True Nordic – How Scandinavia influenced design in Canada 2017 ~ 18

 

Perceived as practical, refined and socially progressive, Scandinavian design had wide appeal in Canada after the 1920s. The foundations of Nordic design rest equally in the acknowledgement of the importance of place and the notion of what has been called “fitness of purpose,” namely the functionalism and rationality of objects for everyday life designed for social well-being.
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Portrait of the Artist – An Exhibition From The Royal Collection 2017 ~ 18

 

The Royal Collection is among the largest and most important art collections in the world.  It comprises almost all aspects of the fine and decorative arts, and is displayed among royal residences and former residences across the United Kingdom, most of which are regularly open to the public. Exhibitions such as this are shown at The Queen’s Galleries in London and Edinburgh and tour overseas. As well as inclusion in touring exhibitions, many works from the Royal Collection are loaned to institutions around the world.
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Gordon Smith – The Black Paintings 2017 ~18

 

Gordon Smith (b. June 18, 1919, Hove, England) is one of Canada’s most influential and compelling painters. His practice spans over seven decades and he continues to paint to this day. Though primarily known as a landscape painter, Smith’s complex oeuvre can be characterized as one of continued, rich and varied artistic exploration. At the core of his work is a love of painting and paint itself—texture, colour, form and brushstroke.
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Entangled – Two Views on Contemporary Canadian Painting 2017 ~ 18

 

The story of contemporary painting in Canada is constantly under revision, and for good reason—dynamic and influential art practices, wildly differing opinions, strongly held beliefs, high expectations and even higher price tags, make for a charged atmosphere in art schools, studios and public and private galleries. Within the community of painters, strong ideas give shape to new modes of painting, ideas and techniques that are in turn shared, debated, tested and critiqued in studios across the country.
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Carol Sawyer – The Natalie Brettschneider Archive – 2017 ~18

 

Carol Sawyer is a Vancouver-based artist whose interdisciplinary practice encompasses photography, video, installation, performance and improvised music. Sawyer’s work is often concerned with memory, the construction of history, and the ways in which fact and fiction are sometimes entwined. In this solo exhibition Sawyer presents The Natalie Brettschneider Archive (1998–), a significant and ongoing project that centres on the life and practice of Natalie Brettschneider, a fictional artist conceived by Sawyer.
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Emily Carr – Into The Forest 2017

 

The Vancouver Art Gallery is home to the finest collection of Emily Carr works in the world. While we are fortunate to have major works from throughout her career, the Gallery’s collection is particularly rich in her forest paintings from the 1930s. These include both her canvases and oil on paper works, a medium she began using during that period. Supplemented with a generous loan of three key early works completed during 1913-1918, this exhibition highlights her continued explorations of the natural environment—from the formative days of her career to the final stages of her life.
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Pacific Crossing 2016

The approaching twentieth anniversary of the return of Hong Kong sovereignty from the United Kingdom to China has given rise to unresolved tensions among both Hong Kong’s residents and its diasporic communities. As a marker of time, it also allows institutions to consider peripheral themes that reveal some of the complex narratives and histories surrounding Hong Kong emigration. In order to explore the complexities of sovereignty, transnationalism and cultural assimilation in relation to the Hong Kong migration to Vancouver, the Vancouver Art Gallery is staging three exhibitions, each representing different generations, practices and perspectives of artists from Hong Kong and the diaspora.
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JUXTAPOZ X SUPERFLAT 2016

 

Juxtapoz x Superflat is a manifesto for new creative practices that cannot be adequately described by the traditional categories of art. Presenting the work of more than thirty artists from Japan, China, Korea, Europe, the United States and Canada, this exhibition offers a unique insight into contemporary art and its place in cultural life. It was organized by the renowned Japanese artist Takashi Murakami and co-curated with Evan Pricco, Editor-in-Chief of Juxtapoz Art & Culture, a legendary San Francisco–based magazine committed to art, design, fashion and graffiti. They conceived Juxtapoz x Superflat as a survey of the most exciting visual art to emerge in recent years, with an emphasis on artists who operate outside of the central hubs of the global art world. Harnessing the dynamic energy of performance and street art, it was originally staged as a three-day pop-up in August 2016 at Pivot Art + Culture in Seattle: many artists were invited to create new work for the exhibition, and a number produced their contributions in situ in the days leading up to the opening.
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Walker Evens 2016

 

