectional positions.”

Full Article: https://www.ecuad.ca/news/2021/new-access-gallery-show-features-works-curation-by-ecu-community-members

Contemporary Women Sculptors Front and Centre in New Show Celebrating Charles Marega

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Posted on August 19, 2021

The late Italian artist is best known for his lion sculptures which stand at the foot of the Lions Gate Bridge.

new exhibition brings together sculptures by an intergenerational group of women from the ECU community in celebration of — and in contrast to — a seminal Vancouver artist and historical arts figure, Charles Marega.

Marega, who received classical arts training in Italy before emigrating to Vancouver in 1909, is perhaps best known today for his two lion sculptures, which stand at the south end of the Lions Gate Bridge. Between 1925 and 1939, he also served as the first instructor of sculpture at the Vancouver College of Art, which would later become Emily Carr University.

Currently showing at Vancouver’s Il Centro Italian Cultural Centre, the show, titled Pathways to Modernity, explores Marega’s “legacy and impact on the artistic landscape of Vancouver through a study in contrasts,” according to the exhibition text. Featuring sculptural works by artists Connie Sabo (BFA 2003), Sydney Pickering (BFA 2021), Lyndsay McKay (BFA 2020), and Debbie Tuepah (BFA 2011), the show takes Marega as one point along an evolution of the arts in British Columbia.

Full Article: https://www.ecuad.ca/news/2021/contemporary-women-sculptors-charles-marega

Gina Adams’ ‘Broken Treaty Medallions’ Help Create ‘Change Through Awareness’

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By Perrin Grauer

Posted on February 11, 2021 | Updated February 16, 2021, 3:59PM

The porcelain works, created in collaboration with artist Annie Buchholz, draw on Gina’s ongoing Broken Treaty Quilts series.

In 2015, at the opening for her Nerman Museum solo exhibition, To Honour the Unidentified, artist Gina Adams was approached by a friend, who hung a gift around her neck — a Grover Cleveland 1885 peace treaty medallion.

“I immediately felt the weight of it,” Gina writes in a statement recounting the “life-changing” experience. Gina is descended from Ojibwa Anishinabe and Lakota peoples of Waabonaquot of White Earth Reservation in Minnesota, as well as from settler Americans.

“I felt the weight of the years that had passed since the medal was made, but most importantly, the weight of the fact that very little has changed in 135 years. The words on the back read ‘peace and friendship,’ but they are hollow. The promises of truth and honour the medals were supposed to represent were never kept.”

Peace treaty medals were given to “deserving Indians,” Gina explains, where “deserving” most often meant obeying U.S. government agents — agents representing a settler government which did not uphold the treaties it signed; forcibly removed Indigenous peoples from their ancestral territories onto reservations; and took Indigenous children from their family homes and placed them into residential schools, oftentimes never to return.

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Gina, who is now an assistant professor at Emily Carr University, first became interested in the objects in 2013, after discovering photographs in the archives of the Spencer Museum in Lawrence, Kansas, depicting “chiefs of the plains” wearing the medallions. Having researched their histories in the years following, Gina drew on her Broken Treaty Quilts for inspiration.

Full article by Perrin Grauer: gina-adams-broken-treaty-medallions-help-create-change-through-awareness

Christine Howard Sandoval’s CAG Show An ‘Utterance in Unlearning History’

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By Perrin Grauer

Posted on February 09, 2021 | Updated February 09, 2021, 10:14AM

The new exhibition of works by the artist and ECU faculty member is showing in downtown Vancouver through May 2.

A new exhibition of works by artist and ECU faculty member Christine Howard Sandoval at the Contemporary Art Gallery (CAG) explores the relationships between land, language, image and archive, according to exhibition co-curators Julia Lamare and Kimberly Phillips.

The show, entitled A wall is a shadow on the land, brings together drawings, adobe sculptures, and documents from both personal and public collections, as well as an installation at the CAG’s permanent satellite site, at Yaletown-Roundhouse Station.

“With A wall is a shadow on the land Howard Sandoval makes present Indigenous ways of thinking about space and time, and unsettles the archive through the act of embodied making, enlargement, recontextualization, and collage,” Julia and Kimberly write in their introductory essay.

“The stratum of material across spaces encourages multiple entry-points for interpretation, calls into question the use-value of the image, and resists the archive’s power to cement colonial pasts. Howard Sandoval’s act of archival dislodging and material reclamation is an utterance in unlearning history.”

