Whose Stories?
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As a supplement to Whose Stories? curated by Makiko Hara and on exhibit from October 2 to December 31, 2021, the KAG has produced an accompanying booklet that includes details about each of the exhibiting artists and the work in the exhibition.
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Holly Ward: Planned Peasanthood
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Holly Ward’s Planned Peasanthood is an ongoing interdisciplinary artist project that examines the historical figure of the peasant worker in relation to the contemporary subject. The project explores interconnected themes of self-reliance and land-based practices as modes of resistance.

The aim with this project is to offer speculative frameworks through which to re-imagine our inherent self-determination, ingenuity and collective resilience. Sculptural works, publicly situated interventions and this book are a few of the material outcomes of this artistic inquiry.
 
This full colour publication was produced following the exhibition Holly Ward: Planned Peasanthood at the Kamloops Art Gallery September 16 to November 4, 2017. The publication includes work from the exhibition and related works from Ward’s ongoing interdisciplinary project, with a limited edition screen-printed dust-jacket by the artist, with assistance from Wendy Tokaryk, Banff Centre for the Arts.

Available in the Gallery Store and online

Kamloops Art Gallery, 2021.

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Eleanor King
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Eleanor King is a Nova Scotian artist based in Brooklyn. She has presented solo exhibitions and created site-specific projects across Canada and the USA, including the Museum of Contemporary Canadian Art, Toronto, ON; Art Gallery of Nova Scotia, Halifax, NS; Southern Alberta Art Gallery, Lethbridge, AB; Nanaimo Art Gallery, Nanaimo, BC; Dunlop Art Gallery, Regina, SK; A.I.R. Gallery, Brooklyn, NY; and the Hudson Valley Center for Contemporary Art, Peekskill, NY. King’s material strategies include sound, social practice, site-specific wall painting, and sculptural installation as a means to explore our relationship to the environment, technology, community, and futurity. In 2018, King created a new body of work at the Kamloops Art Gallery entitled Inverted Pyramids and Roads to Nowhere that included wall paintings, video and sound installation, sculptural intervention, and community performance.

This full-colour publication was produced in partnership with the Art Gallery of Nova Scotia following the Kamloops Art Gallery exhibition. Texts by Sarah Fillmore, Amy Fung and Charo Neville, and an interview between Eleanor King and Merray Gerges examine the invisible labour in King’s work, her calls to action, and the reverberations of sound and consciousness that are embedded in her work. A foreword is by Margaret Chrumka. The first monograph devoted to King’s practice, this publication is an intimate scale and designed with the same attention to conservation and generosity of spirit that is evident in King’s work.

Available in the Gallery Store.

Kamloops Art Gallery, 2020
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Kevin Schmidt: The Commons
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An interdisciplinary artist working across performance, video, photography and installation who has exhibited widely across North America and Europe, Schmidt is perhaps best known for performance expeditions and interventions into the natural world, which are documented in photographs, installations and videos. Schmidt addresses the tensions between man and nature, performance and document, indoors and outdoors, combining notions of the heroic with the seemingly amateur by using visible reminders of construction and theatrical devices - smoke machines, stage lights and DIY photographic equipment. Works are often situated in remote locations, where Schmidt stages remarkable events that transfer elements of urban culture into untouched natural contexts, such as Aurora with Roman Candle, which shows him firing roman candles at the Aurora Borealis, and his eleven and- a-half hour Epic Journey.

Kevin Schmidt is published in partnership with Contemporary Art Gallery, Vancouver and Kamloops Art Gallery and includes essays by Nigel Prince, Charo Neville and Kathleen Ritter.

Available in the Gallery Store.

Kamloops Art Gallery, 2020
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Ionic Bonds
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In conjunction with the exhibition Ionic Bonds presented at the Gallery July 13 to September 21, 2019, this full-colour publication provides texts on each of the ten artists featured in the exhibition and a curatorial text about the exhibition, written by Charo Neville, Curator, Kamloops Art Gallery.

Available in the Gallery Store.

Kamloops Art Gallery, 2019
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Adad Hannah: Glints and Reflections
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As a supplement to Adad Hannah: Glints and Reflections curated by Lynn Bannon and Anne-Marie St-Jean Aubre, produced and circulated by the Musee dárt de Joliette, the KAG has produced an epublication which includes articles by David S. Rubin, The Brown Foundation Curator of Contemporary Art, San Antonia Museum of Art, Lisa Daniels, Curator, Judith & Norman Alix Art Gallery and Adad Hannah, along with a list of works.

