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The School of Art Gallery re-opens by appointment – UM Today

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March 1, 2021 — 

 

The School of Art Gallery is excited to announce the gallery is now open to the public! 

Visits are by appointment only.

Current gallery hours are Monday–Friday, 10:00 a.m. to 4:00 p.m.

  • Visitors must wear a 3-ply mask and maintain physical distancing in all spaces.
  • Hand sanitizing stations have been placed at the entrance of the gallery.
  • Please self-assess your health before visiting the gallery. Are you exhibiting any symptoms of COVID-19 (cough, difficulty breathing, headache, body aches, sore throat, loss of taste and smell, fever, and chills)? Have you been in contact with someone who has tested positive for COVID-19? If you are exhibiting any of these symptoms or have been exposed, please do not visit the gallery and reschedule for a later date.
  • Please be respectful of our staff and each other. We are here to ensure a safe space for everyone.
  • Review all UM COVID-19 protocols and recovery plan here.

To book an appointment, contact:

C.W. Brooks, SoA Gallery Registrar/Preparator at 204-474-8980 or C [dot] W [dot] Brooks [at] umanitoba [dot] ca.

Thank you!

On Display:

Gabrielle L’Hirondelle Hill, “Bundle #4” (detail), 2014, blanket, paint, rope, tobacco.

Gabrielle L’Hirondelle Hill, Katie Lyle, and Ella Dawn McGeough

Curated by Lillian O’Brien Davis

January 21 to March 13, 2021

Contact is a many layered metaphor; both touch and its absence have consequences that can extend indefinitely. I look at my hands. They feel huge, like mitts that will cover, crush, or make a mess. I am frightened that the marks they make will last too long, be too big, cause unpredictable outcomes. When I do make contact, the effects are not immediate—this delay temporarily alleviates my fears. However, all marks, all instances of contact, eventually appear. While contact may signal a crisis, its lack also torments, like the aching feeling when something lies just out of grasp.

Consider the Greek myth of Tantalus, who stole ambrosia, nectar, and the gods’ secrets of immortality for his people. As punishment for his crime, Tantalus was made to stand in a clear pool where water receded before he could drink, underneath trees laden with fruit that forever escaped his grasp. Touching leaves traces, often more lasting than originally imagined, but the absence of touch builds both anticipation and desire.

Featuring work by Ella Dawn McGeough, Katie Lyle and Gabrielle L’Hirondelle Hill, Dancing with Tantalus engages qualities of contact—between people, surfaces, and objects—to examine haptic intimacy and explore the causal relationship between artworks and the many structures that make contact with them—physically, intellectually, emotionally, institutionally, and historically.

READ – Exhibition essay: Clean Hands by Lillian O’Brien Davis, curator.

Learn more

Jon Sasaki, A Rest, 2018, video, 10:21. Adapted from a choreographed solo performed by James Phillips commissioned by Toronto Dance Theatre, 2016 and produced for video with the assistance of the Art Museum, University of Toronto. Cinematography: Lee Henderson. Image: courtesy of the artist. ⁣⁣⁣⁣

Jon Sasaki, A Rest, 2018, video, 10:21. Adapted from a choreographed solo performed by James Phillips commissioned by Toronto Dance Theatre, 2016 and produced for video with the assistance of the Art Museum, University of Toronto. Cinematography: Lee Henderson. Image: courtesy of the artist. ⁣⁣⁣⁣

Jon Sasaki: A Rest

Curated by Blair Fornwald, Director/Curator

January 21 to March 13, 2021

This split-screen video pairs archival images of Depression-era dance marathon competitors who have fallen asleep, or are resting in the arms of their partners with footage of solo contemporary dancer James Phillips, who attempts to hold the resting partner’s poses without anyone to lean on. Phillips’ body strains to hold these unsupported resting poses and finally collapses. Although Sasaki’s work predates the COVID-19 pandemic, it accrues additional poignancy and meaning when viewed through the inevitable lens of the current health and economic crisis. As we collectively struggle to adapt to these ever-changing and extraordinary circumstances, and as so many of us ache for community and human contact, we might ask ourselves: who supports us? Who are we supporting? And how long can we keep going?

