Tag Archives: Canada

The Averted Eye Sees: The Life and Work of Glenn Howarth – Part II

 

October 15, 2016 to January 7, 2017

Curated by Jenelle Pasiechnik (UVic MA, 2015)
With supervision from Caroline Riedel (Legacy Art Galleries)

Legacy Art Gallery Downtown | 630 Yates Street

Exhibition Website

Glenn Howarth was a pillar in Victoria’s arts scene from the late 1970s until his death in 2009. He also had an enduring connection to the University of Victoria — as a Visual Arts student in the 1960s, a sessional instructor, an artist-in-residence with the Engineering Department, and recently with a bequest of his archival papers and digital art. Howarth was an innovative creator and inspired teacher searching for ways to communicate the artistic process and the perceptual functions of the eye and brain that contribute to visual perception. His work was often infused with surrealistic imagery which recalls the work of Francis Bacon. Howarth was also responsible for innovations in computer graphic art in the early 1980s working on the Telidon system as an artist in residence at UVic’s Engineering Department with Dr. Ernest Chang. He represented Canada with this work in the Sao Paulo Biennale and at Expo 86.

The Averted Eye Sees draws on UVic’s significant collection of Howarth paintings primarily from the Michael C. Williams estate, as well as Howarth’s writing, sketches, ephemera, and digital archive, part of the regional artists archive initiative of UVic Libraries Special Collections and Archives. It also includes a fascinating case study on the challenges of ‘retro-computing’ in recreating Howarth’s early experiments in digital artwork.

Due to the popularity of the exhibition on campus this summer, a second edition of this exhibition will be featured in the small gallery downtown, allowing for the viewing of a larger selection of Howarth’s powerful oeuvre.

On Communities and Nations

Unctuous, Sean Nattras

Unctuous, Sean Nattras

April 5 – June 9, 2012

Legacy Art Gallery Downtown

Curated by Dr Carolyn Butler Palmer, Williams Legacy Chair in Modern and Contemporary Arts of the Pacific Northwest.

This exhibition examines historian Benedict Anderson’s concept of imagined communities in relationship to the emergence of First Nations printmaking practices in the late twentieth century. Ideas of community and nation have a complicated set of relationships. For some, communities are nations. For historian Benedict Anderson, nations are synthetic constructions that we come to imagine as communities through various systems of exchange that include: public meeting places and the reproduction of images and narratives. On Communities and Nations examines Anderson’s concept of imagined communities in relationship to emergence of First Nations printmaking practices in the late twentieth century.

Architecture and Power: The Legislative Buildings of Canada’s Capitals

November 3, 2010 – February 6, 2011

Legacy Art Gallery Downtown

This travelling exhibition on the legislative buildings of Canada’s fourteen capital cities presents the main characteristics of each building, such as year of construction, cost , and dimensions, and features historical footnotes about their construction. The art and architecture exhibit features historical and modern photographs. Each capital’s of government is also depicted in a contemporary painting by the Murale Création team of artists. The exhibition’s content, which aims to educate citizens and foreign visitors about the capitals of Canada’s provinces and territories, was developed by architectural historian Ms. Denyse Légaré in collaboration with Commission de la capitale nationale du Québec.

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

Rebels and Realists: 100 Years of the Victoria Sketch Club

Max Maynard, Whiffen Spit
Max Maynard, Whiffen Spit

March 9 – May 29, 2009

Maltwood Art Museum and Gallery

Curated by Caroline Riedel

View the online catalogue:

Rebels and Realists – Catalogue

This exhibition celebrates western Canada’s oldest arts organization and features over 50 of the club’s best-known artists including Emily Carr, Josephine Crease, Sophie Pemberton, W.P Weston, Thomas Fripp, Max Maynard, Jack Shadbolt, Ina Uhthoff, Katharine Maltwood, Stella Langdale and Edythe Hembroff.

Legh Mulhall Kilpin (1853-1919)

Kilpinimage

Untitled, Legh Mulhall Kilpin, 1919

September 29, 2008 – February 28, 2009

Maltwood Art Museum and Gallery

Circulated by the Langley Centennial Museum.

A travelling exhibition featuring 58 of Kilpin’s works from the Early Years in Great Britain.

