MuseoGallery

thisbelongsinamuseum:

(Image via Asymmetrical Starfish)

 With North Korea’s recent attack on South Korea, I thought this would be a good time to mention the Owl Art & Craft Museum in Seoul. Located in a one-room residence with more than 3,000 items bearing owl motifs collected from over 70 countries, the owner Bae Myung-hee has only been out of the country once. The owl obsession has been going on for 40 years. Even though there is an admission fee, you will receive a free cup of tea or coffee. That’s nice.

(Source: thisbelongsinamuseum)

thisbelongsinamuseum:

Hanukkah Lamp, Richard Meier, New York, United States, 1985, tin-coated copper

“A Hanukkah Project: Line of Fire” exhibit, Jewish Museum, New York City

(Source: thisbelongsinamuseum)

Last night I attended the exhibition opening for Signed Without Signature: Works by Charles and Isabella Edenshaw at the Museum of Anthropology at UBC. Now I must admit because I work at MOA I am a little biased, but the exhibit was truly staggering in it’s beauty and concept. Signed Without Signature showcases the works of 19th century Haida artists Charles and Isabella Edenshaw (and some of their contemporaries) who, as was the case in this time period, did not sign their works.

Curator Bill McLennan has developed a way to scan the bracelets created by Charles Edenshaw in order to study and compare the works better, thus enabling researchers to further understand the intricacies of the objects, and also to help identify the creator of more First Nations art works.

The opening reception included dancing and songs from descendants of the Edenshaws and a number of speeches.

The exhibit itself offers a dazzling array of works, some of which have never been displayed, all joined together in glass cases custom-designed by Milan’s Goppion Laboratorio, who also designed the cases in the new Multiversity Galleries. On the walls you can read digitalized versions of newspaper articles from the 19th century that describe the small pox epidemic within the Canadian First Nations communities.

The exhibit runs through to September 30th, 2011. Find out more on MOA’s website at http://www.moa.ubc.ca

Also, to learn more about Bill McLennan’s scanning technique on MOA’s YouTube channel.

*Silver bracelet (beaver design) by Charles Edenshaw, c. 1890

thisbelongsinamuseum:

For all the fast food junkies out there, your dreams have come true in web form. Collector Chris Harne’s condiment hobby came about when he stopped buying ketchup and saved free packets at every restaurant possible, which then led to saving other condiments. And now he has an on-line Condiment Packet Gallery to show for all his work. You can search through random selection, alphabetization, sauce type or restaurant name. And you can even submit a packet if you want! Somehow I don’t think this would be too difficult to accumulate, but more power to him.

(Source: thisbelongsinamuseum)

East Van Studio AFTERMATH November 26-28

a group show featuring:

Jeff Depner, Aaron Moran, Russell Leng, Sarah Gee

East Van Studio

870 East Cordova Street

opening reception Friday, Nov 26 6-10

AFTERMATH refers to the mathematical principles each of the four artists employ as a starting point for their work, which is then either re-directed, sublimated or even discarded as the work takes shape. Its not just formality uniting these four artist: all are concerned with the organic matter within the structure. Gestural marks, translucency and tension are all here, scaffolded by geometric precision. The resulting exhibition of the four emerging and established artists will be one of the most exciting and dynamic art events of the season.

 

Thursday November 25, 2010 at 7pm

2233 Granville Street, Vancouver, BC, Canada

Randy Grskovic will be speaking about the artworks in his current

exhibition, The Age of Info(rmation). He will place this work within the

context of his artistic practice by presenting slides of older works and

discussing the development of his ideas.

The Age of Info(rmation) is a series of collage and diorama works that

combine appropriated clippings from retro magazines with hand crafted

objects. They form postmodern allegories illustrated by a variety of fables

from biblical stories, historical events and ancient myths. The composition

of each work resembles that of Byzantine iconography but they are presented

and framed in a modern folk fashion. The juxtaposition of images, styles

and symbols from various genres and periods creates an unsettling and

provocative narrative that is anachronistic with its references, yet

somehow relates to the future. The exhibitions title piece depicts an

Eve-like 1960s era woman with voluminous mascara eating an apple while

surrounded by exotic snakes from around the world. This body of work

moralizes contemporary global issues against those of the past.