Jon Sasaki is a Toronto-based multidisciplinary artist who explores many concurrent streams of inquiry that often intertwine in surprising ways. Frequently charting territory between logic and absurdity, his practice brings performance, video, object and installation into a framework where expectation and outcome rarely align. His work has been exhibited throughout Canada and internationally. He is represented by Clint Roenisch Gallery in Toronto.

Learn more

Upcoming – Virtual Exhibition:

PAWS, Animal Crossing: New Horizons Screenshot, designed by Battleax Bunny⁣

PAWS, Animal Crossing: New Horizons Screenshot, designed by Battleax Bunny⁣

PAWS: Protest, Activism, Whimsy and Self Care in Animal Crossing

Kayelynn Kennedy, Adelle Lin, and Hoku Kanoe Schurz

Curated by Ciel Noel

Designed by Battleax Bunny

March 5 to May 7, 2021

Online via Animal Crossing

During a chaotic and unpredictable time, many people have turned to the Nintendo Game Animal Crossing: New Horizons as a haven. Through decorating, forming relationships with animal residents, and custom designing outfits, Animal Crossing islands have been used to gather, share, inspire, and restore. They are refuges during a deadly pandemic, but they have also become the battlegrounds for activists who have put their lives on the line. Surprising many, this charming game has become the catalyst for government censorship, charity drives, political campaigning, and growing quiet warnings to keep politics “out of the game”.

From Hong Kong to Black Lives Matter to razor blades and mayonnaise, the creative and complex Animal Crossing: New Horizon community grapples with questions every person who has fought for a cause has to ask themselves: when do I choose activism and when do I choose self-care?

Driven by the tension between safety and courage, PAWS looks at how a slow, sweet game of social relationships, crafting, and exploration became the stage for global tensions and tensions of the heart.

Learn more

About School of Art Gallery

The School of Art Gallery has been serving the School of Art, the University of Manitoba, and broader communities since it was established in 1965 as Gallery One One One. Since 2012, it has been prominently situated as the physical and philosophical gateway to the ARTlab, a state-of-the-art facility which conceptually frames the Gallery as a site of both research and presentation.

Exhibitions and collecting activities comprise the core of the School of Art Gallery’s activities, with outreach programming and publishing emanating from, and supporting exhibition research and collection development. Through its work, the Gallery aims to represent a diverse range of practices and perspectives, contextualizing contemporary and historical work to facilitate critical engagement with art and its many discourses. The School of Art Gallery supports the mission of the School by fostering creativity, supporting research, and encouraging critical thinking among undergraduate and graduate students alike.

The School of Art Gallery is generously supported by the University of Manitoba, the School of Art’s faculty and staff, national and provincial funding agencies, donors, and volunteers.

School of Art Gallery

255 ARTlab

180 Dafoe Road

Winnipeg, MB, R3T2N2

umanitoba.ca/schools/art/gallery

For hi-res images and other press inquiries, please contact: School of Art Communications and Events Coordinator Cailyn Harrison, cailyn [dot] harrison [at] umanitoba [dot] ca.

The University of Manitoba campuses are located on original lands of Anishinaabeg, Cree, Oji-Cree, Dakota, and Dene peoples, and on the homeland of the Métis Nation.

We respect the Treaties that were made on these territories, we acknowledge the harms and mistakes of the past, and we dedicate ourselves to move forward in partnership with Indigenous communities in a spirit of reconciliation and collaboration.

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Imaginations, creativity of Mountview students on display at Cariboo Art Beat – Williams Lake Tribune – Williams Lake Tribune

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Creative, imaginative artwork of students from Mountview Elementary School will be on public display at the gallery of Cariboo Art Beat until April 9.

“The students of Mountview elementary were all invited to participate in an art contest,” Tiffany Jorgensen said, an artist at Cariboo Art Beat.

Each class was separately judged by three professional artists at Cariboo Art Beat, Jorgensen said, based on the students’ creativity, techniques, use of space and originality.

“It was extremely difficult to select pieces from the abundance of beautiful art presented,” she said. “There is so much talent and fantastic imaginations.”

READ MORE: Cariboo Art Beat gives sneak peek of Paradise Cinemas new mural

The artist of each selected piece was given formal invitations to their art show to distribute to whomever they choose, and Jorgensen said anyone is free to view the beautiful artwork throughout until April 9.

