HISTORY OF THE PRESENT (SELECTED WORKS 1985-2009)

HISTORY OF THE PRESENT (SELECTED WORKS 1985-2009)

Jayce Salloum

Central Gallery
October 25, 2009 to January 3, 2010

Curated by Jen Budney

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.

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SUPERCILIOUS SILLINESS: MAN’S COEXISTENCE WITH THE NATURAL WORLD

SUPERCILIOUS SILLINESS: MAN’S COEXISTENCE WITH THE NATURAL WORLD

Alex Walton

The Cube
September 19 to November 1, 2009

Alex Walton creates an imaginative world to explore relationships between humans and their natural surroundings. These sometimes precarious and one-sided relationships have comedic results as humans try to tame, organize and enslave flora and fauna alike. Kangaroo waiters and whale rodeos are examples of Walton’s unique creations. Children will enjoy his illustrations and adults will appreciate the political commentary.

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CURATOR’S CHOICE
The Cube, 2009, Curator’s Choice Frank Luca The Cube, 2009, Curator’s Choice Frank Luca

CURATOR’S CHOICE

Kristen Brignall // John Maitland

The Cube
August 1 to September 13, 2009

Curated by Craig Willms

This summer marks the fifth annual exhibition of work by graduating students from Thompson Rivers University. Selected by Kamloops Art Gallery Assistant Curator Craig Willms, Curator’s Choice highlights some emerging talent from TRU’s Bachelor of Fine Arts 2009 graduating class. Students at TRU graduate with a wide variety of specialties, including ceramics, printmaking, sculpture, painting, photography and installation. Like previous Curator’s Choice exhibitions, this is not so much a ‘best of’ show, rather one united by thematic and aesthetic threads running through the work of these emerging artists.

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OUTDOOR IMPRESSIONS

OUTDOOR IMPRESSIONS

Agnete Newman

The Cube
June 20 to July 26, 2009

Born and raised in Denmark, Agnete Newman arrived in Halifax in 1951. On a train trip to Vancouver, Newman had her first introduction to varied Canadian topographies. She now calls Kamloops home, but spends part of the year in Sechelt with her daughter’s family and her grandson. She studied art and design in Copenhagen and Victoria, B.C. and received her diploma in fine arts from the University College of the Cariboo. She is an active member of the Gibson’s paddle group and loves the outdoors. This exhibition features landscapes of B.C. Interior and ocean views of the British Columbia coast. She paints her works en plein air as did many of the impressionists. Newman has exhibited on the Sunshine Coast and in Kamloops, and has a work in the KAG permanent collection.

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THE TREE: FROM THE SUBLIME TO THE SOCIAL

THE TREE: FROM THE SUBLIME TO THE SOCIAL

Emily Carr // Lawren Harris // Arthur Lismer // Sybil Andrews // Jack Shadbolt // Ian Wallace // Rodney Graham // Liz Magor // Lorraine Gilbert // Pedro Reyes // Patricia Deadman // Lawrence Paul Yuxweluptun

Central Gallery
June 7 to September 6, 2009

In early 20th century images of trees and forests by Group of Seven painters and Emily Carr, a claim on the rugged territory of the ‘new land’ is expressed by bold stylistic breaks from British painting traditions, breaks that articulated then current ideas about the new Canadian nation. Since then Canadian and international artists have considered and critiqued forces, such as nationalistic and corporate ideologies, that shape interpretations and representations of nature, including the notion of the landscape. The Tree exhibition presents artworks in which images of the tree, representing the natural world, the sublime and the spiritual, are meant to inspire awe and reverence for the power of nature. It also includes works that explore human impulses to tame or exploit the forest, or to use the forest as a stage setting or a place of refuge. The artworks in the exhibition employ a wide variety of approaches and media, including drawing, painting, sculpture, photography and video.

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THE DEMISE OF NOSHUD HAFTA

Janet Whitehead

The Cube
May 2 to June 14, 2009

Janet Whitehead writes and tells the tale of The Demise of Noshud Hafta. It is the story of a leprechaun who ventures into a forest to create surreal drawings of the surroundings. Deep in the forest lives the evil Noshud Hafta, who confronts the leprechaun and tries to alter her view of her world. The two do battle in this exciting tale. Whitehead illustrates the adventure through a series of ceramic pages. Each scene is illustrated by clay figures and landscapes and described in text.

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CLAIMING SPACE

CLAIMING SPACE

Tania Willard

Central Gallery
April 5 to May 24, 2009

As First Nations' land claims slowly grind their way through British Columbia's provincial courts, Tania Willard's art offers a more intimate and passionate probing of territorial issues. Willard's practice has been concerned with cultural displacement, transfer and translation. She uses screen-printing and stencilling processes and oral or written storytelling to probe these concerns. Willard’s grandparents were key interpreters of Secwepemc stories, and Willard’s work often emphasizes the narrative potential of picture-making. Her visual artworks characteristically revive historical elements or contexts within mechanically reproduced images.

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SUGAR BOMBS

SUGAR BOMBS

Diyan Achjadi // Brendan Tang

Central Gallery
April 5 to May 24, 2009

Curated by Kristen Lambertson

The artworks in Sugar Bombs invite us into an imaginative terrain where innocence and beauty meet violence. Diyan Achjadi’s inkjet prints and Brendan Tang’s conceptual ceramic objects similarly juxtapose childlike playfulness with worldly tensions: they feature candy-coloured exploding rockets and imploding robots. These elements in the works direct our attention to the presence of militarism in popular culture and, simultaneously, question its role in the construction of collective and personal identity. Borrowing and combining aspects of diverse cultures, the works in this exhibition critique the normalization of racial and gender stereotypes and militaristic patriotism while signalling a possible reconfiguration of identity.

