Category Archives: McPherson Library

Exhibitions displayed at the McPherson Library Gallery on the main floor of the McPherson Library on UVic’s campus.

Familiar Strangers / Les Etrangers Familiers

Distant cousins_small

May 21 – July 4, 2011

Legacy Maltwood (at Mearns Centre – McPherson Library)

Familiar Strangers / Les Etrangers Familiers is the result of a long process between two artists of different cultures, languages and ages. Agnes Ananichuk is a Ukraine-Canadian and lives in Victoria, BC and Sylvain Tanguay is a Franco-Quebecois and lives in Amos, Quebec. These two artists began their work together while participating in an exchange project between Atelier Mille Feuille of Rouyn-Noranda, Quebec and that of Ground Zero Printmakers of Victoria, BC, the site of the show Strangers II. Since then, they have continued to work in symbiosis using the content of their respective families’ collection of old photographs and other ideas resulting from the evolving relationship.

The work is continuing to evolve from using the old photographs to looking at the interment of Eastern Europeans – the majority of whom were Ukrainians – in camps across Canada during the First World War. One of these camps was located near Amos, Quebec near the home of Tanguay. He is very aware of this aspect of Canadian history and has incorporated some of this history into his work.

This show demonstrates some of the possibilities in the use of modern communication and technology in a creative process and the development of friendship between diverse individuals at a geographic distance. The works included a variety of printmaking techniques including collographs, photogravures and linocuts plus collage based on the combined works/materials from both artists. This exhibit shows how this relationship and collaboration evolved and the increasing warmth and familiarity of the artists. Having never met, they are friends.

Constructing Sights in the Workplace

Wandagloves.NEFMay 5 – May 18, 2011

Legacy Maltwood (at Mearns Centre – McPherson Library)

Curated by Dr. Wanda Hurren

This project focused on the aesthetics of workplace construction sites / sights, and featured enlarged and mounted photographs created by the participants of a photo-based research project. Goethe reminds us that “the hardest thing to see is what is in front of our eyes.” Construction sites have become so common that we almost stop noticing them, or when we do notice, it’s often the negative aspects: dust, noise, interruptions to our usual ways of accessing spaces, etc. The featured images will be gathered by construction trade workers and UVic employees working in the MacLaurin Building during a seismic upgrade, and by the researcher/curator for this project, Dr. Wanda Hurren.

The Emergence of Architectural Modernism I (Victoria Modern Series)

Centennial Square Fountain, Rod Clack and Jack Wilkinson (c.1965)

The Emergence of Architectural Modernism in Victoria I: Town and Gown: Centennial Square and the Gordon Head Campus: Seminal Projects (1962-1972)

March 10 – May 2, 2011

Legacy Maltwood (at Mearns Centre – McPherson Library)

Curated by Martin Segger

In the early 1960s two large architectural projects emerged in Victoria which redefined the urban landscape. The development of the Gordon Head Campus in its garden landscape suburban setting repositioned Victoria College as it emerged as the new University of Victoria. On a smaller scale the completion of Centennial Square, with its mix of heritage restoration and stridently modern buildings, provided a new direction for the revitalization of Victoria’s urban core.

This exhibition explores how these two important projects developed, sharing a mix of local young architects, planners and designers. In the process they created a set of iconic buildings and settings which set local architectural and design directions that have profoundly influenced urban design in Victoria to the present day.

No accompanying catalogue

Similar Exhibitions:

Victoria Modern Series Catalogues:

Victoria Modern 1: Investigating Postwar Architecture and Design on Southern Vancouver Island: an introduction (2005)

Victoria Modern 2: From a Modern Time: The Architectural Photography of Hubert Norbury: Victoria in the 50s and 60s (2009)

Victoria Modern 3: The Emergence of Architectural Modernism II; UVic and the Victoria Regional Aesthetic in the Late 1950s and 1960s (2011)

Click here for the Victoria Modern website

STAGE: Photographic Portraits

 

Untitled, Frank Pimentel, n.d.

Untitled, Frank Pimentel, n.d.

January 11 – February 2, 2011

Legacy Maltwood (at Mearns Centre – McPherson Library)

Curated by Emma Conner, Toby Lawrence, Karen Merrifield & Holly Romanow

Showcasing the works of Frank Pimentel, Nina Raginsky and Ulli Steltzer, STAGE challenges the viewers to look beyond the aesthetic qualities of photographs to investigate the dichotomy of construction versus reality.

In looking at photographic portraiture there is a conflicting duality. The initial assumption is a presentation of reality, yet historically, portraiture was often staged, with subjects posed in front of painted backgrounds, accompanied by objects to augment certain elements of character. In the same sense, portraits by photographers Pimentel, Raginsky and Steltzer in the late twentieth century are constructions of their individual perceptions. Each with their own variation of portrait photography, the images provoke questioning into the significance of their compositional elements.

