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Past Exhibitions
Hovercraft
- Takashi Iwasaki
- Jeanette Johns
- Heather Komus
- Chantel Mierau
- Kristin Nelson
- Jennie O’Keefe
- Suzie Smith
January 19 - March 30, 2012 |
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animal keeper
Chris Cooper
September 22 - November 12, 201 |
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July 12 - September 10, 2011
Bird Radio and the Eames Chair Lounge
Bill Burns
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May 06 - July 02 2011
Brendan Fernandes, On Becoming
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Maria Hupfield, Imaginaary Coordinates
Bird Radio and the Eames Chair Lounge
Bill Burns
July 12 - September 10, 2011
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March 11 - April 23, 2011
Michael Boss, Sanctuary |  |
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October 14 - November 27, 2010
Lisa Wood, Twin Reflections |
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October 14 - November 27, 2010
Steve Gouthro, Deadringer |
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August 26 - October 2, 2010
Wally Dion: Thunderbird Series
Curated by Jenny Western |
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August 26 - October 2, 2010
Scott Waters: Expressions of Force
Curated by Amber Andersen |
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June 30 – August 14, 2010
Yousuf Karsh: Industrial Images
Curated by Cassandra Getty, Collections Manager
Exhibition circulated by the Art Gallery of Windsor |
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April 29 - June 19, 2010
Hockey Town
Liz Pead, Liss Platt, and Leah Modigliani
Curated by Sandra Fraser, organized & circulated by the Maclare Art Centre |
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March 4 – April 17, 2010
Concinnitas: A Look into Brandon
David Owen Lucas
Chasing the Vista of Brandon
Weiming Zhao
Curated by Amber Anderson
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January 07 – February 20, 2010
Oh So Iroquois
Vince Bomberry, Hannah Claus, Ric Glazer Danay, Katsitsionni Fox, Ellen Gabriel, Jeffrey Gabriel, Louis Hall, Alex Jacobs, G. Peter Jemison, Peter B. Jones, Miriam Jordan with Julian Haladyn, Clifford Maracle, Alan Michelson, Shelley Niro, Melanie Printup Hope, Jolene Rickard, Greg Staats, Bear Thomas, Jeff Thomas, Samuel Thomas, and Marie Watt
Curated by Ryan Rice
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October 16 – November 21, 2009
“found”
William Eakin, Kegan McFadden, Collin Zipp
Curated by Jenny Western
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August 27 – October 03, 2009
All For You: Fall Cycle
Terrance Houle
Curated by Amber Andersen
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August 27 – October 03, 2009
Transformations
Adrian Stimson
Curated by Amber Andersen
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July 03 – August 15, 2009
Life Lines: The Story Keeper’s Daughter
Chris Larsen
Curated by Jenny Western |  |
July 03 – August 15, 2009
Faunamorphic
David Hannan
Curated by Jenny Western |  |
April 30 - June 6, 2009
Industrial Gardens and Other Dreams
Jan Brancewicz |  |
April 30 - June 6, 2009
U.F.O. Long Plain
Linus Woods |  |
March 12 – April 18, 2009
Agrarian Worlds
Colette Balcaen and Tim Schouten
Guest curated by Karen Oliver |   |
March 12 – April 18, 2009
In Essence…
Heather Benning, Tyler Brett, Serena McCarroll, and Graeme Patterson |   |
January 8 – February 21, 2009
Transmigrating Inadequacy
Jing Yuan Huang
Foreigner in China: China in Foreigner
Bruce Hanks |   |
October 30 – November 29, 2008
Aircraft, Arms, and Art
Allen Ball, Barbara Hunt, Steve Gouthro, Paul Robles, and Maskull Lasserre
Co-curated by Amber Andersen and Chris Reid |  |
| September 4 – October 18, 2008
Mother’s Mother’s Mother: The Legacy and Rebellion of Aboriginal Women’s Art, Hannah Claus, Rosalie Favell, Maria Hupfield, Shelley Niro, Tania Willard, and Daphne Odjig
Curated by Jenny Western
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July 10 - August 23, 2008
Utility/Object Reflections
Lin Xu |
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June 12 - June 21, 2008
Tri-High Art Exhibition
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May 1 - June 7, 2008
Re-Mediations James Gillespie & Stephen Foster, curated by Janet Jones
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March 6 - April 19, 2008
Sunup - Krisjanis Kaktins-Gorsline
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March 6 - April 19, 2008
Several Acts of Self Preservation - Brian Kayes
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January 10 - February 23, 2008
The Studio - Marc Courtemanche
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October 25 - November 29, 2007
Comicshow: Drawn to Story
Japanada: A Cross-Cultural Curatorial Exchange, Part One - Taiyo Kimura
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August 30 - October 13, 2007
Downtime, Heather Bennin
iPotlatch, Sonny Assu |
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July 5 - August 18, 2007
Shadow Princesses - Deborah Forbe
Painter Pants - Neil Dyck, Patrick Lundeen, Roger Crait, Jeff Nachtigall and Jason Mclean |
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| June 14 – June 23, 2007
Tri-High Art Exhibition: 3 + 1 = 4
Featuring student artwork from Crocus Plains High School, Neelin High School, Vincent Massey High School, and Elton Collegiate
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May 3- June 9, 2007
Do Not Park Bicycles |
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March 8 - April 21, 2007
From Some Wilderness Place
Heather Goodchild |
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| March 8 - April 21, 2007
Contemporary Observations in Photos, Drawing and Music Inspired by Patterns, Forces, and Beats in Nature
Phyllis Grant |
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January 11- February 24, 2007
Radio Killed the Video Star - Benny Nemerofsky Ramsay |
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The Stand-off - Jackson 2bears
Read the Press Release |
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| December 7 - December 21, 2006
AGSM Second Annual Members Show and Sale
Just in time for the Holidays, the Art Gallery of Southwestern Manitoba’s Members Show and Sale came back for its second year! The Members Show and Sale operates as a fundraiser to promote artwork by gallery members and support AGSM’s programs. The Members Show and Sale kicked off with a special members only reception on Thursday, December 7 at 7pm. All of our Member Artists were invited to attend this event. The Members Show and Sale was open to the general public December 8 - 21.