While painting in England, Kiplin had applied his technical proficiency towards achieving a pleasing, but rigid, style that strongly adhered to the established rules of certain genres. Upon arriving in Canada and joining the Arts Club of Montreal Kiplin took up etching, which coincided with a print revival that was developing in Toronto. Even in this more relaxed medium he had a hard time letting go of his technical precision and his etchings from this time are reminiscent of conservative prints from Britain and France, while others are more spontaneous and “sketchy”, which were often contemporary Canadian scenes.

The Hold of Our Hands: Art from the Robin & Sylvia Skelton Collection

Robin Skelton, courtesy of Skelton family
Robin Skelton, courtesy of Skelton family

August 31 – November 15, 2007

Maltwood Art Museum and Gallery

Curated by Caroline Riedel

View the online catalogue:

The Hold of Our Hands Catalogue

Robin Skelton was a prominent figure in the Victoria art and literary scenes and with his wife, Sylvia, amassed an impressive collection of art. This exhibition features work from the Limner Art Group as well as illustrations by Jack Butler Yeats, brother of poet W.B. Yeats, other noteworthy Irish artists and Robin’s own collages. This show is part of a campus wide celebration of Robin Skelton’s creative life and contribution to the University community.

Similar Exhibitions:

Three Rivers/Wild Waters, Sacred Places

June 24 – December 23, 2005

Maltwood Art Museum and Gallery

The Three Rivers exhibit features works by 11 artists, writers, journalists and photographers that embarked on three separate but simultaneous journeys along the Snake, the Wind, and the Bonnet Plume Rivers. All three rivers are a part of the Peel River Basin, the traditional territory of both the Nacho Nyak Dun and Tetlit Gwich’in First Nations. This remarkable project was orchestrated by CPAWS-Yukon (Canadian Parks and Wilderness Society) and took place over 18 days in August, 2004.

Across the Nation II

May 4 – May 31, 2004

Legacy Maltwood (at Mearns Centre – McPherson Library)

The second instalment of Arcoss the Nation, a juried Art Education exhibition of Canadian universities and colleges. The work featured offers numerous perspectives on the human experience as it reflects on a personal vision, while exploring the relationship of art education to the ideas and processes of the studio.

The Art of the Ainu

July 14 – August 16, 2001

Maltwood Art Museum and Gallery

An exhibition featuring art and craft works of the Ainu people of Japan and will include a selection of musical instruments, textiles and jewellery. The Ainu culture is believed to be one of the oldest and perhaps the original culture group living on the islands before people began migrating there from China and Korea. Over the past century the Ainu have struggled vehemently to resist assimilation into Japanese society and to maintain their own culture and traditions.

Twelve Ainu artists have recently come to Canada to participate in this year’s Tribal Journey project with the Kwaguilth and Esquimalt Nations. Together they are carving two 50-foot traditional canoes. The canoe carving represents the restoration of Aniu culture as well as a keeping with the tradition and the strengthening of an identity.

Visages de l’Eciture

February 21 – March 23, 2001

Maltwood Art Museum and Gallery

A photographic exhibition of Quebec Authors by Ludovic Fremaux. The exhibit contains 40 photographic portraits of Quebec writers including Maillet, LaFerrire, Archambault, Meigs and others. Fremaux photographed the writers in the backdrops of their ordinary lives. They were collected in a book in April 1998, and have also been used by several publishing houses in Quebec and abroad. The photographs are accompanied by an excerpt from the author’s work, as well as a short biographic and bibliographic note.

Dunlands Restaurant & One-Room Dwellings

Gus, "parkdale Cowboy", Frank Pimentel, 1992

Gus, “parkdale Cowboy”, Frank Pimentel, 1992

February 13 – March 1, 2001

Legacy Maltwood (at the Mearns Centre – McPherson Library)

The exhibition features the photography of Frank Pimentel. The series tells the stories of  regular customers at The Dunlands restaurant in Toronto’s west brick building.

I think the restaurant is a place that hasn’t been able to keep up with the way the world has changed, like at a certain point the people decided that it was time to give up. When I look at the work that I’ve done it makes sense that I’ve left the gaps that I have because I’m trying to say something about the place and the people, that the place itself relates to these people and I think that what I mean by that is that they restaurant and the objects there just seem so – I guess the word is pathetic – they’re worn … and they’re not going to get any better.”

-Frank Pimentel, 2001