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List of Exhibitions
Featuring contemporary art by Indigenous artists from around the circumpolar world, this exhibition expresses current Arctic concerns towards land, language, sovereignty and resurgence.
Organized by the Kelowna Art Gallery, Understory is an immersive mixed media installation that evokes the feeling of standing amongst the grand forests of the British Columbian interior.
Exhibitions in the Prospect series introduce artists in the early phase of their careers. Megan Kyak-Monteith is a recent graduate of NSCAD from Mittimatalik (Pond Inlet), NU who lives and works in Halifax.
Organized and circulated by the Doris McCarthy Gallery
Curated by Ann MacDonald
Organized and circulated by the Doris McCarthy Gallery, Northern Oracle is an ambitious rooftop installation that emerges from the floor of the gallery, and is accompanied by a series of mixed media drawings.
Mount Saint Vincent University students, staff, faculty, alumnae and their families are invited to display their creative work in this annual extravaganza.
In this exhibition of botanical watercolours, Dr. Ekanayake invites us to consider the precious and distinct nature of plant species found around the province and on the MSVU campus.
This exhibition showcases a selection of works by Halifax painter and recent NSCAD graduate, Letitia Fraser. A proud descendant of North Preston, Letitia weaves faces from her life into textiles, both literal and figurative.
In 1989, MSVU Art Gallery, in partnership with the Black Cultural Center for Nova Scotia and the Black Genealogical Society, collaborated on the exhibition Africville: A Spirit that Lives On.…
clearing brings together Displaced, Carrie Allison’s 2017 watercolour and ephemeral ink drawings, and her new series of beaded portraits of grass.
The Nova Scotia Talent Trust was founded in 1944 and has been awarding scholarships to visual artists ...
Born in Kahnawa:ke Mohawk Territory, Skawennati creates Indigenous virtual environments addressing history, the future and change.
Black Then presents seven of Jim Shirley’s monotypes from the collections of Mount Saint Vincent ...
In an otherwise empty gallery space, six reflective panels positioned in an inward-facing ring...
Mount Saint Vincent University students, staff, faculty, alumnae and their families are invited to display their creative work in this annual extravaganza.
The woven structures of Poulin's site-oriented installation allude to Brutalist design integrated into a landscape.
This exhibition explores the many dynamics of domestic environments by staging a radically re-imagined living room in the gallery space.
Kidd’s tapestries connect the repeated gestures of weaving with the repeated patterns defining humans’ historical relationship to nature and the world.
The works assembled in this exhibition express curiosity, skepticism and disorientation in the face of a world transformed by new technologies and consumption.
This exhibition of photographs is part of a larger study on the meaning and purpose of commemorative tattoos.
Hupfield’s new two-channel video installation, The One Who Keeps On Giving, gathers around an object: an oil painting of a seascape by the artist’s late mother who painted it as a young woman and signed it as Peggy Miller.
The spatial effects of Melanie Authier’s abstract paintings show how artists can engage with the art of the past and transpose it into their own visual language.
In keeping with the project’s focus on socially engaged creative work by artists who embody difference, the works in Bodies in Translation address various facets of aging, including age-related disability.
In We Shall See Willms documents his father’s traumatic injuries and the details of daily hospital visits.
The exhibition includes nine bodies of work by the nationally recognized photographic artist Brenda Francis Pelkey, dating from 1988 through 2015. Pelkey lives in Windsor and has made major photographic series in Ontario, Saskatchewan and rural Nova Scotia, where she has resided in the past.
Tove Storch’s first solo exhibition in North America follows a three-week production residency in the Art Gallery.
This selection of artists’ self-portraits from the Mount Saint Vincent University Collection addresses both the experience of being looked at by others, and that of returning the gaze. As a…
Walking With Our Sisters is an art memorial that honours missing and murdered Indigenous women, girls and Two-Spirited people through ceremony, community and reflection. It presents more than 1800 pairs of moccasin tops (vamps) made by contributing artists.
Highlighting how craft and commerce have been deeply entwined, Home Economics sheds light on two centuries of creation that embraces vernacular design and individual expression – vibrant evidence of Canada’s evolving cultural and economic landscape.
Kids these days presents video, photography, and graphic works that draw from the fields of anthropology, psychology and sociology, to examine youth and youth cultures in the Canadian context.
Operating within the tradition of the artist/typographer/designer, Robert Tombs' practice incorporates print, photography and site-specific installation. The body of graphic work presented in this exhibition represents Tombs’ collaborations with numerous artists, writers, artist-run centres, art galleries, academic presses and printers to create books and artist-related publications.