December 11 - December 30, 2006
Kaye Rowe Chapeaux Exhibit
Organized by the Daly House Museum, this exhibition highlighted the historic hat collection of legendary Brandon fashionista Kaye Rowe. This collection of seventy hats ranged from the 1930s to the 1980s. An afternoon tea took place on December 11 at 2pm to celebrate the opening of this unique exhibition of Brandon’s history.
 Daly House Museum web site
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| October 26 - November 30, 2006
Fake ID - Kevin Ei-ichi deForest |
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Kevin Ei-ichi deForest’s work is engaged with the representation of a hybrid state of identity, focusing on his half-Japanese heritage. He takes a playful approach in his work rooted in discourse around cultural identity. Through a diversity of media, including painting and drawing, sculptural installation, audio art and video, the work takes a critical position through its "impure" mixing of cross-cultural iconography. Kevin is the new professor of Painting at Brandon University.
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August 31-October 14, 2006
Transcendence-cyborg hibrida genitalis humanitas
KC Adams
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| In the gallery installation Transcendence-cyborg hibrida genitalis humanitas, Winnipeg artist KC Adams presents a digitally altered photo series challenging mainstream views towards mixed race classifications. The subjects are Euro-Aboriginal artists who are forward thinkers and plugged in with technology. Adams photographs her subjects wearing white t-shirts with beaded text such as “Authority On All Aboriginal Issues,” “Indian Giver,” and other slogans that illustrate common stereotypical thought about Aboriginal people. With stoic poses and air-brushed glamour, Adams defies society’s preconceptions about cultural location.
kcadams.net
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July 6 - August 19, 2006
In Your Dreams
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Over 30 artists from Australia, Germany and Canada come together under the theme of In Your Dreams to produce new artworks capable of travelling in small boxes. Each work will be displayed inside its own box or extend from it. These pieces will hang on the wall, sit on a plinth or be suspended from the ceiling. The artists participating in this project come from greatly differing art disciplines, encompassing painting, printmaking, sculpture, jewelry and textiles.
Winnipeg-based artist Karen Cornelius will guest curate the Canadian component of the exhibition which includes pieces by Southwestern Manitoban artists Fay Jelly, Shirley Brown, Elaine Rounds, and Barb Flemington. Other In Your Dreams participants include Michael Boss, Agatha Doerksen, Craig Love, Bonnie Marin, Diana Thorneycroft, Helen Sanderson (Australian guest curator), Liz Jeneid, Bev Jensen, Helen Mueller, Katharine Nix, Rosemary Penfold, Caitlin Sheedy, Jonathan Tse, Corrie Wright, Penny Carey Wells, Lene Rose Gruner (German guest curator), Wanda Aniko-Lützner, Sibylle Burr, Sylvia Farago, Elke Gaiser, Christine Huss, Hildegard Koldin, Renate Quast, Karina Stangle, and Gerlinde Stingl.
For more information on the In Your Dreams project consult the project website at inyourdreams.helensanderson.com.au
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June 15 - June 24, 2006
Tri-High Art Exhibition |
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The AGSM was pleased to welcome the Tri-High Art Exhibition back for its fourth year at the gallery.
This annual event showcases the creativity of local high school students from Crocus Plains High School, Neelin High School, and Vincent Massey High School. Tri-High gives Brandon’s next generation of artists a chance to display their work in a gallery setting and share their talents with the community.
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April 27-June 10, 2006
Karen Tam, No MSG at Friendship Dinner |
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In North America, food plays a key role in constructing cultural identity, and restaurants often become a site for the formulation of ideas about race. Through her installations recreating the typical Chinese restaurant, Karen Tam investigates how these spaces come to represent China and Chinese Culture.
Tam sees the Chinese restaurant as “a metaphor for an imaginary China, imagined by the West and as a place recreated by the Chinese in the West.” By engaging local Chinese community members, Tam will create an installation that will examines Chinese immigrant experiences, the localization of culture, racism and otherness. Karen Tam is an establishing artist from Montreal. Produced by the AGSM. This will be the AGSM’s first artist-in-residence initiative.