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SOMEWHERE BETWEEN

SOMEWHERE BETWEEN

Minn Sjolseth // Anthony Carter

Central Gallery
April 5 to May 24, 2009

Curated by Lisa Henderson

The exhibition Minn Sjolseth and Anthony Carter: Somewhere Between explores the artistic partnership of painter Minn Sjolseth and photographer Anthony Carter. Travelling long distances across the province of British Columbia in the 1960s and 1970s, the two artists sought to capture a transitional moment within many aboriginal communities. Somewhere Between focuses attention on three parallel subject matters depicted in these two artists’ work: moments of candor and the everyday that exist parallel to official ceremonies between aboriginal and settler culture, portraits of native elders in the act of creating arts and crafts, and ‘village-scapes’ where ancient art forms are shown coexisting with the structures of modern life. Sjolseth and Carter’s work highlights a key moment for a diverse set of cultures in British Columbia, making evident aboriginal peoples’ survival and rebirth to a larger Canadian public whose image of First Peoples had been formed from popular media. Addressing the space between modernity and antiquity, the exhibition simultaneously questions the critical boundaries between the document and the work of art.

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BOPPIN’ WITH MR. MYNAH

BOPPIN’ WITH MR. MYNAH

Alex Forbes // Tina Moore // Tricia Sellmer // Henry Small

The Cube
March 7 to April 26, 2009

The exhibition follows a boppin’ bird, Mr. Mynah, as he takes in some baseball, surprises the pizza man, dances at his favourite jazz bar and jumps in to join the band. The tale is fun and whimsical, but watch out, Mr. Mynah may steal your watch and make his getaway in his red convertible. Alex Forbes’ poem chronicles the adventures of Mr. Mynah alongside Tricia Sellmer’s paintings. The music of Henry Small and the voice of Tina Moore enrich the experience in The Cube. A catalogue of the exhibition is available in The Gallery Store.

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POP PRINTS
Central Gallery, 2009, Pop Prints Frank Luca Central Gallery, 2009, Pop Prints Frank Luca

POP PRINTS

Pierre Ayot // Iain Baxter // Peter Blake // Patrick Caulfield // Greg Curnoe // Jim Dine // General Idea // Betty Goodwin // Richard Hamilton // David Hockney // Robert Indiana // Jasper Johns / Allen Jones // Alex Katz // Ronald Kitaj // Gary Lee-Nova // Roy Lichtenstein // Michael Morris // David Mayrs // N.E. Thing Co. // Claes Oldenburg // Robert Rauschenberg // Michael Snow // Joe Tilson // Andy Warhol // Tom Wesselmann // Joyce Wieland

Central Gallery
January 18 to March 22, 2009

Known for its revolutionary collapsing of the boundaries between high and low culture, the array of 1960s artworks that we have come to know as Pop Art has fundamentally changed how we think about art today. The new wave of 1960s artists borrowed from the bold graphic style, bright chromatic colours, and “new era” imagery associated with mid-twentieth century advertising and product design. The manner in which this exciting new universe of promotional pictures translated across television, magazines, and the built environment inspired a generation of artists to abandon expressive forms of art making and instead mimic and adapt these new languages of convenience, sensationalism, and glamour to develop new approaches to picture making.

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CELEBRITIES OF THE SELF

CELEBRITIES OF THE SELF

Tim Lee // Michael Markowsky // Shannon Oksanen // Kathy Slade // Dan Starling // Althea Thauberger // Weekend Leisure

Central Gallery
January 18 to March 22, 2009

In a world of high-speed file sharing and endless “top ranked” still and moving images, the 15 minutes of fame that Andy Warhol once promised us may have arrived in democratic spirit, but it has done so in a fleeting way that even he could not have anticipated. At this moment of the instantaneous star, today’s visual artists are re-examining the notion of celebrity and the iconic moments of the past through the changing visual habits of the present. The exhibition Celebrities of the Self presents artworks in which the self is constantly under a process of redefinition through the picturing of famous and/or notorious individuals. The exhibition features a variety of artworks that represent figures, personas and icons of popular media history in a manner that foregrounds the role that digital reproduction plays in the intense subjectivity of the fan. The exhibition includes work by Tim Lee, Michael Markowsky, Shannon Oksanen, Kathy Slade, Dan Starling, Althea Thauberger, and Weekend Leisure.

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MOD POP
The Cube, 2009, Mod Pop, Kamloops Printmakers Frank Luca The Cube, 2009, Mod Pop, Kamloops Printmakers Frank Luca

MOD POP

Kamloops Printmakers

The Cube
January 17 to March 1, 2009

Responding to a retrospective of pop culture’s greatest practitioners poses an interesting problem for contemporary artists, and the Kamloops Printmakers have enthusiastically taken up the challenge in this group exhibition. If the Pop art movement of the 1950s and 60s was fuelled by a fascination with media and the proliferation of repetitive images in consumer advertising, then it is equally true that artists working in the first decade of the 21st century are no less affected by the culture of global mass media and marketing. We need look no further than our TVs, computer monitors and PDA devices to find an ever-deepening archive of images and sound bytes to serve as source materials. Just as Pop artists adapted and co-opted the bold graphic language of commercial print technologies of the mid-20th century, so today’s print artists increasingly choose commercially-driven digital processes and image manipulation and combine them with traditional print technologies to navigate the signs and symbols of our own time.

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