October 31 to November 8, 2014
Luminocity is a week-long public art project featuring video projection, new media works and events in public spaces throughout downtown Kamloops. This new off-site initiative is a forum for independent media arts regionally, nationally and internationally. Enlivening public spaces in unexpected ways,Luminocity embraces new creative concepts and modes of expression in the media arts field and encourages diverse audience engagement outside the Gallery’s regular programming. Inspired by public art events such as Nuit Blanche, this is the KAG’s inaugural presentation, with videos screening in storefronts and on the facades of buildings, in the windows of the TNRD building and at the Old Courthouse and Rotary Bandshell at Riverside Park.   

Opening Hallowe’en night, the event begins with a Lost Souls parade, merging mobile media projects with theatrical and visual spectacle drawn from Latin American traditions that celebrate life and death and the passage of time. Site-specific projects evoke the shift from light to dark as fall and winter emerge and the time changes.

Luminocity includes 23 artists, multiple sites, bands and DJs. See for details on sites and events.   

Terryl Atkins \ Derek Brunen \ Doug Buis \ Paulino Caputo \ Florian Claar \ Dana Claxton \ Instant Coffee \ Wayne Egers \ Cao Fei  \ Tara Gardner \ Isabelle Hayeur \ Brian Howell \ Gary James Joynes \ Clarence Jules \ Khan Lee \ Devon Lindsay \ Dasha Novak \ Cheryl Pagurek \ Stephanie Patsula \ Jean Robison \ Matt Smith  \ Holly Ward \ Siqi Xu \ Vincent Viezzer

Luminocity is supported by the Vancouver Foundation.
Curated by Charo Neville, Kamloops Art Gallery
October 18 to December 31, 2014
Edward Burtynsky in Dialogue with Emily Carr
A Terrible Beauty offers a selection of photographs by Toronto-based photographer Edward Burtynsky, who is internationally renowned for his captivating images of natural and built environments that reflect both the impressive reach of human enterprise and the extraordinary impact of our hubris.  Produced between 1983 and 2013, the photographs in A Terrible Beauty together represent all of his major bodies of work, from his early series of homestead photographs shot in British Columbia in the 1980s to his new, groundbreaking project on the subject of water and its fundamental place in the world ecology.

Burtynsky’s work is presented in dialogue with a smaller selection of paintings and drawings by Emily Carr, an artist who likewise observed the impact of human industry on the natural world in some of her best-known works. Carr was painting in the early 20th century at a time when industrialized agriculture, resource extraction and practices such as large-scale logging in British Columbia were on the rise. Many of Carr’s sweeping vistas of sky were views only made possible by the clear-cutting of the forest. Though working in different media and over fifty years apart, both artists sought to record the changing, industrialized landscape and our place within it.

A Terrible Beauty: Edward Burtynsky in Dialogue with Emily Carr is organized and circulated by the Vancouver Art Gallery with the generous support of the Killy Foundation.
Curated by Bruce Grenville, Vancouver Art Gallery
October 18 to December 31, 2014
Khan Lee
Khan Lee’s video Shunt focuses on the iconic image and sound of a freight train—a feature of the local landscape that is steeped in Canada’s growth as a nation and that resonates locally on many levels, as a key source of employment and a constant sign of the movement of goods. In relation to A Terrible Beauty: Edward Burtynsky in Dialogue with Emily Carr, Shuntcontributes to an ongoing dialogue about the sublime and industrialized landscape. To be viewed and heard inside and outside the Gallery, the work was produced as part of Luminocity, a week-long public art project featuring video projection, new media works and events in public spaces throughout downtown Kamloops. 

Shunt captures the process of shunting or switching railway cars, identified by the particular ultra-stereoscopic sound it creates. In a routine, yet highly organized process, “rolling stock” is sorted into complete train sets throughout the day to ensure that goods are directed to specific destinations across North America. Although not typically seen unless you are positioned along the rail line, the sound of this shunting action is indelibly connected to Kamloops, a major junction of the two national rail lines, Canadian National and Canadian Pacific. 

Shunt plays with the notion of sound in relation to time, as the shunting action creates a cascading series of reactions from one car to the next, making this everyday auditory experience visual. The real-time video is then compressed into a condensed and constructed experience for the viewer. Requiring precision filming and editing, Shunt captures the movement of the railway cars through the use of seven cameras positioned 240 feet apart and 360 feet away from the train, showing a panoramic view of the seemingly endless lines of railway cars and their steady movement through the landscape. Lee has also selected works from the Kamloops Art Gallery’s permanent collection to coincide with his video work as a way of reflecting on this landscape and how it has been depicted by other artists.