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| March 9 - April 15, 2006
Chris Reid, Bunny Days: The Third Chapter |
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Bunny Days is about the desire to belong, the frustration of building a career in rural Manitoba, the disappointment in ideals mangled amid the contradictory expectations of family. While Reid’s visual language is filled with satire, cynisim, and anxiety, her humour and wit make her work very accessible.
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| March 9 - April 15, 2006
Slant Artist's Cooperative, So Far, So Close, So What? |
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Two years ago senior artists Shirley Brown, Barb Flemington and Fay Jelly organized nine local artists into a rural mentorship program. MAWA( Mentoring Artists for Women’s Art) agreed to provide some support in the formation of what came to be known as SLANT. Drawn together by the challenge of being an artist in an isolated region, each have created a small body of work in various mediums that reflect the experience of isolation in many different forms. All artists live and work in the Southwest Region of Manitoba Organized by the AGSM.
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January 12 - February 25, 2006
Hannah Claus, repeat along the border |
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Hannah Claus thinks of pattern as language, something that is omnipresent, surrounding and coding our lives, our selves and our worlds. In her installation work, the artist uses decoration to highlight relationships between cultural identities that make up her own history (Mohawk and Euro-Canadian), examining areas of overlap and transformation.
To this end, she manipulates archetypal objects and/or patterns, such as colonial European wallpaper and textile patterns, Iroquois beading motifs and decorative design, as well as patterns that exist in nature. In bringing together these different elements, Claus is searching for a new language; a communication that challenges absence through its presence.
Hannah Claus is an established artist living and working in Montreal.
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January 12 - February 25, 2006
Leah Decter, here
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Leah Decter draws her work from the story of her grandfather who in 1914 narrowly escaped the destruction of his village and the death of his entire family. Subsequent years of repeated displacement in Eastern Europe ended when he made his way to Northern Saskatchewan with false papers.
The artist’s personal relationship with the story combined with the broader issues it reflects is the touchstone for the work in “here”. Each piece in the exhibition uses a fundamental textile process to embody contemporary and historical aspects of issues like place, displacement and belonging.
Leah Decter has recently relocated to Winnipeg.
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December 8 - December 21, 2005
AGSM 1St Annual Members Juried Art Show and Fundraiser
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| December 2 - December 3, 2005
Annual Gala of Gifts!
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October 20 - November 30, 2005
Reflections, Denise Parent
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The repetition of patterns both in natural and manufactured objects are a major source of inspiration for this Onanole based photographer. A repeated theme in her work is the complexity and simplicity of forms and the recognition that humankind cannot create something that does not already exist in nature.
Parent takes everyday objects, those found in natural settings and those that are not, and presents them in a manner that allows viewers to ponder the simple beauty that surrounds us. Denise Parent is an establishing artist living and working in Onanole, Manitoba.
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| October 20 - November 30, 2005
In the Horizon
Brent Hume
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Prairie agriculture has endured a variety of changes throughout history but the closure of small grain elevators exposed difficult times for farmers. Once a place for business, the grain elevator also played the important role of community meeting place. Their disappearance from the Prairie landscape reflects the changes that have so negatively impacted on small farming communities.
In this exhibition, Brent Hume documents through photography how farming and the landscape have changed, and how it affects him as both an artist and farmer. Brent Hume is an establishing artist living and working in Saskatchewan.
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Instructor’s Exhibition
Instructors from the AGSM’s 2004-2005 Studio Program
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| August 25 - October 8, 2005
Shirley Brown, Vestiges |
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Shirley Brown's recent work was inspired by bird skeletons she discovered in an abandoned cook stove. As they became a metaphor for loss, she began to picture them as ancient beings that may have inhabited this Earth long ago. Using the birds as a source of an imagined lost civilization, the artist has made "artifacts" like bookworks, reliquaries and shrines. These invented relics become symbolic fragments of a vanished world and lost wisdom.
Playing with ideas of consumerism, Brown devotes a portion of the exhibition to a faux gift shop, which will contain tawdry mementos, commenting on museum exhibition and promotional practices.
Shirley Brown is an established artist living and working in the Brandon region. Produced by the AGSM and the Winnipeg Art Gallery. A catalogue of the exhibition is available for $15.00 +GST
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| June 30- August 13, 2005
Jeff Thomas, A Study of Indian-ness
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This exhibition raises the question of what is a “real” Indian. As both a photographer and curator, Thomas’ interest is in how the dominant Canadian society has defined Indian-ness through photography, painting, movies, wild west shows, anthropology and museum displays. He is also concerned with how these areas of study infiltrate First Nations perspective.
In a five-part installation, Thomas creates a site of testimony as a means of re-examining Indian representation, blending his own constructed and documentary photographs with historical and popular cultural images of Aboriginal people. Jeff Thomas is an established artist, writer and curator living and working in Ottawa.
This exhibition organized and toured by Gallery 44.
