October 18 to December 31, 2010
The Construction Sites: Identity and Place exhibition presents works by contemporary artists who investigate and reflect on the social construction of identity and the production of social space. Made over the past several decades, the works in the exhibition respond to developments in feminist, gender, queer and postcolonial theories. The exhibition concept takes a cue from Henri Lefebvre’s thinking about alienation and modernity, the nature of society, and social revolution as a revolution in everyday life. In his writing Lefebrve speaks about producing one’s life as one would a work. Might we likewise produce our own identity? Or is identity determined by society? And, with the dramatic mobility of information, goods and people aimed for by corporate globalization strategies, what is the relationship between our identity and the places we inhabit? The exhibition includes works by Diyan Achjadi, Rebecca Belmore, Therese Bolliger, Dana Claxton, Allyson Clay, Andy Fabo, Leon Golub, Angela Grossmann, Shelagh Keeley, Jim Logan, Ken Lum, Takashi Murakami, Nhan Duc Nguyen, Manuel Pina, Philippe Raphanel, Brendan Lee Satish Tang, Jeff Thomas, Henry Tsang, Jin-me Yoon and Sharyn Yuen.
Rebecca Belmore
White Thread, 2003
inkjet print on watercolour paper
Collection of the Kamloops Art Gallery, Purchased with the financial support of the Canada Council Arts Acquisition Assistance Program
Curated by Craig Willms, Annette Hurtig
Generously sponsored by B100, Simmons, Black and Emsland Insurance Services
View images of the exhibition here.
Hapa Family
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September 18 to November 6, 2010
The Cube
Jana Sasaki
This body of work by Jana Sasaki explores experiences and memories of ‘mixed’ cultural upbringing in Canada. It reflects upon the experience of being half Japanese and investigates how people of mixed cultural heritage view themselves and are viewed by others, an experience relevant to more and more Canadians.

In particular, Sasaki is interested in words such as hapa andhafu that are increasingly used to define mixed cultures. The word hafu is used in Japanese to refer to somebody who is ethnically half Japanese. The label emerged in the 1970s in Japan and is now the most commonly used label and preferred term of self-definition. The word hafu comes from the English word ’half,’ indicating half foreign-ness. Hapa is slang for a person of mixed ethnic heritage with partial roots in Asian and/or Pacific Islander ancestry.
Jana Sasaki
We say Itadaki-masu before we eat, 2010
digital chromogenic print
Courtesy of the Artist.
Curated by Craig Willms
View images of the exhibition here.
June 12 to September 11, 2010
The Cube
This summer marks the sixth annual exhibition of work by graduating students from Thompson Rivers University. Selected by Kamloops Art Gallery Assistant Curator Craig Willms, the works in Curator’s Choice highlight emerging talent from TRU’s Bachelor of Fine Arts 2010 graduating class. Students at TRU graduate with a wide variety of specialties, including ceramics, printmaking, sculpture, painting, photography and installation. This year’s exhibition features installations by Kate Garrett-Petts and Melanie Perreault. Like previous Curator’s Choice exhibitions, this is not so much a ‘best of’ show, but rather one united by thematic and aesthetic threads running through the work of these two emerging artists.
Installation view of Curator’s Choice: Kate Garrett-Petts and Melanie Perreault
Photo: Kamloops Art Gallery
Curated by Craig Willms
View images of the exhibition here.
Klatsassin
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June 7 to September 4, 2010
Stan Douglas
Internationally renowned Vancouver-based artist Stan Douglas has shown his work at and had it collected by prestigious institutions around the world. His photographs and projections are celebrated not only for their conceptual acuity and formal precision but also for how they continually extend the possibilities of film and video, and art itself.

Klatsassin defies the official version of events leading to the Chilcotin War of 1864 by focussing on the story of a Tsilhqot’in chief who was accused of murder, tried and executed. Set in B.C.’s Cariboo-Chilcotin region, it depicts events related to gold rush efforts to build a road through Tsilhqot’in territory to the gold fields and the First Nations insurgency in response. Current events in the region echo those of the earlier conflict between aboriginal and colonialist interests. Klatsassin is composed of three elements: a filmic projection, a series of photographic portraits of characters from the film, and a series of landscape or location photographs.

Klatsassin’s form and content recall Akira Kurosawa’s classic film Rashomon (1950), and its similar multiple and contradictory portrayals of a murder. In Douglas’ work, too, various versions of a murder scene are depicted. Within both Rashomon andKlatsassin changes in perspective and narrative revisions turn a single incident into a complex and multi-layered story that raises probing questions. Is there such a thing as a singular absolute truth? Who determines which version of a story becomes the official version and who decides what ‘history’ tells us? While posing such questions, Klatsassin draws our attention to the constructed and fragmentary nature of history, identity and place.

The exhibition opening is preceded by a lecture by Stan Douglas.

