Anna Leonowens Gallery:
Content Aggregation in the Age of Ubiquitous Media
May 23-28 (Gallery 2)
An exhibition of multimedia students at NSCAD, co-ordinated by David Clark and Bruce Barber.
Link to course website HERE.
On this Day
May 24 – June 4 (Gallery 1)
An exhibition of three works that bring mind intersecting ideas of commemoration, remembrance, and everyday life as they relate to imperial quests for knowledge on a local and global scale.
May 13 – June 16
In fragments Carl Stewart uses commercial textiles cut from discarded mattresses that he collected while visiting Halifax in the fall of 2010. Carl Setwart has been collecting fabric from mattresses left at the curb on garbage day since 1996. All that is known about the fabric is where and when it was collected. This uncertain provenance invites the viewer to contemplate the history, real or imagined, of each piece of fabric.
Some fabrics have been left in the condition in which they were found while others have been embellished and decorated becoming glorifications of domestic situations and daily rituals.
Tensions arise because while these embellished fragments are extremely attractive for their decorative qualities they are at the same time repellent when we consider that they are made from the fabric of discarded mattresses that strangers have slept on, had sex on and perhaps even died on; this is compounded when the fragments are sewn together in a quilt, an object meant to cover the body and provide comfort. It is this relationship to and engagement of the body that drives the tension in the work.
Saint Mary’s University – Art Gallery:
Irene Avaalaaqlaq: Myth and Reality
Organised and circulated by the Macdonald Stewart Art Centre at the University of Guelph
Curated by Judith Nasby
May 21 – July 24
Irene Avaalaaqiaq is one of Canada¡¦s most prominent Inuit artists and a leading member of the prolific artistic community of Baker Lake, Nunavut, the only major inland Arctic settlement located 250 kilometres south of the Arctic Circle. Avaalaaqiaq has enjoyed a distinguished thirty year career as a distinctive creator of drawings, prints, and sculpture, although she is best known for her remarkable wall hangings which reveal a rich heritage of spirit and shamanistic imagery. She is deeply committed to preserving Inuit culture and making it accessible to an international audience. Her world view is derived from an oral tradition and expressed through the manipulation of bold shapes in bright contrasting colours.
Born in the Kazan River area of Nunavut, Avaalaaqiaq spent the first 13 years of her life in relative isolation. She was orphaned early in her childhood and then raised by her grandparents. Her grandmother taught her how to sew caribou clothing and, after moving to Baker Lake in 1958, she used this skill to create wall hangings.
In 1999, Avaalaaqiaq was awarded an honorary degree from the University of Guelph for her contribution to the development of Inuit art and for her leadership role in Baker Lake. This touring exhibition, organized by the Macdonald Stewart Art Centre, features wall hangings, drawings, and prints from the Art Centre¡¦s internationally recognized Inuit art collection, which has toured Canada, the United States, and eight European countries. The accompanying publication Irene Avaalaaqiaq: Myth and Reality was written by Judith Nasby and published by McGill-Queen¡¦s University Press.
Mount Saint Vincent University – Art Gallery:
Lucky Rabbit: In an Ancient Garden
Debra Kuzyk and Ray Mackie (Lucky Rabbit)
May 21 – August 8
The collaborative potters Debra Kuzyk and Ray Mackie (Lucky Rabbit) have practiced in the Annapolis Valley since 1999. This their first solo exhibition in a non-commercial venue. It takes the form of a garden-like installation filled with colourful “meta-wares”— quasi-functional pottery made especially for the exhibition.
Guest Curator Gloria Hickey has worked with the artists to develop the concept of the “ancient garden,” which refers to Kuzyk’s decorative motifs inspired by ancient Islamic sources, Chinese wares of the Song Dynasty and also to the pervasive aesthetic of the pastoral in Nova Scotian arts.
The installation design alludes poetically to the components of a formal garden. These components encompass: SKY—ceramic wall tiles in the shape of clouds, stylized à la chinoise; WATER—sculptures of swimming manta rays floated at various heights above the floor; and EARTH—extravagantly decorated, over-sized vessels emblazoned with stylized plants and animals. The installation has intentionally been kept sparse to suggest a theatrical mise-en-scène as opposed to the bourgeoning retail displays found in pottery shops. Its elegant design, including symbolically coloured exhibition furniture, owes much to Ray Mackie’s gifts as a sculptor and installation artist.