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| June 9th to June 18th, 2005
Tri-High Art
A selection of student work from Crocus Plains, Neelin, and Vincent Massey Senior High Schools |
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| Click on the Tri-High images to enlarge |
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This annual event showcases the talent of local high school students from Crocus Plains, Neelin and Vincent Massey Senior High Schools. This exhibition gives participants a chance to have their work exhibited in the Art Gallery of Southwestern Manitoba, and friends and families to see their talents and hard work.
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| April 21 - May 28, 2005
Lou and Bill, Rachelle Viador Knowles |
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This exhibition brings together two separate series of work by the artist, each addressing issues of crisis and language/text/communication.
The Future features an 11-year-old boy who divides himself between stories of pasts and futures, home and away, the realities of his present life and his imagined life in New York.
Lou’s Eyes is a photo and text based installation that pays homage to a friend of the artist who suffers from a congenital eye disease, which will inevitably leave her completely blind. The work does not explore the particular of the disease, instead it is the rationale for positioning Lou as the subject of a project about two aspects of seeing – looking out and looking in.
Rachelle Viader Knowles is an established artist living and working in Regina.
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| April 21 - May 28, 2005
Recent Work and Collaborations, James Prior |
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James Prior exposes the boundaries around notions of masculinity by depicting failed male stereotypes, through narratives around male-male bonds, examination of the role of the father, and the exclusion of the feminine.
Through photo-based series like James Pierre and Pom Pom: Two Hearts Beat As One, and James Johnstone Presents: The New 1001 Push-Up Man (a collaborative art project with Saskatoon-based artist Clark Ferguson), Prior creates a space of camaraderie and belonging for the characters while acknowledging their exclusion from larger societal structures. By presenting rarely seen stories of masculine identity, he asks viewers to acknowledge their own vulnerability, while considering alternative stories to manhood.
James Prior is an establishing artist living and working in Montreal.
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| February 24 – April 9, 2005
Godzilla vs. the Skateboarders
Skateboarding as a critique of social spaces
Aaron Carpenter, Alex Morrison, Juan Carlos Perez Trejo, Sandee Moore, Shaun Gladwell, Fastwums, Mowry Baden |
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This exhibition gathered together artists who use the culture and practice of skateboarding as a means to critique architecture, social spaces, and the values represented by those spaces.
Artists create architecture, architects skateboard, and skateboarders take part in performance art. Skateboarding is not only presented as art, but it recognizes that contemporary art has an intimate relationship with the products and practices of popular culture. Organized and circulated by the Dunlop Art Gallery.
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| February 24 – April 9, 2005
Super Phat Nish, Barry Ace |
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There is a longstanding cross-fertilization of pop culture between First Peoples and African Americans. Red Power and Black Power movements of the 1960s reveal an on-going drive for change and fed the emergence of distinct pop cultural icons of the repressed inner city ghettos and urban reservations. Ace’s current body of work focuses on the development of Super Phat Nish as an icon of urban Indian pop culture. The image reclaims stereotypical representations and portrayals of Indians and acknowledges the longstanding connection with urban African American culture.
Ace imprints his own image on pop cultural objects used by urban Aboriginal youth including skateboards, patches, lunch boxes, satchels, hats clothing and other urban pop culture objects. Super Phat Nish becomes the new cool urban guru and role model that reveals that one can maintain their distinct cultural sensibility in the city. Barry Ace is an established artist, writer and curator living and working in Ottawa.
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January 6 – February 12, 2005
wabi-sabi – An Exhibition of Contemporary Japanese Ceramics
Robert Froese, Yu Kobayashi, Kazuma Nakano
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This exhibition is bound together by the influence of the Japanese aesthetic of wabi sabi. Wabi is a form of beauty based on simplicity and imperfection, and sabi refers to the changed quality of an object through production, time and use. While this work is considered to present a more extreme and experimental expression of what is ‘natural’ in Japanese ceramics, these artists work strongly exhibits particular qualities of the clay or actions of the firing process. Produced and toured by the Moose Jaw Museum and Art Gallery.
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| January 6 – February 12, 2005
Fibre Fantasy
Fibre Arts Network
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This exhibition features work by twenty-two artist members from the Fibre Arts Network. The Fibre Arts Network has over fifty members from all over Western Canada, including British Columbia, Alberta, Saskatchewan and Manitoba. Membership includes establishing and established fibre artists, with many having shown their work nationally and internationally. Through FAN’s retreats, newsletters, and website, members support one another, and participate in exhibitions together. Fibre Fantasy exposes the diversity of FAN artists interests and includes a variety of fibre works, including quilts, wall-hangings, and three-dimensional work. The work in this exhibition is stunning, and exposes the limitless possibilities of fibre art.
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November 4 - December 11, 2004
The Best Man
Riel Benn
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Through his alter ego, “The Best Man”, Benn has created a series of paintings that reflect his fascination with celibacy while dealing with ignorance, loneliness and jealousy at the same time. With a sly and wry sense of humour, he turns the complexities of relationships into jokes, games and riddles, thus pleasing and satisfying Benn’s need to justify and rationalize his single state. Through the continuous presence of the Best Man, clad in a purple suit, blue heart, and top hat, Benn presents a narrative that makes us laugh, and feel melancholic simultaneously. Riel Benn is an establishing, award-winning artist living and working in Birdtail Sioux, MB.