Honoured at the show were works from local artists Ryker Hagen, Annika Nilsson, Rylie Trampleasure, Angus Shoults, Izabella Telford, Isabella Buchner, Kai Pare and more.

“Come view their wonderful pieces to get a glimpse into the minds of our creative youth,” Jorgensen said.

“It’s been so fun. The kids have come in and seen their work on display with their grandparents, parents, and they’re all so excited.”

Following up on the success of the Mountview art show, Jorgensen said more elementary schools have been invited to participate.

April will feature the works of Nesika and Big Lake, followed by Marie Sharpe and Chilcotin Road next month.

Cariboo Art Beat is located at 19 First Ave., under Caribou Ski Source for Sports’ entrance on Oliver Street.


 


greg.sabatino@wltribune.com

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Rylie Trampleasure, Grade 2, has her work on display at Cariboo Art Beat. (Photo submitted)

Rylie Trampleasure, Grade 2, has her work on display at Cariboo Art Beat. (Photo submitted)

Angus Shoults, Grade 4. (Photo submitted)

Angus Shoults, Grade 4. (Photo submitted)

Grade 3 student Izabella Telford. (Photo submitted)

Grade 3 student Izabella Telford. (Photo submitted)

Grade 6 student Kai Pare shows off her artwork. (Photo submitted)

Grade 6 student Kai Pare shows off her artwork. (Photo submitted)

Isabella Buchner

Isabella Buchner

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Launching the conversation on Newfoundland and Labrador art history

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ST. JOHN’S, N.L. —

“Future Possible: An Art History of Newfoundland and Labrador” is a book that has been a long time coming, Mireille Eagan says.

While working at the Confederation Centre Art Gallery in Prince Edward Island, Eagan curated an exhibition marking the 60th anniversary of Newfoundland and Labrador joining Confederation with Canada.

“As I was researching, I noticed that there was very little that existed in terms of the art history of this province,” she said. “There wasn’t even a Wikipedia article.”

Noticing this large gap, “Future Possible” was a book that needed to exist, she said.

As the 70th anniversary approached in 2019, Eagan, now living in St. John’s and working as curator of contemporary art at The Rooms, envisioned filling that gap.

Over two summers, The Rooms held a two-part exhibition. The first looked at the visual culture and visual narratives before the province joined Confederation and the second focused on 1949 onward, Eagan said.

“At its core, it was asking, what are the stories we tell ourselves as a province? It was looking at iconic artworks, it was looking at texts that have been written about this place, and it put these works in conversation with contemporary artworks,” Eagan said.

In the foreword to the book, chief executive officer of The Rooms Anne Chafe described it as a complement to the exhibition and a project that “does not seek to be the final say. It seeks, instead, to launch the conversation.”

History and identity

One example of that conversation between the past and the present mentioned by Eagan is the work of artist Bushra Junaid, who moved to St. John’s from Montreal as a baby. The daughter of a Jamaican mother and Nigerian father, Junaid said her experience growing up in the province in the 1970s, where she always the only Black child in the room, was not like most.

“All of my formative years, my schooling and everything, took place in St. John’s,” she said. “It’s very much shaped my current preoccupation.”

Her interest in history, identity and representation led her to making “Two Pretty Girls…,” which used an archival photograph of Caribbean sugarcane workers from 1903 with text from advertisements for sugar, molasses and rum from archived copies of The Evening Telegram collaged over the women’s clothing.

In her essay “Of Saltfish and Molasses” published in “Future Possible,” she described the work as “(allowing) me to place these women and their labour within the broader historical context of the international trade in commodities that underpinned Caribbean slavery and its afterlife.”

It’s a direct connection between Newfoundland and people in the Caribbean, a historical line not often drawn through the context of the transatlantic slave trade, but one she knows personally through the stories told by her mother, Adassa, about their ancestor, Sisa, who “as a teenager, survived the horrors of the Middle Passage, enduring the voyage from West Africa to Jamaica in the hold of a slave ship (Junaid).”

A book like “Future Possible” allows people to interpret themselves and their past, present and future, Junaid says.