Randy Grskovic has a BFA from the University of British Columbia. His work

has been exhibited at Centre A in Vancouver, The Alternator Gallery for

Contemporary Art in Kelowna, L’OEil de Poisson in Quebec City, Eastern Edge

in St. John’s and he was invited to curate a program for Vtape in Toronto.

Currently, Grskovic resides in Vancouver and works out of the Cartelera

Talent House.

Presented by Balcone

Eli Bornowsky

Walking, Square, Cylinder, Plane

November 26, 2010 to January 22, 2011

Exhibition Opening: November 25, 6pm

The Western Front is pleased to announce the opening of Eli Bornowsky’s

solo exhibition Walking, Square, Cylinder, Plane on November 25 at 6pm.

The exhibition will feature a new body of paintings that have come out of

Eli Bornowsky’s dedicated studio practice in the past six months. Compared

to his previous works, a turn can be seen in the artists output. The newer

works have expanded in size and visual vocabulary. Previously, Bornowskys

canvases assumed a relatively polite size and played on the repetition of

similar geometric motifs, most notably the circle, with slight and

energetic variations in size, texture and colouring. What connects his

older and newer work is an obvious concern with the optical movement that

each image is able to create in the eyes of its viewer.

In the exhibition Walking, Square, Cylinder, Plane the paintings by

Bornowsky have grown not only in noticeable size, but also in terms of

their demanding presence. The larger paintings ask for a lot of attention,

as a play between several visual vocabularies takes place. Drawing from his

early education as an illustrator, a field of black and white scribbled

abstraction is a constant visual ground in each work in the exhibition.

Noticeably in each painting, a confidently coloured stripe, approximately

one quarter of the width of the canvas, vertically stretches across either

the left or right hand side or horizontally along the bottom field. A third

and more varied motif of a figure rests between or on top of these

compositions. A cartoon like purple foot, an irregular and textured shape

or a small box containing its own miniature landscape, are just some of the

figures that seem to offer concrete positioning for the eye. Each large

canvas is crowned with an accompanying smaller canvas, which is positioned

in no repeatable method, except to say that they rest above. These smaller

canvases recall Bornowskys older works, both in size and content, but they

further obfuscate the visual conversation that happens throughout each

painting. The companion canvases introduce a sensation of both belonging

and foreignness. They are a curious and constant reminder for you to go

back, look again and once more negotiate the multiple grounds and fields

that each work contains.

Western Front

303 East 8th Avenue, Vancouver, BC Canada V5T 1S1

T. +1 604 876 9343 F. +1 604 876 4099

W. www.front.bc.ca E. exhibitions@front.bc.ca

Gallery Hours: Tuesday through Saturday, 12 - 5pm

Admission Free

OPENING: November 19th, 6-8pm

Equinox Gallery is pleased to present two new exhibitions:

BEN REEVES

everyday hallucinatory

ETIENNE ZACK

Non-Narrative Notes

Opening reception: Friday November 19th, 6 to 8 pm.

The exhibitions run from November 19th to December 23rd, 2010.

Equinox Gallery

2321 Granville Street

Vancouver BC

V6H 3G4

604.736.2405

image: Ben Reeves, Detail of a Painting That No Longer Exists (2010)

Catriona Jeffries

Brian Jungen

19 November - 15 January

Opening reception: 18 November, 7-9 pm

Catriona Jeffries is very pleased to announce the forthcoming exhibition of

a major new sculptural installation by Brian Jungen, which will take form

over a two month progression of exhibition making. Jungen’s sculptural

practice which shapeshifts materials claimed as both commercial products

and natural resources will be enacted within a provisional workshop within

the gallery, functioning as a constantly shifting site of production. As a

result of this process a number of works will be completed and in turn

installed in the gallery; Jungen will work towards particular moments of

production at which time the gallery will be closed for two installation

periods: November 30 - December 5 2010 and again from December 20 -

January 3 2011.