(CLICK TO DOWNLOAD THE EXHIBITION BROCHURE IN PDF FORMAT)
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November 4 - December 11, 2004
Cowboys, Indians, (Métis?)
David Garneau
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This exhibition explores representations of settlers, First Nations and Métis people as they have been played out in popular media and visual arts. Through humour and interesting juxtapositions, Garneau ponders how Métis-ness is negotiated between European and Aboriginal identities/histories. Exposed in his work are the phases that one might go through when exploring one’s culture, for example decoding, locating, searching for certainty, acknowledgement, or maybe even proving. David Garneau is an established artist, writer and curator living and working in Regina. The AGSM hopes to hold a panel on Metis identity in relation to art during the course of this exhibition.
(CLICK TO DOWNLOAD THE EXHIBITION BROCHURE IN PDF FORMAT)
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October 30 - December 11, 2004
Community Hall Gallery
Leona McIntyre
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Leona McIntyre is an award-winning photographer, visual artist, published author and Aboriginal cultural facilitator. Her work has been displayed internationally in Australia, China, Switzerland and England. Through photography and traditional artwork, such as medicine wheels and dream catchers, McIntyre is able to blend the best of technology and tradition to express the beauty in our lives. McIntyre makes her home in Carberry, Manitoba
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July 15 - August 28, 2004
Art-It-Fact II
Lionel Peyachew
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There exists a troubled history for First Peoples in relation to the historical museum, which tends to present their culture under Plexiglas, away from its social relevance and apart from current everyday life. . The process of excavation, preservation, and exhibition has been based upon problematic ideas, for example the beliefs that Aboriginal cultures were once a dying race. Within museum displays, there is so much that is absent, raising questions such as: who created the “artifacts” on display, why, and what do they mean now? What aren’t museums telling us, and what don’t they know or recognize?
Lionel Peyachew takes on the role of archeologist with his art making by looking to a time when art was inseparable from daily life. However, as many archeologists have failed to do, he recognizes the continuation today of artistic practices. Peyachew uses natural found objects that his ancestors may have used in making their functional art. Found objects like soil, wood and rocks, which are believed to hold spiritual significance, are used. Yet, in an effort to erase the title of artifact in his work, he makes what might be considered traditionally functional, such as bows and arrows, non-functional. It is here that Peyachew crosses a spectrum, challenging viewer’s perceptions of what is deemed appropriate for an art gallery or that of a museum. The tension he creates between the functional and non-functional mirrors the museum/art gallery debate on the question of when is it art and when is it artifact. The AGSM is very pleased to present this exhibition, which will tour to 5 regional communities in Southwestern Manitoba. A catalogue will be available for purchase at the opening reception.
Lionel Peyachew graduated with an MFA specializing in sculpture from the University of Calgary in 2000. His work has been shown in several exhibitions, including a two-person exhibition at the Indian Art Centre in Hull, Quebec, and a solo exhibition at Urban Shaman Gallery in Winnipeg. He has taught as a sessional instructor at the University of Calgary, and presently teaches art at the elementary school level, while continuing his artistic practice.
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| April 29 – June 5, 2004
Blind Spot
Andrew Wright
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This exhibition of work by Andrew Wright uses the conventions of filmmaking and photography to question how meaning can be altered depending on which of our senses is the conduit for experience. Wright inverts our understanding of the 1967 B-movie Blind Man’s Bluff by video taping a man describing the film as he watches, while a text transcription of its soundtrack glides across the video screen as a subtitle. The original elements of the film are now conveyed through words rather than sound, while another person’s verbal description of the action on screen replaces the pictures themselves. Wright’s work challenges the idea of a reality of truth by illustrating how our method of perception can alter that reality.
Andrew Wright’s mediums include photography, printmaking and video. He has a MFA from the University of Windsor, and a degree in Art and Art History from the University of Toronto. Wright has had solo exhibitions at the Kitchener-Waterloo Gallery, Peak Gallery (Toronto), and Gallery 101 (Ottawa). His work has been included in group exhibitions at the ARC Gallery (Chicago), Oxfordshire (UK), and the London Regional Art and Historical Museum. He has won numerous awards, including the Ernst & Young Great Canadian Printmaking award. His work can be found in the Canada Council Art bank, The City of Kitchener, and many private collections. Wright lives in Waterloo, Ontario.
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Ala Lingua
Sarah Crawley
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| This exhibition by Winnipeg based photographer Sarah Crawley takes its name from the Latin Ala Lingua, which means “The language of the wing”. By photographing thousands of wild geese during their evening approach to landing at Oak Hammock Marsh and Fort Whyte Centre, the artist documented both the marks left by birds on water as well as their beautiful silhouettes against the blue dusk sky. At times the fluid patterns the birds in water and sky resemble the familiar, while at other times they appear to be syllables from an unknown written language. The end result is a visual language that embraces ideas of ritual, relationship, rhythm, memory and desire.