“I appreciate the ways in which they really worked to make it as broad and diverse as possible,” she said. “It’s also striving to tell the Indigenous history of the place, the European settler history … and then also looking for … non-Western backgrounds such as myself. It’s enriching.”

What shapes us

St. John’s writer Lisa Moore contributed an essay called “Five Specimens from Another Time” that weaves together moments from her own life, the province’s history and current realities and the art that has inspired her over the years.

“It’s really interesting to me to see all this work of people that I’ve written about in the past and whose work influenced me, even in my writing of fiction, and then newer artists,” Moore said. “I just think that the book is a total gift.”

With such a rich cultural history ready to be written, she imagines “Future Possible” is just the first of what could be many books about art in the province now that the “ice is cracked.”

“The writers that (Eagan) has chosen to write here are also really exciting critics from all over the province, talking about all kind of different periods in art history,” she said.

As time passes, the meaning of the works in the book becomes richer, she said.

Mary Pratt’s 1974 “Cod Fillets on Tin Foil” and Scott Goudie’s 1991 “Muskrat Falls,” for instance, are two images with seemingly straightforward and simple subject matter. But any viewer looking now, who is aware of the cod moratorium and the Muskrat Falls hydroelectric dam, would find it difficult to see and interpret these images outside of those contexts.

“Artists, writers, filmmakers … they’re keen observers of culture and the moment that we live in,” Moore said. “They present things that are intangible like the feeling of a moment, or the culmination of social, political and esthetic powers that come together at a given time and shape us.”

“Future Possible: An Art History of Newfoundland and Labrador” is available online and in stores.

Andrew Waterman reports on East Coast culture.
[email protected]
Twitter: @andrewlwaterman

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Parrott Art Gallery goes virtual to help flatten the curve – The Kingston Whig-Standard

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WENDY RAYSON-KERR

Feeling stir crazy because of COVID and the latest lock-down? Take a virtual trip to Morocco!

On Wednesday, April 14 at 2:30 p.m., the Parrott Gallery will host Lola Reid Allin’s Armchair Traveler online presentation: “Morocco: Sea, Sand and Summit”. Allin is an accomplished photographer, pilot, writer and speaker. Travel with her through the land of dramatic contrast and hidden jewels, busy markets and medieval cities, and enjoy some virtual sun.

For more information and to register for this free online event, please visit bellevillelibrary.ca/armchair-traveller.php. The Armchair Traveller Morocco photography exhibit is also available to view through the Parrott Gallery website until mid-May.

Even though our gallery is currently closed to the public, our exhibitions are all available to view online. Sam Sakr’s show “The Housing Project” is certain to bring a smile to your face. His collection of mixed media artwork will take you to a playful land of fantastical creatures that inhabit imaginary, stylized cityscapes. If your spirit needs uplifting, you need to see to see this show. I hope that everyone will be able to view Sakr’s work both online and then in our gallery after the lock-down ends in May. Without a doubt, it will be worth the wait to see it again in-person when we re-open.

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Another exhibition that you can currently visit on the Parrott Gallery website is the group show “Spring Sentiments: a Reflection of Art in Isolation”. This was a collaborative effort by the 39 artists who submitted their work, our staff who put the show together in the gallery and online, and our guest curator Jessica Turner. We are thrilled that Jessica was able to transcribe her experience with this show into a final paper for her Curatorial Studies BFA degree at OCADU.

The fact that we have had to close our doors just as this show was opening is a sad reflection of the theme as the audience must now reflect on this artwork at home, in isolation. The up-side to viewing this exhibition online is that one can read the artist statements that accompany the work and get a more in depth view of the artists’ perspectives. We encourage viewers to support our artists by sending in their comments and to vote for their favourites in the show by following the appropriate link on the webpage.

When you can’t come in to our building, the Parrott Gallery will bring the artwork to you. And then when the sun and flowers come out in May, and when it is safe to return to our gallery on the third floor of the Belleville Public Library, we hope to see you all again.

For questions about our online talk, our shows, or to purchase any of the artwork please call us at 613-968-6731 x 2040 or email us at gallery@bellevillelibrary.ca.

Wendy Rayson-Kerr is the Acting Curator at the John M. Parrott Art Gallery.

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