Kamloops Art Gallery, 2019
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Adad Hannah
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The touring exhibition Adad Hannah: Glints and Reflections brings together key themes that define the narrative of Hannah’s artistic practice: Mirroring the Museum, Reflections of Artworks and Lives Captured. In these varied bodies of work Hannah explores seriality, repetition, recovery, duplication, reflection, the copy and visual citation. The full colour hardcover publication expands on these themes with in depth essays by Lynn Bannon, an art historian with a doctorate degree in Semiology, and Lindsey V. Sharman, curator of the Art Gallery of Alberta and adjunct professor with the Department of Art at the University of Calgary as well as an Introduction by Jean-François Bélisle. Essays are in French and English.

Co-published by Musée d’art de Joliette, The Founders' Gallery, University of Calgary, Kamloops Art Gallery, Southern Alberta Art Gallery, Kitchener Waterloo Art Gallery and The Rooms.

Available in the Gallery Store.

Kamloops Art Gallery, 2019
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Through the Memory Atlas: 40 Years of Collecting
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As a supplement to the Kamloops Art Gallery’s exhibition Through the Memory Atlas: 40 Years of Collecting, the KAG has produced an epublication which includes curatorial statements from Roger H. Boulet, Jen Budney, Susan Edelstein, Adrienne Fast, Charo Neville, Jordan Strom and Tania Willard.

Kamloops Art Gallery, 2018
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Re Present: Photography from South Asia
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As a supplement to the Kamloops Art Gallery’s exhibition Re Present: Photography from South Asia, the KAG has produced an epublication which includes a curatorial statement and essay by Adrienne Fast, Interim Curator, Kamloops Art Gallery and a list of works and artists included in the exhibition.

Kamloops Art Gallery, 2018
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AlterNation
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As a supplement to the Kamloops Art Gallery’s exhibition AlterNation, the KAG has produced a modest epublication which includes an essay by Devon Smither, a curatorial statement from Adrienne Fast and a list of works and artists included in the exhibition.

Kamloops Art Gallery, 2017
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All membranes are porous
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As a supplement to the Kamloops Art Gallery’s exhibition All membranes are porous, the KAG has produced an online pdf reference providing a list of works and artists included in the exhibition.

Kamloops Art Gallery, 2016
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Hugh Hanson Davidson: A Life in the Arts
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Hugh Hanson Davidson was a lifelong collector and a supporter of the arts who gave generously. That he bequeathed his collection to the Kamloops Art Gallery speaks to his commitment to this Gallery and the close relationship with Executive Director Jann LM Bailey. This publication is a testament to the work of the many artists in our country, province and region, and is a glimpse into the life of an insightful collector.

In conjunction with Hugh Hanson Davidson: A Life in the Arts  presented at the Kamloops Art Gallery from April 2 to June 18, 2016, the Gallery has published a full-colour catalogue.

Essay by Roger H. Boulet, exhibition guest curator. Foreword by Margaret Chrumka.

Available in the Gallery Store.

Kamloops Art Gallery, 2016
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Ideas & Things
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As a supplement to the Kamloops Art Gallery’s exhibition Ideas & Things, the KAG has produced an online pdf reference providing installation documentation and texts on the artists and works in the exhibitions. Designed by Ross Macaulay.

Kamloops Art Gallery, 2015
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CUSTOM MADE Tsitslem te stem te ck'ultens-kuc
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As a supplement to the Kamloops Art Gallery’s exhibition CUSTOM MADE, the KAG has produced an online pdf reference providing an essay by Tania Willard, Canada Council Aboriginal Curator in Residence, and a list of works and artists included in the exhibition. Designed by Ross Macaulay.

Kamloops Art Gallery, 2015
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unlimited edition
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This publication was produced for the exhibition, unlimited edition, Kamloops Art Gallery 2013, January 17 to March 22, 2014.

Curated by Tania Willard (Secwépemc Nation), Aboriginal Curator in Residence, Kamloops Art Gallery.

Featuring works by:
Kenojuak Ashevak, Carl Beam, Robert Davidson, Charles Greul, Chuuchkamalathnii (Ron Hamilton) Wiinchi, Mark Henderson, Richard Hunt, Fred Johnson, Henry Napartuk, Ellen Neel, Ed Archie NoiseCat, Daphne Odjig, Oppie Oppenheim, Walter J. Phillips, Pudlo Pudlat, Bill Reid, Chief Henry Speck, Art Thompson and Art Wilson.
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Ted Smith
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Ted Smith was a Kamloops-based artist whose painting moved between abstraction and representation. Influenced by his time at the Vancouver School of Art studying with well known artists including Jack Shadbolt and Donald Jarvis, Smith’s work was grounded in Modernism. He is best known as a landscape painter and recognized for capturing the essence of the Kamloops region. Smith’s work is distinguished by a vivid and innovative use of colour and exploration of the possibilities of paint.
 