Khan Lee’s work is supported by the British Columbia Arts Council– An agency of the Province of British Columbia.
Curated by Charo Neville, Kamloops Art Gallery
September 20 to November 1, 2014
The Cube
Zev Tiefenbach
Zev Tiefenbach’s practice is grounded in film photography. Past bodies of work have included large-scale photographs taken from medium format negatives. With the advent of digital photography and the camera phone, Tiefenbach has become increasingly interested in the way people capture, consume and disseminate images. The ease and disposability of images means that the rigour and concentration of capturing a moment on film and composing an image has become a rare pursuit. With social media and online sources available for storing images, dissemination can be instantaneous.

In this recent project, Tiefenbach presents what he calls “a saturation of self representation,” referring to the never-ending archive of images stored in social media sites that now make up one’s identity. In the memory box, multiple iPad screens play looping videos comprised of fragments of moving images recorded on the artist’s iPhone. These vignettes range from relatives dancing at a family wedding, an odd late night encounter at an Oakland gas station, intimate moments with the artist’s family and a drive home amidst a summer rain storm. Audio is activated manually by the viewer in an attempt to slow down and engage them with the images. With the increased use of digital documentation and the ease of flicking through images and videos, there is a tendency for people to become desensitized by this visual clutter. Tiefenbach attempts to reframe the viewing habits of digital imagery and overcome the passive relationship that has become part of the modern condition.
Curated by Craig Willms, Kamloops Art Gallery
June 28 to August 30, 2014
Ted Smith
The summer exhibitions feature a retrospective of work by Kamloops-based painter Ted Smith. Ted Smith: A Retrospective encompasses the first major selection of Smith’s work since his 1992 exhibition at the original Kamloops Art Gallery space. Work starting in the 1960s and spanning five decades has been borrowed from the artist’s studio, the KAG’s permanent collection and most substantially from local private collections.

Ted Smith was born in Vernon, BC, and grew up in Kamloops. He studied at the Vancouver School of Art in the early 1960s when the principal instructors were notable artists Orville Fischer, Fred Amess, Peter Aspell, Donald Jarvis, Roy Kiyooka, Reg Holmes and Jack Shadbolt. Jarvis and Shadbolt, as well as other artists Smith would later study in books, such as the (Russian-born) French painter Nicolas de Staël, have had an enduring impact on Smith’s practice and his interest in abstraction.

Smith has always felt comfortable moving between the representational and the abstract and his work is informed by the surrounding landscape and driven by a strong commitment to the possibilities of paint. It is Smith’s bold approach to landscape, or more accurately, his interest in the act of painting, that defines his artistic practice. Smith has remained a prolific painter for the past many decades and continues to paint into his eighties.
Curated by Charo Neville, Kamloops Art Gallery
Generously sponsored by Office of the President, Thompson Rivers University, Tony Erlank, RBC Dominion Securities Inc, Mona M. Murrary, MCM Real Estate Ltd., Watson Engineering Ltd.
June 28 to September 6, 2014
The Cube
Stephanie Patsula
Curator’s Choice is the tenth annual exhibition of work by students graduating from Thompson Rivers University. This year’s selection is Stephanie Patsula. Patsula works with found and constructed objects and explores their relationship to the space in which they are made and displayed. Inspired by a recent residency at TRU’s Wells Gray Research Centre, Patsula considers the materiality of found objects and utilizes colour theory to create installations where individual elements play off each other and engage in dialogue.
Curated by Craig Willms, Kamloops Art Gallery
June 28 to August 30, 2014
Jack Shadbolt
Coinciding with Ted Smith: A Retrospective, Jack Shadbolt: Seven Decades of Works on Paper showcases the recent addition of seventy-nine Jack Shadbolt works to the Kamloops Art Gallery’s permanent collection. Many of these works on paper were studies for major public artworks or large-scale paintings. Spanning seven decades, this selection of drawings is significant to an understanding of Shadbolt’s oeuvre and his contribution to the history of Canadian art.

Jack Shadbolt (1909-1998) was born in England and immigrated to Victoria, BC, with his family in 1921. One of Canada’s most distinguished artists, his career began in the 1930s and continued to flourish as a prominent force in Canadian visual art into the 1990s. After serving in World War II with the Canadian War Artist establishment, Shadbolt was head of the painting and drawing department at the Vancouver School of Art (now Emily Carr University of Art and Design) until 1966. Shadbolt produced three books and profoundly influenced art and artists in British Columbia through his instruction.