Supported by The Audain Foundation for the Visual Arts, The Hamber Foundation and The Leon and Thea Koerner Foundation
Still from Stan Douglas
Klatsassin, 2006
image Courtesy of Stan Douglas and David Zwirner Gallery, New York
Curated by Annette Hurtig
Generously sponsored by London Drugs, CBC Radio One
View images of the exhibition here.
April 6 to May 22, 2010
The group exhibition TRUTH or FICTION? brings together various sorts of contemporary art by five contributing artists from near and far: Doug Buis (Knutsford/Kamloops), Rodney Graham (Vancouver), Kent Monkman (Toronto), Carol Sawyer (Vancouver) and Camille Turner (Toronto). The gathered art works share certain attributes: they refer to history and historical narratives, past, present and future; they include historical figures, but also little known, dubious and perhaps fictional characters; and, despite being about the past, present and future, they are more interested in representation than in mimesis—rather than mimic reality they represent it, with all its ambiguities and uncertainties. Four of the artists in the exhibition appear within their work. Rodney Graham presents himself as a west coast modernist painter. Carol Sawyer introduces us to Natalie Brettschneider, whose mid-century history (including a sojourn in Kamloops) unfolds through a collection of small black and white photographs. Miss Chief Eagle Testicle reappears repeatedly in Kent Monkman’s work, re-enacting history while posing for painted and daguerreotype portraits and, more recently, video clips. In TRUTH or FICTION?we also meet visitors from the future: in Camille Turner’s work, Dogon space travellers return to earth during a time of multiple but interconnected crises, to make us aware of Afro-futurism and The Final Frontier. Meanwhile, Doug Buis offers us localized mise-en-scène with accompanying narratives populated by little known but somehow familiar characters. The narratives in the exhibition and the characters involved in them—independently and in conjunction—invoke a certain uncertainty.

The Centre for innovation in Culture and the Arts in Canada (CiCAC) at Thompson Rivers University supported the TRUTH or FICTION? exhibition through an artist-residency for Camille Turner, during which new project components were produced in Kamloops.

Book Club

In conjunction with Kamloops Art Gallery’s exhibition TRUTH or FICTION?, the Kamloops Library spring Book Club examines the role of representation in various cultural forms, including visual art and literature. The Wednesday evening Book Club group will read and discuss The Secret River by Kate Grenville and then, on April 7th, view the exhibition. The experiences offered by the book and the exhibition call into question a variety of social constructs and ideologies proposing singular or absolute ‘truths.’
Carol Sawyer
Natalie Brettschneider performs “Oval Matt,” Paris, c. 1920 (detail from the installation Natalie Brettschneider in British Columbia)
photograph
Courtesy of the Artist
Generously sponsored by B-100
View images of the exhibition here.
April 3 to May 22, 2010
The Cube
Jordan Schwab
How to Get Things Done explores our constructed environment. Jordan Schwab’s sculptures resemble architectural models, but instead of completed structures they show partially completed projects. The sculptures, drawings and photos in this exhibition capture constructions in progress. The depicted work sites are in transition. Artworks might be plans for future projects or documentation of past endeavours. Other objects are devices temporarily utilised to assist the building process and improve the efficiency of labour. Frame walls stand bare on a garage renovation. The wood shell of a hotel on stilts is not yet completed. Schwab explores the engineering of these labour saving devices and their efficiency in the process of construction.
Installation view of Jordan Schwab: How to Get Things Done
Photo: Kamloops Art Gallery
View images of the exhibition here.
Two Visions
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January 23 to March 21, 2010
Emily Carr
Jack Shadbolt
Two Visions: Emily Carr and Jack Shadbolt examines the important relationship between two of British Columbia’s most celebrated artists. Carr’s paintings and sketches of west coast forests and First Nations communities have shaped BC’s visual identity and continue to be deeply influential for artists in the region. Jack Shadbolt, who came to Canada as a young child, was among the artists inspired by Carr. He responded enthusiastically to British Columbia’s natural setting, which he rendered according to the modernist trends of twentieth century art. By examining points of similarity and difference between the two artists, Two Visions reveals Shadbolt’s struggle to find a unique artistic voice, while acknowledging Carr’s influential role in the art of this province. The exhibition also celebrates Shadbolt’s significant contribution to Canadian painting on the 100th anniversary of his birth.

Emily Carr’s paintings and drawings define British Columbia’s visual identity by breaking with conventions of nineteenth century Canadian painting. Carr’s work addresses First Nations subject matter and the natural landscape of British Columbia with vivid colour, dynamic brushstrokes and painterly techniques, drawing from a range of influences including the Group of Seven, Fauvism, Post Impressionism, Cubism and Abstraction. Carr first encountered one of her primary subjects, totems of British Columbia’s First Nations, while visiting First Nations villages along the Skeena River and on the Queen Charlotte Islands (Haida Gwaii). In 1928 Carr embarked on an extensive sketching trip to the coastal regions of British Columbia. In these sketches she left behind her early documentary inclinations and began to focus on the emotional and spiritual content she found in totemic carvings. Carr relied on these early sketches and memories to produce new paintings in the 1940s, when frail health restricted her ability to travel. Carr’s charcoal drawings of British Columbia  were greatly influential for Jack Shadbolt, who described himself as feeling “overwhelmed” when looking at them. In Carr’s charcoal drawings we see her develop her artistic methodologies that appear in her later paintings, particularly her exploration of the forest as a dark and powerful source of hidden secrets.