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Centre-stage in the CAG exhibition is Christine’s use of adobe — a composite of sand, clay, water, and straw or grass, used to make a “sun-baked mud brick.” Christine, an Obispeño Chumash and Hispanic artist, belongs to a family whose members include generations of women who worked as adobe brick makers.

This ancient and commonly used Indigenous building material has “become synonymous with the structures built by Spanish missionaries who colonized the Pacific Coast of the United States from the seventeenth century onwards.”

The large-scale wall works in A wall is a shadow on the land are created by drawing with masking tape on paper, and then applying a thick layer of adobe overtop. The masking tape is then removed before the mud can dry. A resolutely physical composition emerges, “at once quoting and flattening the elemental forms of the Spanish mission architecture vernacular,” Julia and Kimberly write.

“By rendering her images with the very building material of the iconic architecture, Howard Sandoval resists its colonial appropriation, reclaims its deep history and asserts a new visual language for its encounter.”

Full article by Perrin Grauer: christine-howard-sandovals-cag-show-an-utterance-in-

unlearning-history

Skeena Reece Artist Talk to Accompany ‘Honey and Sweetgrass’ Exhibition

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By Perrin Grauer

Posted on January 27, 2021 | Updated January 27, 2021, 8:03AM

The new solo exhibition showcases the vast range of Skeena’s diverse practice.

Multidisciplinary artist Skeena Reece will give an artist talk on Wednesday, Jan. 27, in support of her newly opened exhibition in Harrisonburg, Virginia.

The exhibition, entitled Honey and Sweetgrass, opens Jan. 25 at the Duke Hall Gallery. Works from across Skeena’s diverse practice will be on view, including performance art, videos, photography and installation works. The works advance Skeena’s ongoing engagement with “Indigenous culture, myth and humour,” and examination of “racial stereotypes and the effects of colonization,” according to the gallery.

“Skeena Reece is an important voice in contemporary art,” Beth Hinderliter, director of the Duke Hall Gallery, says. “She offers us insight into the care, compassion and strength of Indigenous women as well as giving us critiques of the violence of colonialism.”

Full article by Perrin Grauer: skeena-reece-artist-talk-to-accompany-honey-and-sweetgrass-exhibition

New Luke Parnell Solo Show Coming to Bill Reid Gallery

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By Perrin Grauer

Posted on January 19, 2021 | Updated January 19, 2021, 10:37AM

Indigenous History in Colour explores “the relationship between Northwest Coast Indigenous oral histories, conceptual art, and traditional formline design,” according to the gallery.

A new solo exhibition of stunning recent works by multidisciplinary artist Luke Parnell (MAA 2012) is headed to the Bill Reid Gallery.

Luke Parnell is Wilp Laxgiik Nisga’a (House of Eagles) from Gingolx on his mother’s side and Haida from Massett on his father’s side.

While Luke’s training has included a traditional apprenticeship with a master Northwest Coast Indigenous carver, his use of materials is “determined on a project-by-project basis,” according to OCAD University, where he works as Assistant Professor in the Faculty of Art. That open-minded approach to materiality is on full display in Indigenous History in Colour, which opens at the Bill Reid on Feb. 2.

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Works in the exhibition include last year’s collaborative installation, Neon Reconciliation Explosion (2020). The monumental artwork combines 44 panels to form a Northwest Coast housefront in Nisga’a style. Viewed together, the works reveal a formline butterfly design. Each of the panels was painted by “55 community members with bright neon colours, in reflection of their own personal understanding of reconciliation,” according to the gallery.

Luke’s contribution, by contrast, stands stark at the centre of the work — an unfinished lumber doorway marked by the initials “TF” and “CB,” in memory of Tina Fontaine and Colten Boushie. (Fontaine’s body was found in Winnipeg’s Red River six years ago; a man charged with her murder was found not guilty in 2018. Her case was one of many that led to the National Inquiry into Missing and Murdered Indigenous Women and Girls. Boushie was shot and killed by Saskatchewan farmer Gerald Stanley in 2016; Stanley was later acquitted of charges in the case. Both verdicts sparked Indigenous-led protests nation-wide, calling for justice for the slain teens).

Full article by Perrin Grauer: https://www.ecuad.ca/news/2021/new-luke-parnell-solo-show-bill-reid-gallery