There’s No Place Like Home, 2000
digital print on paper, 3/100
Kamloops Art Gallery Collection 2000-101
The Construction Sites: Identity and Place exhibition presents works by contemporary artists who investigate and reflect on the social construction of identity and the production of social space. Made over the past several decades, the works in the exhibition respond to developments in feminist, gender, queer and postcolonial theories. The exhibition concept takes a cue from Henri Lefebvre’s thinking about alienation and modernity, the nature of society, and social revolution as a revolution in everyday life. In his writing Lefebrve speaks about producing one’s life as one would a work. Might we likewise produce our own identity? Or is identity determined by society? And, with the dramatic mobility of information, goods and people aimed for by corporate globalization strategies, what is the relationship between our identity and the places we inhabit? The exhibition includes works by Diyan Achjadi, Rebecca Belmore, Therese Bolliger, Dana Claxton, Allyson Clay, Andy Fabo, Leon Golub, Angela Grossmann, Shelagh Keeley, Jim Logan, Ken Lum, Takashi Murakami, Nhan Duc Nguyen, Manuel Pina, Philippe Raphanel, Brendan Lee Satish Tang, Jeff Thomas, Henry Tsang, Jin-me Yoon and Sharyn Yuen.
Sponsored by B100 and Simmons, Black and Emsland Insurance Services
Sight, Reconstructed, a forum for discussion of such questions, takes place Thursday, October 21 at the Gallery.
watercolour and graphite on paper
Kamloops Art Gallery is pleased to host an exhibition of works by Vista Community Services participants in the Gallery’s Community Group Workshop program. Vista Community Services is a community-based day service that operates out of the Desert Gardens Community Centre. This program is offered to seniors with developmental disabilities and is funded through Community Living BC. The seniors at Vista have engaged in a variety of recreational and leisure activities, both within the Centre and in the community. Like many seniors, they also do a lot of volunteer work for the Community, and “giving back” has become their motto. Their volunteer work includes delivering flyers, hosting the monthly dinner parties at the Desert Gardens Centre and participating in the annual Desert Gardens Fall Fair. The seniors at Vista have the opportunity to experience meaningful community activities throughout the year, and they embrace new ideas with enthusiasm.
This body of work by Jana Sasaki explores experiences and memories of ‘mixed’ cultural upbringing in Canada. It reflects upon the experience of being half Japanese and investigates how people of mixed cultural heritage view themselves and are viewed by others, an experience relevant to more and more Canadians.
In particular, Sasaki is interested in words such as hapa and hafu that are increasingly used to define mixed cultures. The word hafu is used in Japanese to refer to somebody who is ethnically half Japanese. The label emerged in the 1970s in Japan and is now the most commonly used label and preferred term of self-definition. The word hafu comes from the English word ’half,’ indicating half foreign-ness. Hapa is slang for a person of mixed ethnic heritage with partial roots in Asian and/or Pacific Islander ancestry.
My Cabin, 2010
watercolour on paper
Kamloops Art Gallery presents a display of work made by students ages four to twelve year during the 2010 Summer Art Camp. Summer art instructors Robyn Reierson-Bisong and Katrina Beharrel, and assisted by Laura Cain a YMCA Summer Exchange Student from Quebec, introduced the students to KAG’s summer exhibition, Stan Douglas: Klatsassin. Working with a different theme each week, children experimented with a variety of art materials and discovered new art techniques in works that respond to the themes of Klatsassin.
The Art Auction Exhibition is a two week preview of original works of art and other items on offer at this year’s art auction. Donated works by local, regional and national artists are featured along with fabulous products and experiences donated by business in British Columbia and beyond. This display celebrates and promotes the work of many artists living and working in the Kamloops region. Continuing this year, pre-bids are accepted during the preview exhibition, with the highest pre-bid amounts starting the bidding on auction night, Saturday, October 2.
