A selection of politically-charged mixed media paintings by Canadian and Ojibwe artistCarl Beam.
Born on Manitoulin Island, Ojibwe artist Carl Beam (1943-2005) frequently employed photo-transfer techniques juxtaposed with expressive brushwork in paintings that addressed racial disharmony. A great admirer of Robert Rauschenberg and Andy Warhol, Beam placed the liberatory promise of artistic autonomy embodied in the painterly gesture in tension with a proliferation of media and documentary reproductions that referred directly or indirectly to the history of oppression of Indigenous peoples. This selection of Beam’s work from the Gallery’s permanent collection includes almost two dozen collage-based paintings from the early 2000s donated by Toronto collector Milton Winberg.
This exhibition presents new work developed from a residency in PEI in 2017. The artist’s photographs and objects investigate the relationship between cultural assumptions and the natural world. Supported by Alberta Foundation of the Arts.
In its infancy, photography was conceived as the harnessing of a distinctly natural process of image-making. It was understood to be a literal impression of light, transcending the cultural history of human-made images. This dream, of “sun pictures” that capture the physical and objective means by which nature is revealed to us, persists in the circulating images that filter our subjective experience of the natural world.
In his photo-based installations, Banff-based artist Tyler Los-Jones collapses these twoopposed conceptions of photographyinmeditations on the specifics of a given environment. In Look slowly and all that moves, that environment is the unstable, shifting context of Prince Edward Island.This exhibition focuses on a combination of Island specific gestures of stability Los-Jones found embodied in lichens, marram grass, and fishing nets, all of which can be read as an analogue to the photographic process,
CCAG: It’s Time Again For The 13th annual Artist Trading Cards Event!
Art Gallery makes call for Artist Trading Cards registrations
TheConfederation Centre Art Gallery (CCAG) is looking for artists of all ages and disciplines, professional and non-professional, to register for its 13th annual Artist Trading Cards event.Artist trading cards (ATC’s) are miniature works of art that can be created with any material imaginable. Cards can be made from paper, wool, wood, clay, and more.
This year’s registration deadline is Wednesday, July 3. A week after registration, participants will be contacted to confirm the number of cards they are required to create for the event. If 50 people sign up for the program, participants will be requested to create 50 cards. Cards can be produced in editions (a limited number of the same card), series (a set of cards with a unifying theme), or as singular originals.
The main requirement is the size: cards MUST be the same size as modern baseball cards or 2 1/2 x 3 1/2 inches (6 cm x 9 cm), small enough to fit inside standard card-collector pockets, sleeves or sheets. ATCs must be self-produced. The artist’s name and contact information, as well as the card title and the edition or series number is to be written on the back.
The 13th annual trading event will be held on Thursday, August 8 at 7 p.m. at the CCAG. Along with the card trading, there will be music and a cash bar. Details on the evening’s program will be announced at a later date.
Ronald Bloore’s mural White on White is reinstalled in the Entrance Gallery following extensive conservation treatment. It joins Eleanor King’s mural Emerald (Cradled in the Waves) and Paul Griffin’s tree trunk Leviathan.
In 1965, painter Ronald Bloore offered to create a custom mural for the newly built Confederation Centre of the Arts. The mural was completed in 1967 and is comprised of 11 Masonite panels with layers of white oil paint ranging from cool to warm whites, flat to glossy finishes, and smooth to highly textured surfaces. The varying tones and textures, coupled with the changing outside light, create a mural that Bloore felt would “always be alive and moving.”
The conservation of the mural was carried out in 2018. Cracks and losses were consolidated; spot testing was conducted to formulate an appropriate cleaning solution, and areas that could not be safely cleaned were coated with an archival resin and inpainted to match the colour and gloss of the surrounding original paint.
The mural was reinstalled in May 2019 and once again it interacts with the architecture and light, “reflecting something of the outside into the interior.” The changing, raking light provided by the skylight throws Bloore’s welt-like lines and textured planes into sharp relief, presenting White on White in its best light.