Shadbolt was one of Ted Smith’s most instrumental instructors during Smith’s studies at the Vancouver School of Art from 1960 to 1964. Emerging as an artist at the beginnings of Canadian modernism, Shadbolt was linked to a generation of artists who discovered and promoted abstraction in Canada. His drawings, paintings and murals were developed from personal experience and the world around him, serving as an authoritative voice for an art that questions the social order and confronts the modern condition.
Jack Shadbolt
Untitled, 1960s
watercolour on paper
Collection of the Kamloops Art Gallery, Gift from Simon Fraser University via the Estate of Doris Shadbolt
Photo: Kamloops Art Gallery
Curated by Charo Neville, Kamloops Art Gallery
View images of the exhibition here.
April 5 to June 14, 2014
Drawn primarily from the Vancouver Art Gallery’s permanent collection, Unreal presents work by artists who explore beyond the realm of what is considered real. Using inventive processes and unusual materials, they aim to unhinge us from our typical views of the world and open our eyes to the marvelous, the fantastical, the weird and even the monstrous.

The terrain of the unreal was systematically explored by artists in the early decades of the twentieth century. Informed in part by the ideas of psychoanalyst Sigmund Freud, the surrealists strove to unleash repressed creative forces and to liberate the human imagination from the moral and sexual constraints of the conscious mind. Other movements such as Dada—and later Fluxus—worked to reveal the illogical and the absurd in everyday life. Their critiques of conventional thinking were powerful and their influence lingering. Artists since that time have continued to draw from and expand upon these movements' strategies, adapting them to expose and question our modern condition.

Some of the artists represented here draw on automatic processes: spontaneous gestures pursued in the absence of conscious control. Others conjure imaginary worlds, from the playful to the nightmarish. In numerous works, the human body itself is the site for communicating deeply buried desires or anxieties. Here it is transformed into something unfamiliar or even absurd. Alter egos and fictional selves are also explored to push the limits of order and acceptability. In other works, the most ordinary objects and materials are juxtaposed in seemingly arbitrary and incomprehensible ways, often past the point of recognition and into the realm of abstraction.

Mining the depths of the mind, the works in Unreal offer the opportunity to travel beyond the rational and consider the magnetic pull of the psychological in today’s art.

Unreal is organized and circulated by the Vancouver Art Gallery with the generous support of the Killy Foundation.
Curated by Daina Augaitis, Vancouver Art Gallery
April 5 to June 14, 2014
The Cube
Rhonda Neufeld
Rodney Konopaki
Rodney Konopaki is Vancouver-based artist who teaches in the visual arts department at Emily Carr University of Art and Design. His practice is grounded in print media, drawing and painting. Rhonda Neufeld lives and works in Armstrong, British Columbia. She has taught in the visual arts department at Thompson Rivers University in Kamloops. Her practice is based in print media, drawing and installation. Together, Konopaki and Neufeld have been walking and drawing their way through urban, rural and wilderness environments over the past five years. They have explored communities and locales across Canada and created collaborative drawings and prints that attempt to capture a sense of place unique to every location encountered.

For the project in The Cube, the artists walk Kamloops to make marks that reflect their movement across the topography and hint at visual elements of their surroundings. The works combine a type of intaglio technique on paper with drawing. Gouged marks and an absence of pigment combine with drawn lines and fields of colour to represent the terrain and landmarks of a specific locale. It is a visceral process that pushes their collaboration to explore print media and drawing beyond traditional techniques.
Curated by Craig Willms, Kamloops Art Gallery
January 17 to March 22, 2014
In conjunction with the National Gallery’s touring exhibition,Beautiful Monsters: Beasts and Fantastic Creatures in Early European Prints, the Kamloops Art Gallery presents a key selection of Pablo Picasso’s (1881-1973) most celebrated series of etchings from The Vollard Suite, drawn from the National Gallery of Canada’s permanent collection.

The Vollard Suite takes its name from Ambroise Vollard (1866-1939), an important Parisian avant-garde art dealer and publisher who gave Picasso his first Paris exhibition in 1901. Picasso produced a group of one hundred etchings for Vollard between 1930 and 1937. These etchings represent scenes of brutal passion enacted by the Minotaur. The part man and part bull of Greek mythology not only played a central role in Picasso’s personal mythology, but was also emblematic for the Surrealists, who saw the Minotaur as the personification of forbidden desires.

This series of etchings foregrounds Picasso’s integration of the Minotaur throughout much of his later work, culminating in his famous symbolic painting, Guernica (1937). Depicting graphic and passionate scenes of woman and beast, this selection of prints also features a satyr, a sea monster, and children appearing in a dream-like tableaux, suggesting an imaginary underworld.