“We are continually exposed to the flashbulb of death”: The Photographs of Allen Ginsberg (1953-1996)
The exhibition comprises over 100 photographs taken by the legendary Beat poet and activist Allen Ginsberg, capturing his life, loves, and artistic community, including Jack Kerouac, William S. Burroughs, Neal Cassady, Peter Orlovsky and others of the Beat generation of writers, poets, and activists.
Toronto-based performance and video artist Bridget Moser employs strategies associated with experimental theatre, performance art, modern dance, and prop comedy. Moser writes and acts out fragmented texts, combining language with everyday materials, which are used as props, and audio excerpts pulled from popular culture.
An Intimate Distance presents three multi-component works: Andrea Ward’s Hairstories, Glynis Humphrey’s Gorge and Suzanne Swannie’s Considering Two Small Forms, for Maja and Marta.
Here you may see the best portrait that, later, I was able to make of him. Passages to Abstraction. Geneviève Cadieux
This exhibition encompasses 27 years of production by Canadian artist Geneviève Cadieux, who works primarily with photography and its associated techniques.
Beautiful Illusions presents works in graphic media by two young Nova Scotian artists. Colosimo’s principal practice is drawing; Young favours drawing and indexical techniques, such as casting and monoprinting.
Joanna Close presents a series of hooked rugs depicting buildings from a former family farm in New Brunswick, now given over to an industrial gravel quarry. These hand-dyed wool rugs commemorate maritime farming heritage. The imprecision of the hooking technique used to create the rugs mimics the dynamism of memory.
The participating artists in Making Otherwise merge material and conceptual approaches of craft and art; Richard Boulet (Edmonton), Ursula Johnson (Eskasoni, NS), Marc Courtemanche (L’Ange-Gardien, QC), Paul Mathieu (Vancouver), Sarah Maloney (Halifax) and Janet Morton (Guelph).
MSVU Art Gallery was built in 1971. Its two-storey height was designed for the preeminent art of that era; expansive paintings on the scale of American “field” painting, and sculpture…
This exhibition acknowledges the centrality of drawing to Ron Shuebrook’s practice. Representing over 30 years of production by the artist, Drawings has much to teach viewers about process.
Voices in Longitude and Latitude is a video installation about the aspirations of teen-aged girls in four communities— Inuit in Kugluktuk, Nunavut; trans-gender in Halifax, Nova Scotia; Jewish in Toronto, Ontario; and Congolese, Rwandan, Ethiopian and Sudanese immigrants in Winnipeg, Manitoba.
Terms of Engagement includes works by three “embedded” artists: Dick Averns (posted to the Middle East, 2009), nichola feldman-kiss (posted to Sudan, 2011) and Adrian Stimson (posted to Afghanistan, 2010). All of the artists work in lens-based media (photography and video) and sculpture.
In this grouping of recent acquisitions, the importance of colour is the quality shared by otherwise disparate works. “Chromophilia” means “love of colour.” The selection of works by Nova Scotian artists and artisans includes encaustic paintings by Peter Dykhuis, ceramics by Lucky Rabbit Pottery (Debra Kuzyk and Ray Mackie) and textiles by Suzanne Swannie.
For nearly four decades, Steve Higgins’ architecturally inspired sculpture and graphic work has evoked post-industrial dystopias. As though exposing the inner contradictions of a dysfunctional society, his elaborate drawings include spatially incompatible illusions in compositions that Higgins describes as “corrupted from within.”
Emily Davidson, Dan O'Neill and Ericka Walker are three Haligonian printmakers whose work revives the history of socially engaged printmaking. Davidson has chosen the radical format of "agitprop" for her…
This is the sixteenth of the Prospect exhibitions, which introduce Nova Scotian artists in the early stages of their careers. Declan O’Dowd was educated as a photographer at the Nova Scotia College of Art and Design (BFA, 2000) and lives in Dartmouth. His romantic landscape views were shot with a Mamiya medium format camera.
Kyle Monchuk carves, slices and folds printed matter to sculpt three-dimensional cityscapes. His work serves as a metaphor for current practices in urban planning. For Stack he creates an architecturally inspired view of a contemporary cityscape.
During his residency, Dahms will be working on a sculpture and drawing installation under the mezzanine in the main gallery space of MSVU Art Gallery. David Dahms attended Mount Allison University, graduating with a BA in International Relations. Recently he returned to his native Nova Scotia and completed a BFA at NSCAD University, focusing on drawing and printmaking.
In her digital collages the Ottawa-based artist Cindy Stelmackowich merges two genres of hand-drawn graphics; the lithographs illustrating 19th-century anatomical atlases and those that enlivened 19th-century journals such as the Canadian Illustrated News. The atlases were used by surgeons, thus the internal anatomy of the cadavers is exposed.
The Nova Scotian artist Susan Feindel is known for her adventurous, experimental approach to landscape painting and her espousal of environmental causes. This painting installation was inspired by her voyages on oceanographic research ships, during which the ocean floor is viewed from shipboard using sonar side-scan technology.