Eleanor King’s monumental wall paintings combine various visual sources and rhetorics. Derived initially from Google satellite views, their subject is how we relate to the land, to its occupation, use and history, how we control, survey and understand the patterns on its surface. With Emerald, she translates the site of rural Prince Edward Island into a hard-edged abstract painting. King’s choice of paint colours is based both on aesthetic decisions and their brand titles, which allude to the commodification of culture, and the historical and political realities that underlie how we visualize the land.
The conceptual and physical challenge of Leviathan was to combine a natural element, a large, heavy, forked, elm trunk, with an industrial material—specifically galvanized roofing nails—to create what the artist described as “a hybrid of a sort; an organic machine.” The title, Leviathan, came on completion of the work and alludes to the fearsome sea creature mentioned in the Bible (Job 41). Can a galvanized tree embody both the beauty of nature.
Shuvinai Ashoona is best known for her highly personal and imaginative drawings, with imagery ranging from monstrous and fantastical visions to closely observed naturalistic scenes of her Inuit culture and home community at Kinngait, Nunavut.
Opening June 8 at the Confederation Centre Art Gallery (CCAG), the exhibition Mapping Worlds features pencil crayon and ink drawings produced by the artist over the past two decades. Living in Kinngait on the southern tip of Baffin Island, Ashoona is part of Canada’s Inuit culture. She is best known for her highly personal and imaginative iconography, with imagery ranging from closely observed naturalistic scenes of her Arctic home, to monstrous and fantastical visions.
“This rich survey of Shuvinai Ashoona’s works will allow audiences to encounter a fascinating and unique world view by an award-winning contemporary artist,” says CCAG Director, Kevin Rice.
“I also want to invite the public to a sneak preview of the exhibition with curator, Dr. Nancy Campbell, onFriday June 7 at 2 p.m. It will be an informal opportunity for Campbell to tour visitors through the exhibition while she is here for the installation.”
The artist’s work imagines the past and present fused into a prophetic future such as human-animal hybrid creatures, women birthing worlds, and mystical or other-worldly landscapes clearly inspired by the terrain of her northern home. Opposite to dystopic, Shuvinai’s brightly coloured drawings teem with life; and while her community occasionally clashes with the artist’s creatures, they often peacefully co-exist.
Today, TV series like The Walking Dead stimulate our fears of the unknown, the monstrous and the ‘other’ in a manner that risks increasing our xenophobia and provoking violence. Ashoona’s work speaks to these current anxieties, yet her artwork does not depict humans in opposition to the otherworldly. By appropriating images from her fascination with horror films, comic books and TV, Ashoona merges different imagery with everyday narratives to redraw the map of the boundaries between reality and fantasy, past and future.
The exhibition is curated by Nancy Campbell and Justine Kohleal and organized and circulated by The Power Plant Contemporary Art Gallery, Toronto. Sponsored by TD Bank Group and supported by major donors The Schreiber Sisters and Anonymous, the Canada Council for the Art and the Ontario Arts Council.
This exhibition of short videos presents imaginings of the near future. The works share
both fantastic and troubling outlooks while exploring historical contexts and
technological shifts to better understand our current trajectory.
Fast Forwardis an exhibition of short videos that present imaginings of the future. Featuring works by six artists and filmmakers from across Eastern Canada, the works in Fast Forward use the durational and narrative mediums of film and video to project the artists’ own fantasies, speculations, and observations about their environments, offering insight into human existence.
The works investigate troubling and relevant current issues—political views are increasingly divisive, economic sectors prioritize profits before people, and the climate crisis continues to loom—while offering outlooks that range from bleak to hopeful. In the direst of outcomes presented in these works, society will follow a destructive and greedy path, turning to technology and automation to streamline ourselves towards our demise. In the more optimistic possibilities that are presented, we may find peace and healing through traditional knowledge, connecting to the land, and strengthening communities. The question we are left with: How did we get here and where are we going?
Lisa Theriault, Guest Curator
PEI Professional Theatre Network
PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse
Professional Theatre Network of Prince Edward Island