Brian Jungen (1970) was born in Fort St. John, British Columbia and lives

and works in Vancouver. Jungen recently installed a retrospective of his

work at the Smithsonian’s National Museum of the American Indian in

Washington DC in October of last year and has forthcoming solo exhibitions

at the Art Gallery of Ontario and the Art Gallery of Alberta in 2011. Other

recent solo exhibitions include Le Frac des Pays de la Loire, Carquefou,

France (2009); Casey Kaplan, New York (2008); Museum Villa Stuck, Munich

(2007); Catriona Jeffries, Vancouver (2007); Tate Modern, London (2006);

Vancouver Art Gallery (2006); Muse d’art contemporain de Montreal (2006);

Witte de With, Rotterdam (2006); New Museum, New York ( 2005). Recent group

exhibitions include Hard Targets, Wexner Center for the Arts, Columbus,

Ohio (2009), Moby Dick, CCA Wattis Institute for Contemporary Arts, San

Francisco (2009), Sydney Biennale (2008), NeoHooDoo: Art For A Forgotten

Faith, The Menil Collection, Houston,Texas; Miami Art Museum; P.S.1

Contemporary Art Center, New York; Los Angeles County Museum of Art

(2008), The Martian Museum of Terrestrial Art, Barbican Art Gallery,

London (2008), The History of a Decade That Has Not Yet Been Named, Lyon

Biennial , Lyon, (2007). A monograph on his work was published in 2005 by

the Vancouver Art Gallery.

For further information or press enquires please contact Catriona Jeffries

or Anne Low at +1 604 736 1554.

Contemporary Art Gallery

ELIZABETH MCINTOSH

VIOLETS HAIR

November 19, 2010- January 09, 2011

Opening reception: Thursday, November 18, 2010, 6-9pm

Elizabeth McIntosh is widely regarded as one the most important abstract

painters practicing in Canada today. While her paintings are located in the

realm of abstraction, the careful organization of forms sometimes alludes

to elements of the real world. Despite the apparent simplicity of

McIntoshâs formal language, there is often a textural richness arising from

her artistic process, which involves the application of multiple layers of

paint, allowing for trial and error and leaving a visible reworking.

Although she is primarily known for her painting, McIntosh also works in

collage. In Violets Hair, McIntoshs solo exhibition at the Contemporary

Art Gallery, she will work in both mediums. As well as exhibiting new

paintings, she builds two large-format collages: one will wrap the exterior

of the gallery, using the window vitrines, and the other will occupy one of

the galleries; each carrying a dimensional quality. This is not the first

time McIntosh has worked with collage in this scale, but it is the first

instance in which she has built a structure as the ground.

Recent solo exhibitions include A Good Play, Diaz Contemporary, Toronto

(2010), Cut Out, Goodwater, Toronto (2009) and Parisian Laundry, Montréal.

She has participated in group exhibitions at the Vancouver Art Gallery

(2006), Santa Monica Museum of Art (2006), and Hallwalls, Buffalo, (2003).

In 2010, Emily Carr University Press in collaboration with Diaz

Contemporary published a monograph of McIntoshâs work entitled A Good Play,

which includes essays by Jan Verwoert and Monika Szewczyk, and she was

featured in Canadian Art Magazine. McIntosh lives and works in Vancouver,

where she is a respected educator at the Emily Carr University of Art +Design. She is represented by Diaz Contemporary in Toronto.

Public Conversation with Jan Verwoert and Elizabeth McIntosh

Friday, December 10, 7pm

Available at the CAG is A Good Play, an artist monograph on McIntoshâs

recent work with essays by Jan Verwoert and Monika Szewczyk, ECI Press, 2010

Public Guided Visits on Saturday, November 20, 3pm and Sunday, January 9,

3pm. Guided visits are free and open to the public. There will be a scheduled guided visit in French. Education groups may make appointments.

Please contact info@contemporaryartgallery.ca

Contemporary Art Gallery, 555 Nelson Street, Vancouver, BC, V6B 6R5, Canada

www.contemporaryartgallery.ca. Gallery Hours: Wed. - Sun. 12 - pm.

Admission is by donation. For more information please contact:

info@contemporaryartgallery.ca or 604-681-2700