(left) Kate Garrett-Petts
door detail from what night is made from, 2010
(right) Melanie Perreault
the vaporous thoughts of library fog forgotten on a thursday stroll through ginger leaves, 2009
Photos by Ray Perreault
This summer marks the sixth annual exhibition of work by graduating students from Thompson Rivers University. Selected by Kamloops Art Gallery Assistant Curator Craig Willms, the works in Curator’s Choice highlight emerging talent from TRU’s Bachelor of Fine Arts 2010 graduating class. Students at TRU graduate with a wide variety of specialties, including ceramics, printmaking, sculpture, painting, photography and installation. This year’s exhibition features installations by Kate Garrett-Petts and Melanie Perreault. Like previous Curator’s Choice exhibitions, this is not so much a ‘best of’ show, but rather one united by thematic and aesthetic threads running through the work of these two emerging artists.
Top: Klatsassin Portraits (Thief), 2006
Bottom: Klatsassin Portraits (Prisoner), 2006
Collection of the artist
Courtesy Stan Douglas and David Zwirner, NY
Internationally renowned Vancouver-based artist Stan Douglas has shown his work at and had it collected by prestigious institutions around the world. His photographs and projections are celebrated not only for their conceptual acuity and formal precision but also for how they continually extend the possibilities of film and video, and art itself.
Klatsassin defies the official version of events leading to the Chilcotin War of 1864 by focussing on the story of a Tsilhqot’in chief who was accused of murder, tried and executed. Set in B.C.’s Cariboo-Chilcotin region, it depicts events related to gold rush efforts to build a road through Tsilhqot’in territory to the gold fields and the First Nations insurgency in response. Current events in the region echo those of the earlier conflict between aboriginal and colonialist interests. Klatsassin is composed of three elements: a filmic projection, a series of photographic portraits of characters from the film, and a series of landscape or location photographs.
Klatsassin’s form and content recall Akira Kurosawa’s classic film Rashomon (1950), and its similar multiple and contradictory portrayals of a murder. In Douglas’ work, too, various versions of a murder scene are depicted. Within both Rashomon and Klatsassin changes in perspective and narrative revisions turn a single incident into a complex and multi-layered story that raises probing questions. Is there such a thing as a singular absolute truth? Who determines which version of a story becomes the official version and who decides what ‘history’ tells us? While posing such questions, Klatsassin draws our attention to the constructed and fragmentary nature of history, identity and place.
The exhibition opening is preceded by a lecture by Stan Douglas.
Supported by The Audain Foundation for the Visual Arts, The Hamber Foundation and The Leon and Thea Koerner Foundation
Sponsored by CBC Radio One and London Drugs
Click here for Canadian Art on-line article
Kamloops Art Gallery hosts Unschool, an exhibition of works by nine students, ages seven to thirteen, from the Gallery’s Community Group Workshop program. Students met for six Thursdays with art instructor Kelly Perry. The students, inspired by their studies in Native American cultures within their home school curriculum, chose the theme of “Our Earth.” They learned how to use recycled materials to make paper, created paints from spices and rocks, experimented with printmaking, made collographs to create a series of prints, explored collage and investigated colour.
acrylic on board
Kamloops Art Gallery hosts an exhibition of works made by 2009 Summer Art Camps students. Lydia McAndrew and Katrina Fraser, both university fine arts and education students, instructed those art camp classes. Fourteen students, seven to twelve years of age, created paintings telling their stories of British Columbia’s grasslands. Catrina Crowe of the Grasslands Conservation Council of British Columbia visited the students, and Dr. Wendy Gardner of the Department of Natural Resource Sciences at Thompson Rivers University gave a talk and slide presentation to the children about B.C.’s grasslands.
Equipment Test #641, 2009
black & white photograph
Kate Garrett-Petts and Emily Hope (also known as Emmett Kapeh) transform the Gallery Under Glass into walls within a submarine, with portholes allowing glimpses of an imaginary deep sea world. Aquatic creatures swim within the space. Elsewhere, specimens from this world are on display. Narratives from this undersea world play out in stop motion animation. With the rudimentary viewing apparatuses available to the viewer and new discoveries in every porthole, the experience recalls the deep sea explorations of Jacques Cousteau. Viewed from within the Kamloops Library, the entire installation is revealed, allowing the viewer to see parts only partially visible from outside.
Sumia Jessica Hamid
pastel on canvas
Youths from the Boys and Girls Club of Kamloops—the Inner Voice Girls Group and the After School Youth Drop-In Program—contributed to this collaborative project. The collected mixed media components aim to examine and present the voices of these specific youths as individual and particular, but also as a collective voice—strong, thoughtful and important. The Boys and Girls Club supports these young people by providing a safe space and new opportunities to help them strengthen their sense of self. They celebrate through their art and are proud to share it with the greater Kamloops Community. The group thanks the United Way Youth Council for providing a Youth Initiatives grant to purchase supplies.