Jack Shadbolt studied with Frederick Varley and Charles H. Scott at the Vancouver School of Decorative and Applied Arts. These artists had a great impact on his early work. Shadbolt’s images of First Nations culture and the British Columbia landscape also connect his practice to Emily Carr, but his modernist style places him within an international context. Travel was crucial to Shadbolt’s practice. According to curator Scott Watson, a 1956 journey to southern France had a profound effect on Shadbolt’s artistic development, particularly in terms of his use of vibrant colour. The continental lifestyle proved to be very different from his Canadian upbringing and provided the artist with a fresh perspective on painting the landscape, which he began to treat with hedonistic undertones. In the 1970s, Shadbolt’s work continued to explore ritual, decoration and sexuality. During this decade Shadbolt began to re-evaluate the legacy of Emily Carr, concluding that he must come to terms with Carr’s influence.

Organized by the Vancouver Art Gallery
Emily Carr
A Skidegate Beaver Pole, 1941-1942
oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust.
Photo: Trevor Mills, Vancouver Art Gallery
Curated by Ian M. Thom
Generously sponsored by Kamloops Daily News, Radio NL
View images of the exhibition here.
January 16 to March 21, 2010
The Cube
Megs Waterous
Myrna Giesbrecht
Along Those Lines brings together two bodies of work exploring use of line. Myrna Giesbrecht’s Lingering Lines comprises textile works focussing on the horizontal line. She explores colour, form and texture through various textile techniques and presents the pieces like paintings, mounted on canvas stretchers and hung on the gallery walls. Megs Waterous’ Path of a Line consists of ceramic works in the form of wall-hung tiles and tall sculptural vessels. In these works she emphasizes flowing lines with a vertical orientation. Although both artists utilize materials basic to their individual art practices, they considered each other’s work in the development of this exhibition.

Works in The Cube are available for purchase through The Gallery Store.
Megs Waterous
Of Two Minds, 2009
ceramic
Courtesy of the Artist
View images of the exhibition here.
October 25, 2009 to January 3, 2010
Jayce Salloum
Though Vancouver-based artist Jayce Salloum has been exhibiting his work internationally for over twenty-five years, he is well known in Canada primarily for a single body of work, his provocative and compelling video installation everything and nothing and other works from the ongoing videotape, untitled(1999-ongoing). There are many reasons for Salloum’s relatively low profile in his home country, including the non-commercial and interdisciplinary nature of his work (photography and video practices, collaborative, community-based work, and even curating and writing) and its extremely broad international focus. Yet Salloum is one of Canada’s most widely recognized artists abroad, where his distinctive commitment to the exploration of personal stories and viewpoints within unstable or uncertain geo-political contexts has led him to collaborations with individuals and communities in places as far-ranging as Palestine, the former Yugoslavia, Afghanistan, Cuba, Lebanon, Aotearoa (New Zealand), Kamloops, and more.

The exhibition Jayce Salloum: history of the present (selected works 1985-2009) is the first retrospective of this important Canadian artist’s career, and includes a number of early works based on appropriated images, the video installation previously mentioned, and works produced during the two-and-a-half year Native Youth Art Workshop series, a collaborative art-making project for Aboriginal youths in the Thompson-Nicola Regional District.

Jayce Salloum was born and raised in Kelowna, British Columbia. He has worked in installation, photography, drawing, performance, text and video since 1975, and has also curated exhibitions, conducted workshops and coordinated a vast array of cultural projects. Salloum has exhibited extensively at local and international venues, from small, unnamed storefronts and community centres to institutions such as the Musée du Louvre and Centre Pompidou in Paris, New York Museum of Modern Art, National Gallery of Canada, Kunstlerhaus Bethanien in Berlin, CaixaForum in Barcelona, 8th Havana Biennial, 7th Sharjah Biennial, 15th Biennale of Sydney, Museum Villa Stuck in Munich, Robert Flaherty Film Seminars, European Media Art Festival, Biennial of Moving Images, and the Geneva and Rotterdam International Film Festivals.

Jayce Salloum: history of the present (selected works 1985-2009) is curated by Jen Budney, Associate Curator at Mendel Art Gallery in Saskatoon, Saskatchewan, co-produced by Kamloops Art Gallery, Mendel Art Gallery and Confederation Centre Art Gallery, and supported by the Audain Foundation and the Museums Assistance Program, Department of Canadian Heritage. The exhibition tours across Canada in 2010 and 2011.

A full-colour catalogue on the artist’s work with essays by Keith Wallace, Jen Budney and others is available for purchase in The Gallery Store.
Generously sponsored by Black & Emsland Insurance Services, Simmons, CBC Radio One

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