The American photographer Walker Evans (1903–1975) is among the most influential artists of the twentieth century. Born in St. Louis, Missouri, Evans initially aspired to become a writer. He studied literature for a year at Williams College in Massachusetts and spent time in Paris during the mid-1920s, where he encountered the work of a range of modern European photographers. After returning to the United States, Evans began to realize that the artistic material he was looking for was right in front of him, in the symbols and faceless architecture of the commercial world, the traces of everyday life found in cheap cafés and small-town streets, and the widespread deprivations of the Great Depression. By the 1930s Evans had developed a singular approach to image making that drew upon the narrative structure associated with literature and placed him on the path of becoming one of the world’s most important photographers.
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PERSISTENCE 2017

Persistence draws together three recent installations to explore the surprising and creative ways that technologies, physical objects and natural processes endure and transform. The exhibition’s premise is inspired by media critic Marshall McLuhan’s ideas concerning “the role of obsolescence in sparking creativity and the invention of new order.” In his short text, “A Note on Obsolescence,” he poses questions about how and why some objects and concepts are renewed and kept alive. In light of this idea, each of these works offers viewers insightful propositions about perseverance, especially during this time of social and political upheavals.
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Elad Lassry 2017

Over the last ten years Elad Lassry has developed an extensive body of work exploring visual perception and the nature of images. The artist is well known for his carefully composed studio photographs of people, animals, fruit and everyday objects, which often draw on the aesthetics of advertising and commercial photography. Lassry also frequently works with found photographs, sourced from magazines and film and photographic archives, which are reconfigured through a number of gestures. Lassry’s interest in these generic images is not intended as a critique of advertising, but rather allows for rich investigations of our engagement with the photographic image.
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Pictures From Here 2017

 

Comprised of photographs and video works by Vancouver-based artists that date from the late 1950s up to the present, Pictures From Here reflects the development of the innovative lens-based practices that emerged as a counter-point to the lyrical landscape tradition that dominated art making in this city well into the 1970s. At that time, Vancouver-based artists such as Ian Wallace, Jeff Wall and Christos Dikeakos adopted rigorous approaches to photography that both articulated an affinity with the challenges to aesthetic tradition put forward by the modernist avant-garde and acknowledged the specific time and place in which they were working. Rather than focusing on the inherent properties of photography—sharp focus, extended tonal range, the rendering of fine detail—these artists turned their attention to the larger systems of representation through which their subject matter was perceived. In doing so, they proposed new ways of representing the city, the vast “natural” landscape that surrounds it and the mechanisms that frame our understanding of these places.
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Monet’s Secret Garden 2017

French painter Claude Monet (1840-1926) is a pivotal figure in Western Art. During a career that spanned over sixty years, Monet continually overturned conventions to experiment with new ways of rendering the world around him. His unique vision transformed French painting and led the way to avant-garde modernist art movements in the twentieth century. 
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Susan Point – Spindle Whorl 2016

 

Over the past three and a half decades, Musqueam artist Susan Point has received wide acclaim for her accomplished and remarkably wide-ranging oeuvre that forcefully asserts the vitality of Coast Salish culture, both past and present. During this time she has produced an extensive body of prints and an expansive corpus of sculptural work in a wide variety of materials that includes glass, resin, polymer, stone, bronze, concrete, steel, wood, acrylic paint and paper. The range of techniques she has utilized is as diverse as her selection of materials; they include screen and wood-block printing, wood carving, acid etching, bronze casting, paper casting and industrial methods of cutting steel. The scale of her work is also wide in scope, ranging from the intimacy of the jewelry she produced in the early 1980s to the monumental character of the public sculptures she first undertook in the 1980s and continues to make today.
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Howie Tsui – Retainers of Anarchy 2016

 

 

Vancouver-based artist Howie Tsui’s solo exhibition, Retainers of Anarchy, is an amalgamation of martial arts characters and techniques woven together with threads of social and political realities of present-day Hong Kong. Presented as a non-linear counter narrative in the form of a twenty-five metre handdrawn animation, Retainers of Anarchy offers an opportunity to reflect on notions of identity and nationhood using Hong Kong’s past and more recent surge of political unrest.
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Vancouver Special – Ambivalent Pleasures 2016

 

Since its inception in 1931, the Vancouver Art Gallery has regularly organized survey exhibitions of local art. Building on this robust history, which began with the BC Annuals (1932–68) and continued with significant curatorial projects of recent decades, the Gallery now introduces Vancouver
Special
, a survey exhibition that will occur every three years. The triennial model offers a sustained engagement with the contemporary artists who make Vancouver a dynamic art community. The title of this initiative, Vancouver Special, is borrowed from the housing archetype that was popular in Vancouver between the 1960s and 80s. Originally affordable and easily adaptable, this regional house style is experiencing renewed attention in the midst of the current housing crisis.

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