In conjunction with the exhibition Ted Smith: A Retrospective presented at the Kamloops Art Gallery June 28 to August 30, 2014, this full colour publication includes reproductions of the late artist’s paintings beginning in the 1960s to 2013.

Essays by curators Charo Neville and Roger Boulet. Foreword by Jann L M Bailey.

Kamloops Art Gallery, 2014
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Germaine Koh: Weather Systems
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Germaine Koh is a Vancouver-based artist whose work relates natural and human systems by focusing on the inter-relatedness of conditions in the built and natural environment. Koh’s work often links the space of the gallery with the outside environment or actively intervenes in the institution to reveal tensions between the public and private realms. Through her interventions into technology and everyday systems, Koh creates alternate networks of transmission and exchange.

This full colour publication was produced in conjunction with the solo exhibition Germaine Koh: Weather Systems at the Kamloops Art Gallery April 6 to June 15, 2013 and includes reproductions of the artist’s works spanning two decades.

Essays by Sarah Cook, Mark Miessen and Yulia Startsev. Foreword by Jann L M Bailey.
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WHITE-OUT: Between Telling and Listening
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Esther Shalev-Gerz was born in Lithuania, raised in Israel and a resident of Paris since 1984. She is internationally recognized for her investigations into the nature of democracy, citizenship, cultural memory and spatial politics. Additionally, her work persistently challenges traditional notions and practices of portraiture; it considers the portrait’s possibilities within contemporary discourses and the politics of representation.

This full colour publication was produced in conjunction with the solo exhibition Esther Shalev-Gerz | WHITE-OUT: Between Telling and Listening at the Kamloops Art Gallery March 24 to June 16, 2012 and includes reproductions of the works WHITE OUT: Between Telling and Listening and Perpetuum Mobile.

This publication is dedicated to the memory of Annette Hurtig (1946-2012).

Essays by Fanny Söderbäck, Elizabeth Matheson and Ian Wallace. Foreword by Jann LM Bailey.
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Sugar Bombs
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Sugar Bombs invites 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 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 critiqued the normalization of racial and gender stereotypes and militaristic patriotism while signaling a possible reconfiguration of identity.

This full colour publication was produced in conjunction with the exhibition Sugar Bombs at the Kamloops Art Gallery April 5 to May 24, 2009 and includes reproductions of selected works from Diyan Achjadi’s Adventures of Girl and Brendan Tang’s Manga Ormolu.

Essay by Kristen Lambertson. Foreword by Beverley Clayton and Vincent J. Varga.
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history of the present (selected works 1985-2009)
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Jayce Salloum is a Canadian artist whose practice encompasses installation, photography, drawing, performance, text and video. Salloum has also curated exhibitions, conducted workshops and coordinated numerous cultural projects. The exhibition history of the present (selected works 1985-2009) was the first retrospective of his work and includes a number of early works based on appropriated images as well as works produced during the Native Youth Art Workshop series, a collaborative art-making project for Indigenous youth in the Thompson-Nicola Regional District.

This full-colour publication includes essays by Keith Wallace and Jen Budney with contributions by Ammiel Alcalay, Dana Claxton, Rawi Hage, Jamelie Hassan, Ali Lohan & Irene Loughlin & Bernadette Phan, Meeka Noelle Morgan, Walid Raad & Farid Sarroukh, Haema Sivanesan and Urban Subjects.

This publication is available in the Gallery Store.
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Tania Willard: Claiming Space
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As First Nations' land claims slowly grind their way through British Columbia's provincial courts, Secwepemc artist Tania Willard's work addresses territorial issues. Willard's practice is concerned with cultural displacement, transfer and translation. She uses screen-printing and stenciling processes as well as oral and written storytelling to speak to language and land. Willard’s grandparents were key interpreters of Secwepemc stories, and Willard’s work often emphasizes the narrative potential of picture-making. Her work characteristically revive historical elements or contexts within mechanically reproduced images.

This full colour publication was produced in conjunction with the solo exhibition Tania Willard | Claiming Space at the Kamloops Art Gallery April 5 to May 24, 2009 and includes documentation from the exhibition.
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