For Example (Butler, Clark Espinal, Gerken) is the third instalment in a series curated by Micah Lexier specially for the MSVU Art Gallery mezzanine space. In keeping with the idea of the sample, each installation includes works by three artists in three separate, identical vitrines, highlighting the potential for individuality within a context of uniformity.
Logotopia (from the Ancient Greek “logos”, meaning “word” and “topos”, meaning “place”) presents notable examples of library architecture, including Biblioteca Alexandria, Egypt (Snøhetta Architects); the Grande Bibliotheque, Montreal (Patkau Architects); the Hespeler Library, Cambridge (Alar Kongats Architects); and Library of a Poet, Japan (Shigeru Ban Architects).
Bite and Burn, encore sums up the three-part project, Bite and Burn, which took place as follows: Central (Open Studio, Toronto, 2006); Pacific (Grunt Gallery, Vancouver, 2006); and Atlantic (STRUTS Gallery, Sackville, NB, 2007).
Mount Saint Vincent students, staff, faculty and alumnae are invited to enter examples of their creative work in the annual extravaganza.
This is the 13th of the Prospect exhibitions, which feature artists in the emergent stages of their careers. Suzanne Caines, a NSCAD graduate, returned to Halifax after receiving her MFA from Chelsea College, London.
Suzanne Swannie is a Halifax-based designer and weaver who creates functional textiles, tapestries and large architectural installations for private and public environments.
In this exhibition the following artists present their responses to forms of Canadian identity, nationhood and nationalism: KC Adams, Fastwurms, Cynthia Girard, Dana Inkster, Alisdair MacRae, Shirley Moorhouse and Eric Robertson.
The internationally renowned, Montreal-based artist Donigan Cumming is known for his staged portraits of the aging, ill and socially assisted poor, in the form of photographs, videos and photographic collages.
Vancouver-based artist Kyla Mallett borrows from the systematized aesthetics of 1960s conceptual art and applies pseudo-sociological sampling and archiving to reveal networks of communication within various social milieus.
An interest in everyday moments and time-filling activity is mixed in Mark’s work with deadpan humour and self-deprecatory purpose.
Local artists Dan O’Neill and George Steeves recently made substantial donations to the University Collection. To showcase the new acquisitions while exploring affinities between the respective bodies of work, Chemistry presents fine photographic prints by Steeves, hand-pulled lithographs by O’Neill, and figurative sculpture lent by the Newfoundland ceramicist Reed Weir.
In the second instalment of the For Example series, single works by three artists reveal stages of their respective production processes. Inspired by the idea of “The Thing Before The Thing”, the exhibition consists of preliminary drawings, animation cells, and contact sheets.
Art Metropole began in the 1970s as an informal agency of Torontonian and NSCAD-affiliated artists. It evolved into a unique Toronto artist-run centre, collecting and distributing alternative artworks that bypassed the art market with accessibly-priced artists’ “multiples” such as audio recordings, videos, bookworks and postcards.
Born in Sydney and now living in Halifax, CKDU broadcaster Doug Taylor attended the Nova Scotia College of Art and Design as a mature student, graduating in 1992. His source images are photographs of recreations such as country fairs, demolition derbies and Khyber Club performances
Mount Saint Vincent University students, staff, faculty and alumnae are invited to enter examples of their creative work in the annual extravaganza.
Connect the Dots brings together Mark’s mixed-media art with that of two other artists—Gerald Ferguson and Shaun Gough—whose careers intersect with hers
Pulse brings experimental film into dialogue with contemporary abstract painting by presenting the two art forms adjacent to one another in the same gallery space.
To Be Sorted includes three vitrine displays of objects from the collection of Micah Lexier, with each display accompanied by one of the artist’s works.
This exhibition draws out tendencies that circulate among the artists of Halifax Regional Municipality and its environs, suggesting patterns of artistic affiliation as well as rifts.
Canadian artist Nancy Nisbet will be parking her 18-wheeler on the MSVU campus, within view of Bedford Highway, from June 19 to 22 as part of her Exchange 2006 tour, a freewheeling, free trade-resistant, frequency-jamming trek around the continent.
Orest Semchishen was born in Mundare, Alberta, the grandson of Ukranian immigrants. As a retired radiologist, he photographed disappearing Albertan localities such as Pendryl, Entrance and Plamondon.
In dialogue with landscape painting traditions and the current mediascape, Fisher appropriates place-related data, such as geological diagrams and weather maps, into vibrant, layered compositions.
A chandelier motif, layered colour and an affinity for Japanese graphics–such as woodblock prints, manga (comics) and anime–link the works of Toronto-based artists Yael Brotman and Libby Hague.