While the creation of the photograph is inherently determined by what the eye is able to see, the capture of something we perceive to be real instigates the reanalysis of our reality. The real movement becomes a constructed image, subject to point of view and created through the vision of the individual photographer. Like paintings and drawings, photographs are essentially the photographer’s own interpretation of the world. Raginsky states, “These photographs probably have little to do with an ordinary sense of reality; they are my particular stance on the world that I find at times to be rather thoughtless and brutal and difficult to endure.” Portrait photography has the ability to distort; yet also offers evidence into the existence of the subject or circumstances as they were at the time of the photograph.

As an alternate way of experiencing reality, the action of taking the photograph transforms the photographer into an active participant, the voyeur taking control of the situation. In this manner we experience authority held by the photograph itself, and we are forced, here, to make our own conclusions about the construction of spaces and placement of the subjects or the true documentary character of the photos. Within distinctly different constructions of photography we must decipher what choices have been made and why, questioning the character and the truth of the photographs and how their environments change their subjects, complicate them, bolster them.

Art of the Book 2008

Berg_Cathy_web

The Lord God Made Them All, Cathy Berg, 2007

October 16, 2010 – January 5, 2011

Legacy Maltwood (at Mearns Centre – McPherson Library)

Curated by Susan Corrigan and Shelagh Smith

This traveling exhibit, presented by the Canadian Bookbinders and Book Artists Guild, features 78 works by 70 artists from Canada, the United States and Japan. The Art of Book ’08 celebrates the 25th anniversary of the CBBAG and marks their fifth juried exhibition.

The range of work is from the traditional to cutting edge contemporary. The depth of exploration and experimentation of contemporary book arts is amply exemplified. The result makes for a visually interesting, intellectually stimulating, and a very exciting exhibition. The book’s iconic role in society, along with its distinctly material, physical, ‘objectness’, has attracted practitioners from a broad range of disciplines. The cross-fertilization that results is unique.

“A main goal of the Art of the Book exhibitions is to acquaint the public with what the book arts are, how diverse the work is within the book arts, and the high level of work being done – aesthetically, technically, and conceptually,” says co-curator of the exhibition Susan Corrigan.

Similar Exhibitions

Teachers of Teachers: 30th Annual Art Education Faculty Exhibition

Bow Glacier, Bill Zuk

Bow Glacier, Bill Zuk

January 9 – March 17, 2010

Legacy Maltwood (at Mearns Centre – McPherson Library)

Curated by Dr William Zuk and Dr Robert Dalton

For the 30th consecutive year, the Art Education Faculty will display a rich and diverse collection of images at the McPherson Library Gallery at the University of Victoria.

The exhibit, with the largest group of contributors on record, will show the work from 22 studios of art educators who practice what they teach. The work comes from a range of backgrounds, from retired professors to masters students working as teaching assistants. On view will be themes capturing traditional and realistic perspectives to newer media explorations that are ephemeral and mystical.

Passage: Portraits by Lisa Hebden

Lisa Hebden, Heart of Glass
Heart of Glass, Lisa Hebden, 2009

November 18 – December 17, 2009

Legacy Maltwood (at Mearns Centre – McPherson Library)

Victoria-based artist Lisa Hebden explores the transformation from childhood to adulthood with a series of paintings of young girls, capturing the feelings of being small both physically and psychologically.

Influenced by film and drawn to media images of adolescent girls who appear both vulnerable and strong, Hebden says the foundation of her work lies in the fragility of childhood.

“I am captured by the moodiness of film lighting, the long pauses that focus only on a subject’s face or eyes, the expression pregnant with thought or emotion,” says Hebden.

“Being a child is fun and overwhelming. Children endow their environments with meaning and imagination. A large empty room can be intimidating and magical. The big wood floor beckons for sliding across, while the shadowy corners are dark and ominous. An open field is an opportunity to get lost in the tall grass, an adventure both thrilling and scary.”

-Lisa Hebden

Rocks and Shadows: Exploring the works of Judith Foster

Judith Foster
Judith Foster

August 26 – October 25, 2009 | Legacy Art Gallery Downtown

October 16 – November 15, 2009 | Legacy Maltwood (at Mearns Centre – McPherson Library)

Curated by Julia Hulbert, Caitlin Cuthbert, Sarah Delaney, and Cindy Vance

Engage with the creative processes of renowned printmaker Judith Foster and discover the methods and techniques behind this precise art form. The exhibit showcases a playful sampling from different points in her career, from New York mezzotints to Okanagan woodcuts.

Judith Foster (1930-2000) was an American born printmaker who documented her creative processes through meticulous record keeping. These archives, on display, including process materials, personal notations and progress prints provide a window into the methods and techniques that Foster engaged with to create such powerful works of art.

Please note that the exhibit has be extended and expanded and will briefly show in two locations in mid-October. After October 26, 2009 the entire exhibit will be on display in the McPherson Library Gallery at the University of Victoria.

Two Fish, Out of Water: Photographs from the Japanese Landscape

Paul Kohl, Unknown
Paul Kohl, Unknown

August 5 – October 5, 2009

Legacy Maltwood (at Mearns Centre – McPherson Library)

After three years of exploration in the East, photographer Paul Kohl invites the viewer to discover an estranged view of Japanese landscape.