Presented concurrently with the Beautiful Monsters exhibition, the inclusion of this grouping of Picasso works offers an expanded view into printmaking techniques from the past and delineates the enduring interest in beasts and fantastical creatures throughout the history of art production. Organized by the Kamloops Art Gallery with the generous support of the National Gallery of Canada.
Generously sponsored by Funk Signs Inc., Desert City Security
January 17 to March 22, 2014
unlimited edition looks at how prints by Indigenous artists in the Kamloops Art Gallery’s permanent collection represent a drive to preserve, portray and popularize oral histories and address social inequities.

Many Europeans encountered their first images of the Americas via prints. Early illustrations by colonists in the form of botanical drawings, ethnographic images, animal illustrations and maps emphasize the gaps in knowledge in their encounters with new ecologies and cultures. The European practice of depicting fantastical and mythical creatures characteristic of works in theBeautiful Monsters exhibition was intertwined with early scientific views of the “New World” and an anxiety about the unknown. Sea monster illustrations in early maps, for instance, mark out areas unknown to Europeans at the time.

Historical ways in which the “New World” was depicted are reference points for understanding the use and proliferation of printmaking by Indigenous artists since the early 1950s. These artists saw printmaking as a new way to challenge social conditions and give voice to ancestral knowledges and stories. The title of the exhibition refers to the production of prints inunlimited editions for distribution to a broad audience. In many ways, this practice, while quickly revised to accommodate the fine art market with limited editions, contributed to the revival of Indigenous aesthetics both in Inuit communities in the North as well as the Northwest Coast.

Historical threads in the exhibition trace the advent of Northern graphic and print centres to Cape Dorset and the emergence of screenprinting to the Northwest Coast. Later works by artists such as Carl Beam and Daphne Odjig can be seen as more experimental in nature. Printmaking as a contemporary medium for Indigenous artists can be seen as creating critical spaces between new technology, material and medium for the articulation of established Indigenous aesthetics and narratives.
Curated by Tania Willard (Secwepemc Nation), Aboriginal Curator in Residence, Kamloops Art Gallery
January 17 to March 22, 2014
The Cube
Andrea Kastner
Andrea Kastner is a Kamloops-based artist. Her practice explores the presence of the unseen, both in her physical surroundings and in the human psyche. Previous bodies of work have included archeological excavations of household refuse and paintings that reveal the excess and sacred nature of rejected objects found in basements, alleyways and neglected spaces. In 2012, Kastner was selected as a finalist for the RBC Painting Competition for her painting Demolition.

The title of this exhibition comes from T.S. Eliot’s poem of the same name, wherein he declares, “These fragments I have shored against my ruins.” In this new body of work, Kastner investigates ruins and fragments that make up the urban landscape of Kamloops. She looks at the changing state of the city she resides in and relates that state to people’s capacity for amassing possessions and building upon them while continually culling or passing things along. The artist researched the archives of the Kamloops Museum and explored the city’s back alleys and hidden pockets located behind familiar building façades. Through paintings based on collaged compositions, Kastner reveals layers of civic history and exposes a behind-the-scene view of the spaces that she depicts. Kastner describes her paintings as “in a state of being overwhelmed by their own possessions.“
Curated by Craig Willms, Kamloops Art Gallery
January 17 to March 22, 2014
Beautiful Monsters explores the representation of monstrous creatures in early European art by bringing together approximately fifty prints from the fifteenth through seventeenth centuries drawn from the collection of the National Gallery of Canada. The engravings, etchings and woodcuts assembled at the Gallery feature real and fictitious beasts and monsters in exuberant and enigmatic compositions. Handsome beasts and hideous creatures, boldly represented, vie for attention in this selection of surprisingly fantastical and strange images.

Often violent, they bring to light certain religious or moral anxieties, whereas others, such as Andrea Mantegna’s famousBattle of the Sea Gods (left side), depict mythological or allegorical themes that combine the grotesque and the beautiful. In addition, the prints bear witness to the unbridled creativity of Albrecht Dürer and Jacques Callot, among others, and also to a collective imagination evoking a singular vision of the world. The exhibition has five thematic sections: religious chimeras, mythological creatures, sea monsters, the horse as beast and ornamental monsters.

Organized by the National Gallery of Canada.
Andrea Mantegna
Battle of the Sea Gods (left side), 1485-1488
engraving on laid paper
National Gallery of Canada, Ottawa
Curated by Funk Signs Inc., Desert City Security
View images of the exhibition here.

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