Sarah Crawley is a Winnipeg based artist who has had solo exhibitions at Gallery 1C03 (Winnipeg), The Photographers Gallery (Saskatoon), and the Stride Gallery (Calgary). Her work has also been included in numerous group exhibitions at the Dunlop Gallery (Regina), Women’s Art Resource Centre (Toronto), and Plug In Inc (Winnipeg). Crawley’s work can be found in the collections of The Walter Phillips Gallery, and the Visual Arts Bank of the Manitoba Arts Council, as well as many private collections. Crawley presently works with MAWA ( Mentoring Artists for Womens Art) in Winnipeg.
1st Annual Instructors Exhibition - Nevin Arnold, Garrett Beatty, Eleanor Beever, Jeff Bettle, Bruce Bumstead, Bob Christiani, Bill Clark, Kevin Conlin, Colin Corneau, Kathy Hehn, Jung Hee Lee-Marles, Rob Lovatt, Elaine Rounds, Darusia Slon-Comeau, Neil Stouffer, Carol Turabian, Libby Weir
The instructors at the AGSM studio school have developed are devoted to their art and have developed steady practices. At the same time, they don’t have many opportunities to show their work regionally. This exhibition will provide that opportunity.
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| February 26 – April 17, 2004
Ellipsis’
Doug Lewis
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Winnipeg-based artist Doug Lewis documented discarded soft drink lids and straws over a period of four seasons. Each of the sixty-four photographs records the ordinary event of an individual’s purchase and consumption of a soft drink. The artist’s decision to photograph one discarded lid over another was wholly guided by the arrangement of the lid and straw in the prior photograph. Rather than ecological issues, Lewis’ work explores how chance is entwined with strategy in determining the events that punctuate our lives and those of others.
Doug Lewis’ mediums include salt, photography, video, audio, and gelatin. He has had exhibitions at the Powerplant (Toronto), Confederation Centre (PEI), and Gallery III (Winnipeg).
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Between the lines and outside the box
Jean Klimack
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Winnipeg-based artist Jean Klimack uses multi-coloured chewing gum instead of paint in order to explore the physical and symbolic qualities of mundane and everyday materials we often take for granted. Using this somewhat repulsive yet ever-present material she uses its colour, surface quality and flexibility in the same way one might use paint on a canvas. In so doing, Klimack gives new meaning to gum, a substance viewed as having a short-term and insignificant role in our lives, revealing its potential to record and participate in our lives.
Jean Klimack has a BFA from the University of Manitoba, and has participated in residences at the Banff Centre for the Arts, and the University of Manitoba. Her work has been included in many exhibitions at the Othergallery (Winnipeg), MCAD Gallery (Minneapolis), The Winnipeg Art Gallery (Winnipeg), and the Anna Leonowens Gallery (Halifax). Klimack was involved with MAWA (Mentoring Artists for Women’s Art) on various committees and the Board for several years. In addition to focusing on her own work, Klimack is also the administrative coordinator at Ace Art Inc in Winnipeg.
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Vicious Circle
Daniel Olson
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Collaborative project with the Thames Art Gallery, Chatham Cultural Centre and The Medicine Hat Museum and Art Gallery
Montreal-based artist Daniel Olson produces installations that incorporate audio, video as well as live performance. Starting with found sounds, objects, texts, words, or images, Olson rearranges the small, sometimes insignificant things of the world in order to see them anew. By incorporating various toys, noisemakers, and children’s musical instruments, elements of play and humour surface. Yet this playfulness is often laced with bittersweet melancholy, or remembrance.
Daniel Olson holds a BFA from the Nova Scotia College of Art and Design and a MFA from York University. He has participated in exhibitions, residences, and festivals in Canada, The USA, Finland, France, Austria, Ireland, Taiwan, Argentina, Germany and the United Kingdom. Olson is represented in Montreal by Galeries Christiane Chassay and in Toronto by the Robert Birch Gallery. He currently lives and works in Montreal.
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| January 8 – February 13, 2004
Lumiere
Fay Jelly
Lumiere, an exhibition of Fay Jelly’s recent paintings, represents the Souris artist’s first solo exhibition in Manitoba. Jelly is an accomplished painter who adopts what has always been the writer’s maxim to paint what she knows. She draws inspiration from the essential components of everyday domestic objects and activities that comprise her life in rural Manitoba. Her upcoming exhibition is no different. It is a series of work inspired by a collection of antique lamps purchased or borrowed from Donough Antiques. Yet, what transforms Jelly’s work from that of a skilled technician in paint to that of a gifted artist is her clever use of the tradition of “old master” still life painting together with her very contemporary view of gender roles. Transformed through Jelly’s eyes, the “portraits” of lamps are imbued with a languorous and very human sensuos beauty to become an ironic response to the art historical convention of the painted female nude.
Jelly has exhibited her work in Brandon, Winnipeg, Kitchener and Estevan. The rich art education programs in this region including the AGSM’s and ArtsWest have nurtured Fay Jelly’s development as an artist. A key factor in her growth has been MAWA (Mentoring Artists for Women’s Art). Today, a board member of MAWA, Jelly takes an active role in encouraging the artistic development of other women artists in the southwest region.