Kohl, also a professor in art, design and media at the Nanyang Technological University in Singapore, explores the state that the French call depaysement, the sense the traveler experiences where nothing is as you have known it; where the birdsong, the raked gravel, the telephone’s ring are joltingly exotic. Kohl’s unusual technique employs scanned black and white negatives using Photoshop as a darkroom. He then prints on Japanese paper with an Epson 7600 using pigment inks.

Works from the exhibit are from his recent book, Two Fish, Out of Water, which will be available for sale at the Maltwood Art Museum and Gallery and the University of Victoria Bookstore.

Inverting the Lens

inverting lens

June 6 – July 30, 2009

Legacy Maltwood (at Mearns Centre – McPherson Library)

Curated by Robbyn Gordon Lanning

This exhibit features photography by the al Manaja’as, a Bedouin family of the Howeitat trib from Humayma, Jordan. In collaboration with UVic Graduate student, Robbyn Gordon Lanning, members of the al Manja’a family take images of their community, family and daily life. These images are key to investigating how the al Manaja’as see photography as a way of documenting their lives and experiences for themselves, their families, and for cultural outsiders.

As residents of Humayma, a region of great historical cultural exchange, members of the al Manaja’a family possess complex relationships with photography. The family has spent many years cultivating personal photographic albums comprised of images made by visiting cultural outsiders, and more recently, have participated as representatives of the Humayma community through photographic exhibits created for local museum spaces. These exhibits, co-currated by Robbyn Gordon Lanning, brought together Ms. Gordon and the al Manaja’a family together through their shared interest in photography. The relationship formed during this initial project acted as a catalyst inspiring their most recent collaborative research.

The photographs featured in this exhibition were created by members of the al Manaja’a family to describe their experiences of community, place, family, relationship and identity as seen through their own lenses.

The Lion and the Fox

Wyndham Lewis, The Creditors. Design from the portfolio of Timon of Athens, 1912, published 1913..
Wyndham Lewis, The Creditors. Design from the portfolio of Timon of Athens, 1912, published 1913..

April 1 – May 28, 2009

Legacy Maltwood (at Mearns Centre – McPherson Library)

Curated by Danielle Russell

View the online catalogue:

The Lion and the Fox – Catalogue

The Lion and the Fox exhibition showcases the Lewis side of the C.J. Fox Collection. It is not only representative of the largest and perhaps most significant portion of the whole assemblage, being the foundation upon which the remaining collection was built, it also features the striking visual art of Lewis and others, making it particularly suitable for exhibition purposes.

The University of Victoria Libraries, the Friends of UVic Libraries and the Maltwood Art Museum & Gallery are pleased to present an exhibition of the C. J. Fox Collection of Wyndham Lewis art and literary works. The public showing celebrates former Reuters/Canadian Press journalist and Modernist scholar Cyril Fox’s donation of his extensive English Modernism collection to the University of Victoria. The Lion and the Fox comprises two exhibits; the McPherson Gallery exhibit of art works by Wyndham Lewis and others, and a display of Wyndham Lewis books and materials from the Cyril James Fox fonds, held in the Archives and Special Collections Reading Room (A005).

Icons of a Border: A Photographic Search for Traces in Today’s Berlin

icons of border

 February 26 – March 26, 2009

Legacy Maltwood (at Mearns Centre – McPherson Library)

This exhibit highlights the photography exploration of 36 students from the University of Paderborn, who document both the visible and invisible remnants of the Berlin Wall in modern-day Germany. Under the direction of of Prof. Dr. Barbara Becker and photographer Jürgen Spiler at the Institute for Media Science at the University of Paderborn the exhibit came to life in the course of a photo-practical seminar.

Over the years traces of the wall have become scarce as new structures have been built over the wall’s remains. Aided by historical texts and images, the students located forgotten wall fragments, abandoned watch towers and mental traces of a “wall in the mind”. The city has grown more and more together, and many locations where the Wall or the border strip used to run are now buried under buildings and no longer recognizable as what they once were.

Still, the Wall lives on, not only in places “reconditioned” for tourism, at which material remnants of the Berlin Wall can still be viewed, but also in the self-image of the city, its residents and visitors – as an icon of the Cold War, the separation of Germany, and as a symbol and commemoration of personal destinies and suffering.

Starting with historic photos documenting the building of the Wall, and texts in which the Wall finds a voice, the students attempted to ferret out the atmospheres of the past. They researched where and from what perspective these photos had been taken in order to “document” with present photos, taken from a similar perspective, what has remained of these historically significant sites. For this exhibit, these photos generated during the research for remnants of the Wall were mounted on fifteen panels and supplemented with texts authored by the students themselves. Audio recordings, meant to provide an aural background fro the visual reception, can be listened to through stereophonic headphones, permitting a virtual immersion in Berlin, still “coloured” by its past.