Incident in the Tree (detail), 2010
mixed media diorama
My Late Early Styles (Part 1, the Middle Period), 2007 to 2009
Miss Chief: The Emergence of a Legend, 2006
chromogenic prints on metallic paper
series of 5 portraits; edition of 25
Natalie Brettschneider performs “Oval Matt”, Paris, c. 1920
(detail from the installation Natalie Brettschneider in British Columbia)
The group exhibition TRUTH or FICTION? brings together various sorts of contemporary art by five contributing artists from near and far: Doug Buis (Knutsford/Kamloops), Rodney Graham (Vancouver), Kent Monkman (Toronto), Carol Sawyer (Vancouver) and Camille Turner (Toronto). The gathered art works share certain attributes: they refer to history and historical narratives, past, present and future; they include historical figures, but also little known, dubious and perhaps fictional characters; and, despite being about the past, present and future, they are more interested in representation than in mimesis—rather than mimic reality they represent it, with all its ambiguities and uncertainties. Four of the artists in the exhibition appear within their work. Rodney Graham presents himself as a west coast modernist painter. Carol Sawyer introduces us to Natalie Brettschneider, whose mid-century history (including a sojourn in Kamloops) unfolds through a collection of small black and white photographs. Miss Chief Eagle Testicle reappears repeatedly in Kent Monkman’s work, re-enacting history while posing for painted and daguerreotype portraits and, more recently, video clips. In TRUTH or FICTION? we also meet visitors from the future: in Camille Turner’s work, Dogon space travellers return to earth during a time of multiple but interconnected crises, to make us aware of Afro-futurism and The Final Frontier. Meanwhile, Doug Buis offers us localized mise-en-scène with accompanying narratives populated by little known but somehow familiar characters. The narratives in the exhibition and the characters involved in them—independently and in conjunction—invoke a certain uncertainty.
The Centre for innovation in Culture and the Arts in Canada (CiCAC) at Thompson Rivers University supported the TRUTH or FICTION? exhibition through an artist-residency for Camille Turner, during which new project components were produced in Kamloops.
Media sponsor: B-100
In conjunction with Kamloops Art Gallery’s exhibition TRUTH or FICTION?, the Kamloops Library spring Book Club examines the role of representation in various cultural forms, including visual art and literature. The Wednesday evening Book Club group will read and discuss The Secret River by Kate Grenville and then, on April 7th, view the exhibition. The experiences offered by the book and the exhibition call into question a variety of social constructs and ideologies proposing singular or absolute ‘truths.’
The Final Frontier, 2007 (detail)
photograph by Brahm Rosensweig
image from the collection of the artist
Garage Extension, 2009
How to Get Things Done explores our constructed environment. Jordan Schwab’s sculptures resemble architectural models, but instead of completed structures they show partially completed projects. The sculptures, drawings and photos in this exhibition capture constructions in progress. The depicted work sites are in transition. Artworks might be plans for future projects or documentation of past endeavours. Other objects are devices temporarily utilised to assist the building process and improve the efficiency of labour. Frame walls stand bare on a garage renovation. The wood shell of a hotel on stilts is not yet completed. Schwab explores the engineering of these labour saving devices and their efficiency in the process of construction.
Christine Stalker’s installations are assembled from accumulations of discarded objects and material. For Filter she uses stained bands of leftover painter’s canvas and shreds of screens. The staining fluid seems to run off the work and cover portions of the gallery walls. The work takes advantage of Gallery Under Glass’ confines and mimics gestural brushstrokes with swooping layers of material. The result is a work that plays with sculptural and pictorial forms and draws attention to the beauty of these discarded materials.
Christine Stalker is a graduate of Thompson Rivers University Bachelor of Fine Arts class of 2009.