Biennial SCAM
Valerie Hunter Cullen, Tammi Campbell, John Noestheden, Wendy Peart, Theo Sims, Myron Turner, Lynn Richardson, Anna Scott, Suzanne Franks, Jeff Nachtigall
SCAM (Small City Art Museums) was formed in 2000, evolving from the recognition that the needs of rural community galleries differ from larger urban centres. SCAM addresses these issues through partnerships, networking and executing traveling exhibitions that benefit communities within and surrounding small cities, primarily in Alberta, Saskatchewan and Manitoba. In 2001 SCAM’s first curatorial initiative took place, entitled Viewing Distance, which showcased contemporary art from Saskatchewan.
SCAM’s second curatorial project, Biennial SCAM #2, presents an overview of contemporary artistic practices across the vast Prairies. It was curated by Brenda Barry (Estevan Art Gallery and Museum), Ulrike Veith (Art Gallery of Prince Albert), Heather Smith (Moose Jaw Museum and Art Gallery), Kim Houghtaling (Art Gallery of Swift Current), Chris Reid (Art Gallery of Southwestern Manitoba) and Joanne Marion (Medicine Hat Museum and Art Gallery).
A call to Prairie artists for proposals was made, and from 100 proposals, 10 were selected. The curators selected artworks based on current artistic production throughout the prairies; the forces driving contemporary artistic expression on the prairies; current trends in content or media, and works that fell outside the traditional definition of medium or genre. The selection was also made with an interest in presenting a set of works with a series of subtle yet diverse links, a critical engagement with chosen media, and different views of the forces driving contemporary art practice. Repetition is the thread that links the work in the exhibition, as much as the work was created with various repetitive or layered aspects in both context and production. Themes explored are domestic space and language; existential meditations; nature and environmentalism; bodies, memory and cleanliness. The result is an inspiring exhibition that presents a view of the richness and diversity of contemporary artistic practice now taking place on the prairies.
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Picturing a Utopian Reality
Everett Baker
Circulated by the Moose Jaw Art Museum and Gallery
This work features the work of amateur historian and photographer Everett Baker (1893-1981). Baker was dedicated to supporting prairie farmers, and spent much of his life promoting the value of working together and assisting people to set-up community co-operatives.
Purchasing a camera in the early 1940s, Baker began to document his travels and involvement with the Saskatchewan Grain Growers Association, the Saskatchewan Wheat Pool and the Aneroid Co-op Association. By the end of his life, Baker had taken over 11,000 photographs that documented his involvement with small prairie communities. The 60 photographs included in this exhibition exposes how the work of Everett Baker parallels and references the development of co-operative organizations, while documenting the social, natural and historical development of the prairies in the mid-1900s. Its presence at the AGSM is fitting, due to Brandon’s historic and contemporary role in the agricultural development of Manitoba.
Second Story
Sean Whalley
In Second Story Regina-based artist Sean Whalley transforms the Art Gallery of Southwestern Manitoba into an eco-tourist destination by creating a recycled lumber “forest” to raise consciousness about human interaction with trees, and existing material mentalities towards the environment. Using discarded lumber from bins, backyards, garbage piles, etc. to construct large sculptures, Whalley’s installation allows viewers to become immersed in an atmosphere that evokes the sense of intimacy that is experienced in a forest. In acknowledgement of the organic relationship between trees, humans, and the environment, the silhouette of the human form is visible in the shadows cast by the work.
In a world where grants are given to clear-cut forests to create roads that help turn “nature reserves” into tourist destinations, Second Story is both a welcome social commentary and a tranquil sanctuary. Sean Whalley not only prolifically addresses issues of excess and the human relationship with trees, he reminds us that just like the circular growth rings found at the core of a tree, the relations between humans and the ecosystem should be harmonious, long and cyclical in nature.
Sean Whalley is a practicing artist working and living in Regina, Saskatchewan, who teaches fine arts at the University of Regina.
Notes for a Speech on (Canadian) Flagmaking
Brandon Arts Collective
(Dale Lakevold, Shandra MacNeill, Steven Ratzlaff, David Kattenburg and Derek Gunnlaugson)
This inter-disciplinary work is the initiative of the Brandon Arts Collective, which includes sound artists David Kattenburg and Derek Gunnlaugson, installation artist Shandra MacNeill, actor Steven Ratzlaff, and Dale Lakevold. “Notes for a Speech on (Canadian) Flagmaking examines the construction of national identity and the practice of making art. The work consists of comical hybrid text translated from stage to audio. The audio component is supplemented by the installation that, while being an artwork in itself, also serves as a theatre set for the audio performance.
The script component is about a middle-aged Canadian artist who makes versions of the Canadian flag. He wakes up in the middle of the night to the sound of CBC Radio, and what he believes is a report about the death of Pierre Trudeau. To stay awake until the next hourly news to verify, he composes a speech about flagmaking, and how he perceives himself as a person who artistically contributes to his country by making flags. His speech, which is highly fragmented and eccentric, is perhaps a metaphor for the position that Canadian artists hold, and Canadian identity itself. The visual installation reflects the artists’ studio, and contains a plethora of items that reflect his concern with Canadian identity and artistic practice.