In 2004, Eye Level Gallery commissioned Paperwork30– a limited edition of 25 boxed sets, each containing one original work by each of 20 Halifax-affiliated artists—to celebrate its thirtieth anniversary. MSVU acquired one set for its permanent collection.
Breathing Under Water is a multi-media installation by the Haligonian artist Glynis Humphrey. It provides an array of acoustic, tactile and visual stimuli, but contains no verbal components.
Room of Fears is an installation consisting of one-sentence expressions of fear submitted by members of the public via e-mail and through “comments” boxes. In an adjacent space, Fixing Room displays items submitted to the gallery in response to an open call, for “things you never got round to fixing, things that are broken.” distributed around Halifax.
This exhibition presents china wares painted by Alice Egan Hagen around the turn of the nineteenth century. Most of the items have been selected from the large collection she donated to the University in 1966.
Born in the Punjab and raised in England, Sarindar Dhaliwal now lives in Toronto. In Record Keeping, a jewel-hued archive of paintings and installations embedded with journal entries, folk tales, gossip and news, the artist draws upon a personal history of movement from her birthplace in India, to Britain and then to Canada.
From quilts to baking and from photographs to embroidery: practically anything made by Mount Saint Vincent students, staff, faculty and alumnae is eligible for entry in the annual creative extravaganza.
For several years the Haligonian textile artist Suzanne Swannie has been weaving functional floor coverings for private and public environments.
Canadian art historian Annie Gérin selected the Soviet journals, posters, photographs and film (1918-1939) from the holdings of the British collector David King. The exhibition offers a gripping study of tensions between religion and the modern state as played out in state-controlled mass media.
Tracking: Bombings, Wars & Genocide – a Six Months Journey from New York to China, Vietnam, Cambodia & Indonesia–by Denyse Thomasos
After the 9-11 bombing, artist Denyse Thomasos travelled to photograph jails and burial sites in Asian countries. Those photographs are the source images for this spectacular floor-to-ceiling composition painted directly on the gallery walls.
Elspeth Pratt is known for her inventive use of building supplies and her interest in leisure as it correlates with the built environment.
Rice Paddies / Vîet Nam is a textile work-in-progress by Frances Dorsey. It is being exhibited at MSVU Art Gallery as part of the "impromptu" series.
Nova Scotian artist Peter Walker is known for his mastery of trompe-l’oeil (fool-the-eye) illusionism and his skill with airbrush and stencil.
This exhibition is composed of works on paper by Canadian artists who make strategic use of textured media such as makeup, paper collage, electrical tape, and human hair.
In the midst of a technological revolution, this exhibition acknowledges the power of the snapshot as well as its materiality, and marks a shift in our relationship to this most personal of objects.
Taken from the university collection, these works, which use materials such as plywood, acoustic tile, a tea towel and pantry equipment, invite comparison with hobby craft, housework, and puttering.
Art-and-industry historian Rosemary Donegan presents life on Canada’s industrialized frontiers by means of community-based commercial photography.
This work is an ongoing series of hundreds of powdered graphite drawings on translucent vellum.
With works in various media by Michael Fernandes, Rainer Ganahl, Mike Hein, Suzy Lake, John Marriott, Lani Maestro and Adrian Piper, this exhibition has plenty to say about the giving and receiving of lectures.
The works in this exhibition frame women’s bodily experiences in the context of handwork and hair–where hair appears both as an artist’s material and as the physical trace of its owner.
The art in this exhibition encourages viewers to think of language as something more than a transparent medium of communication.
Haligonian Tonia Di Risio has been invited to contribute a Duratrans image derived from her existing series, Homemade.
The logic of the commodity is fetishist. The logic of shoe collecting is — what logic? Do you have fetish footwear buried deep in your closet? It is time to bring out your shoes.
MSVU Art Gallery was the sole Atlantic Canadian venue on the North American tour of this long-awaited exhibition.
For this sequel of Changing Times, the video and experimental film series presented by MSVU Art Gallery in 2002, recent works by Kika Thorne, Paulette Phillips, Michael Snow, Manon Labreque, Nelson Henricks and other Canadian artists have been selected for their relevance to the politics and poetics of location.
Including works dating from the early 1980s to the present, each artist in this exhibition incorporates traces of other persons (who may or may not be artists) in her production, thereby avoiding the tendency of solo retrospectives to separate artistic authorship from historical context.
This exhibition features an edition of wax figures (with wicks) of Princess Diana, fabricated by Halifax artist Catherine Jones.
Assembled by Curatorial Assistant Renato Vitic, the art in this exhibition points to the instability of memory by associating it with the optical illusion.
In June 1989, people around the world watched in horror as news footage showed Chinese government troops opening fire on demonstrators in Beijing's Tianamen Square. Shui-Bo Wang was 28 when he took part in those protests.