Ninety-six colour photographs of the backs of envelopes used for the mailing of death notices in France in the late 19th and early 20th centuries.
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The exhibition presented 30 of the colour photographs resulting from Charlotte Lindgren’s Winter 1995-96 train journey, during which she photographed private and public gardens at each stop.
The term “style” has been displaced in the art lexicon by phrases such as “signifying practice.” Yet distinctiveness, elegance, even perversity of expression continue to enjoy a lively currency in the art world.
For me the rubber band provides abundant possibilities, involving tension or potential tension, internal systems and the inevitable degradation or life span. — Amanda Schoppel
The exhibition in the mezzanine gallery includes two further works: Margaret Clarke’s “Mother Ireland” portrait Mary and Brigid (1917), and Bruce Johnson’s mural-sized photo-mosaic Oka (1992).
At the turn of the millennium, while the flag waves over a disgruntled and divided nation, Joyce Wieland’s anti-patriarchal, femino-patriotic art makes a surprisingly fresh statement.
This retrospective, Shirley’s first major exhibition since his MSVU solo in 1977, includes approximately 50 monotypes and works in other media dating from the Nova Scotia years to the present.
Working from photographs, Roberts makes small, lusciously executed paintings in which the nude female figure fills the pictorial field.
This painting series portrays the artist and her partner in domestic situations reminiscent of paintings by the 17th-century Dutch master, Jan Vermeer.