Notes for a Speech on (Canadian) Flagmaking effectively situates the audience in a space that alternates between the internal space of the flagmaker’s mind and the external studio/theatre set. It is as much about Canada as it is about the solitary figure of the flagmaker, and facilitates self-reflection upon identity, history and the role of image-makers in Canada.
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Aug 14 - Oct 05, 2003
Life Cycles
Lina Nikolova
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Until recently, local artist Nikolova had dedicated her artistic practice to Batik and painting on fabric. Her subject matter, primarily landscape and floral based, is subtle support for experimentation with technique that stretches the boundaries of the medium. Just over a year ago she began to explore the possibilities of stained glass. This exhibition will introduce Nikolovaâs new work.
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Aug 14 - Oct 05, 2003
S.P.A.C.E. Trash 2003
Joanne Bristol |
Through her artistic practice Bristol undresses the conventions of women, nature and language.
Her mixed media installation-based works question the authority of science by mimicking the conventional ways in which scientific information and research is presented. Her work addresses cultural imperialism colonialism and capitalist notions of progress in a clear, concise and accessible manner. In one large work, she pins dried flowers and accompanying neatly printed labels to the wall in a grid format, parodying scientific/taxonomical classification while examining the place of women in the history of botany. Bristolâs parodies build on the dialogue initiated earlier around concept, context and material.
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Jun 19 - Aug 03, 2003
Inuit Images of the Hunt
This sample of soapstone carvings from the Winnipeg Art Galleryâs permanent collection and Zacharias Kunuk videos provides insight into the relationship of hunting to the Inuit way of life.
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Jun 19 - Aug 03, 2003
War Stories for Children and Art Stories for Adults
Tony Calzetta
Organized and circulated by the Thames Cultural Centre, Chatham Ontario Calzetta combines impressive formal skills, strong drawing and bright colors with child-like images to create energy filled paintings that are simultaneously playful and elegant. He explores themes and a kind of painting that some people find too wacky to take seriously. Throughout his more than 20 year career, however, Calzettaâs work has remained fresh, unique and very much his own. His abstract funnies or surreal cartoons, influenced by Cy Twombly, Philip Guston and California funk artists, fit happily between high art and popular culture. John Metcalf says, "It is the contradicitons between romantic and classical between sophistication and magic, between the spontaneous and the formal, that give Calzettaâs work its unique tension."
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Apr 24 - Jun 08, 2003
Being In The World, 2 Channels,
A sound sculpture,
Gerhard Ginader
Gerhard Ginader is the founder and director of Brandon Universityâs electronic music studio and a frequent presenter a International Computer Music Conferences. Some years ago, Ginader collaborated with a visual artist to offset a series of paintings with sound. Recently he began experimenting with his own visual components. Ginaderâs first move into a space designated for visual arts in this new sound and video projection project is the AGSMâs first inter-media exhibtion initiated by a sound artist. The resulting piece will create an interactive environment involving sounds and images gathered from southern Manitoba and Saskatchewan.
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Jan 09 - Mar 02, 2003
You Gotta Move
The artists included in this exhibition tinker with technology. Their works question the human fit within todayâs increasingly electornically layered culture. By combining pieces of motion detectors, wires, batteries, and bits of old machines and household items, Brener and Adams create cyborg -like creatures that mimic repetitive human behavior with no apparent purpose. Richardson and Campbell examine the idea of technology as a negotiating tool between man and nature. Landry motorizes common domestic objects associated with soft femininity to become dangerous machines with a frustrating lack of function. The resulting works are simultaneously humorous and sinister.
Artists included: Pamela Landry, Michael Campbell, Lynn Richardson, KC Adams
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Dec 19 - Jan 25, 2003
Threads of Memory
Using Bee Wagnerâs memory quilt as the centre, the Brandon Emboidery group presents a selection of works by its members and from its personal collections. The array of styles from different time periods creates a picture of the long history and significant talents of the embroiderers in this region.
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Nov 07 - Dec 14, 2002
The Painted Pantomime
Teresa Burrows
Thompson, Manitoba based artist Teresa Burrows was a rehabilitation counsellor with the Addictions Foundation of Manitoba and a probation officer with the Manitoba Department of Justice prior to becoming a full-time artist. Her large figurative paintings draw on her employment experiences to examine themes of social, sexual and psychological tensions in society. Although her style reveals evidence of the work of Attila Richard Lukacs and 19th century French painting her palette is distinctly Prairie. Animals and plants indigenous to the region often serve as environments for the dramatic-stage like settings her figures inhabit. This exhibition builds on the examination of socio-political content of previous exhibitions, while featuring regional subject matter.
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Nov 07 - Dec 14, 2002
What Have We Built
Caroline Dukes
Dukes sees buildings as receptacles containing people that are shaped by and subject to time, political and cultural movements, nature and the environment. So her painted buildings represent her personal history, memory and culture. Dukes was born in Hungary, survived the Nazi occupation, lived through years of Stalinism and escaped during the uprisings of 1956 and 1957 to Canada. Her work becomes a memorial and testament to human courage, strength survival and hope. Like the Critical Graphics from the Weimar Period exhibition, Dukesâ work reveals how the politics of World War II impacted the evolution of the culture.
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