Emily Carr, Loggers' Culls, 1935, oil on canvas, Collection of the Vancouver Art Gallery, Gift of Miss I. Parkyn. Photo: Trevor Mills, Vancouver Art Gallery
Jack Shadbolt, Break-Up, 1977-79, acrylic and latex on watercolour board, Collection of the Vancouver Art Gallery, Gift of J. Ron Longstaffe. Photo: Trevor Mills, Vancouver Art Gallery
Two Visions: Emily Carr and Jack Shadbolt examines the important relationship between two of British Columbia’s most celebrated artists. Carr’s paintings and sketches of west coast forests and First Nations communities have shaped BC’s visual identity and continue to be deeply influential for artists in the region. Jack Shadbolt, who came to Canada as a young child, was among the artists inspired by Carr. He responded enthusiastically to British Columbia’s natural setting, which he rendered according to the modernist trends of twentieth century art. By examining points of similarity and difference between the two artists, Two Visions reveals Shadbolt’s struggle to find a unique artistic voice, while acknowledging Carr’s influential role in the art of this province. The exhibition also celebrates Shadbolt’s significant contribution to Canadian painting on the 100th anniversary of his birth.
Emily Carr’s paintings and drawings define British Columbia’s visual identity by breaking with conventions of nineteenth century Canadian painting. Carr’s work addresses First Nations subject matter and the natural landscape of British Columbia with vivid colour, dynamic brushstrokes and painterly techniques, drawing from a range of influences including the Group of Seven, Fauvism, Post Impressionism, Cubism and Abstraction. Carr first encountered one of her primary subjects, totems of British Columbia’s First Nations, while visiting First Nations villages along the Skeena River and on the Queen Charlotte Islands (Haida Gwaii). In 1928 Carr embarked on an extensive sketching trip to the coastal regions of British Columbia. In these sketches she left behind her early documentary inclinations and began to focus on the emotional and spiritual content she found in totemic carvings. Carr relied on these early sketches and memories to produce new paintings in the 1940s, when frail health restricted her ability to travel. Carr’s charcoal drawings of British Columbia were greatly influential for Jack Shadbolt, who described himself as feeling “overwhelmed” when looking at them. In Carr’s charcoal drawings we see her develop her artistic methodologies that appear in her later paintings, particularly her exploration of the forest as a dark and powerful source of hidden secrets.
Jack Shadbolt studied with Frederick Varley and Charles H. Scott at the Vancouver School of Decorative and Applied Arts. These artists had a great impact on his early work. Shadbolt’s images of First Nations culture and the British Columbia landscape also connect his practice to Emily Carr, but his modernist style places him within an international context. Travel was crucial to Shadbolt’s practice. According to curator Scott Watson, a 1956 journey to southern France had a profound effect on Shadbolt’s artistic development, particularly in terms of his use of vibrant colour. The continental lifestyle proved to be very different from his Canadian upbringing and provided the artist with a fresh perspective on painting the landscape, which he began to treat with hedonistic undertones. In the 1970s, Shadbolt’s work continued to explore ritual, decoration and sexuality. During this decade Shadbolt began to re-evaluate the legacy of Emily Carr, concluding that he must come to terms with Carr’s influence.
Organized by the Vancouver Art Gallery and curated by Ian M. Thom, Senior Curator, Historical, Vancouver Art Gallery.
Media sponsor: Kamloops Daily News and Radio NL
Cording (detail), 2009
textiles on painted canvas
Origins II, 2009
Along Those Lines brings together two bodies of work exploring use of line. Myrna Giesbrecht’s Lingering Lines comprises textile works focussing on the horizontal line. She explores colour, form and texture through various textile techniques and presents the pieces like paintings, mounted on canvas stretchers and hung on the gallery walls. Megs Waterous’ Path of a Line consists of ceramic works in the form of wall-hung tiles and tall sculptural vessels. In these works she emphasizes flowing lines with a vertical orientation. Although both artists utilize materials basic to their individual art practices, they considered each other’s work in the development of this exhibition.
Works in The Cube are available for purchase through The Gallery Store.
The Options and Opportunities Day program provides options and opportunities for people (eighteen to seventy years old) with disabilities. The outreach program began in the early 1990s. Participants lend a helping hand to people in need with such activities as meals on wheels, Kamloops Cool to be Kind Week, growing produce in community gardens, and Fun in the Sun Day at MacDonald Park. Their work on display in the BMO Open Gallery reflects their interest in helping others.
Kim Clarke Photography
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