BEGIN:VCALENDAR VERSION:2.0 PRODID:-//MSVU Art Gallery - ECPv6.16.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:MSVU Art Gallery X-ORIGINAL-URL:https://www.msvuart.ca X-WR-CALDESC:Events for MSVU Art Gallery REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Halifax BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20140309T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20141102T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20150308T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20151101T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20160313T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20161106T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT 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TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20190310T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20191103T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20200308T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20201101T050000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20180908 DTEND;VALUE=DATE:20181111 DTSTAMP:20260605T083533 CREATED:20180611T182504Z LAST-MODIFIED:20241204T180018Z UID:10000056-1536364800-1541894399@www.msvuart.ca SUMMARY:Unpacking the Living Room DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Living rooms are spaces we arrange and create around ourselves to support the comfort and well-being of family\, to host friends and loved ones\, to display precious and prized belongings\, and for leisure and relaxation. But living rooms are private spaces packed with emotions and history\, as well as social and political investments. The kind of living room we create can reveal our background\, our values\, our social position\, and our aspirations. Even the privilege of having a living room speaks volumes when so many people live in precarious situations\, are without shelter\, or have been displaced from their homes and traditional lands. \nThis exhibition explores the many dynamics of domestic environments by staging a radically re-imagined living room in the gallery space. Unpacking the Living Room will host thoughtful community discussions about craft and art\, amateurism and professionalism\, leisure and labour\, and the private and the political. Through playful and insightful interventions\, Unpacking the Living Room invites community members to reflect on the histories and ideologies that ground understandings of self\, home\, belonging\, and resilience. \n– Julie Hollenbach\, curator[/vc_column_text][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line”][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nAudio Companion\n[/vc_column_text]\n \n \n \n Introduction\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Introduction.mp3\n \n \n Allyson Mitchell\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Allyson-Mitchell-–-description.mp3\n \n \n Anna Taylor\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Anna-Taylor-–-description.mp3\n \n \n Barb Hunt\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Barb-Hunt-–-description.mp3\n \n \n Candice Baldwin\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Candice-Baldwin-–-description.mp3\n \n \n Carrie Allison\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Carrie-Allison-–-description.mp3\n \n \n Charles Doucette\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Charles-Doucette-–-description.mp3\n \n \n Chrystal Clements\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Chrystal-Clements-–-description.mp3\n \n \n Emily Davidson\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Emily-Davidson-–-description.mp3\n \n \n Gary Markle\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n https://www.msvuart.ca/wp-content/uploads/2018/06/Gary-Markle-–-description.mp3\n \n \n Kaashif Ghanie\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Kaashif-Ghanie-–-description.mp3\n \n \n Kim Morgan & Robyn Muller\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Kim-Morgan-_-Robyn-Muller-–-description-.mp3\n \n \n Neon Kohkum\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Neon-Kohkum-–-description.mp3\n \n \n Pansee Atta\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Pansee-Atta-–-description.mp3\n \n \n Ruth Marsh\n Unpacking the Living Room\n https://www.msvuart.ca/wp-content/uploads/2018/06/sketch-1024x620.jpg\n ALL CATEGORIES\n \n \n /wp-content/uploads/2018/06/Ruth-Marsh-–-description.mp3\n \n \n No HTML5 audio playback capabilities for this browser. Use Chrome Browser!\n \n \n [/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nCatalogue\n[/vc_column_text][image_with_animation image_url=”18731″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_target=”_blank” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nInstagram\n[/vc_column_text][image_with_animation image_url=”18735″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_target=”_blank” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https://www.instagram.com/unpacking_the_living_room/”][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nOpening Reception\nSaturday\, September 22 at 2:00-4:00pm \nPlease join curator Julie Hollenbach and participating artists for a relaxed reception with refreshments. Artist Emily Davidson will install her wallpaper piece\, How It’s Made during the reception.[/vc_column_text][divider line_type=”Full Width Line” line_thickness=”2″ divider_color=”default”][vc_column_text]All events are free to attend and ASL interpretation is available; please email claire.dykhuis@msvu.ca to request an interpreter.[/vc_column_text][/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text el_id=”talkdate”]\nWorkshop\nSaturday\, September 29 at 1:00-2:30pm \nArtist Carrie Allison will introduce the basics of beading and discuss her current collaborative project The Shubenacadie River Beading Project and its sister project Shubie River. These projects invite people to map the Shubenacadie River in beadwork\, raising awareness about Indigenous sovereignty and land rights in the process. Capacity is limited and advanced registration is required. Please email claire.dykhuis@msvu.ca by September 26 to register.[/vc_column_text][/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nWorkshop\nWednesday\, October 3 at 12:00-1:30pm \nJoin artist Ruth Marsh for a hands-on workshop\, using deceased bees and retro-electronic components\, to learn how environmental change is affecting delicate bee ecology. Capacity is limited and advanced registration is required. Please email claire.dykhuis@msvu.ca by September 26 to register.[/vc_column_text][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line”][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nRoundtable Discussion\nSaturday\, September 29 at 3:00-4:30pm \nPlease join El Jones\, Sherry Pictou\, Lynn Jones and Gloria Ann Wesley for “Unpacking Colonialism and Environmental Racism in Halifax” a roundtable discussion of these topics and the destruction and displacement of the communities of Turtle Grove and Africville. The discussion will be followed by a relaxed reception and refreshments in the Gallery\, sponsored by the MSVU Nancy’s Chair in Women’s Studies. A free wheelchair accessible shuttle\, sponsored by the Nova Scotia Public Interest Research Group\, is available for this event. The shuttle will depart from the Killam Memorial Library at 2:00pm and the return trip will depart MSVU Art Gallery at 4:30pm. Capacity is limited and seating  will be offered on a first come\, first served basis.[/vc_column_text][/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nPerformance\nSaturday\, October 20 at 2:00-4:00pm \nWORK OUT|WORK OUT is a two-phase collaborative performance piece by Julie Hollenbach and Gambletron challenging idealized feminine gender performance through an immersive theatrical romp that includes culinary sculpture\, hobby craft kitsch\, and a multi-media dance. The first phase follows a group of friends as they attempt to construct self-portraits. The second phase of the performance sees the friends forgo the arduous task of performing femininity to perfection. Opting instead to glitch\, disembody and otherwise intervene in the prescriptive works of mainstream feminine gurus such as Jane Fonda\, Martha Stewart\, Sheryl Sandberg\, and Iliza Schleslinger. This phase of the performance witnesses the friends’ collective embrace of the queer pleasure of gender failure. Visitors are invited to drop-in or attend the whole performance. Financial support for this performance from Arts Nova Scotia is gratefully acknowledged.[/vc_column_text][/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\nExhibition Guide\n[/vc_column_text][divider line_type=”No Line”][image_with_animation image_url=”18733″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_target=”_blank” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”/wp-content/uploads/2018/06/Exhibition-Guide-Unpacking-the-Living-Room.pdf”][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line”][divider line_type=”No Line”][divider line_type=”No Line”][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_gallery type=”image_grid” images=”15821\,15824\,15818\,15823\,15813\,15822″ image_grid_loading=”default” display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/unpacking-the-living-room/ LOCATION:MSVU Main Gallery CATEGORIES:Drawing & Printmaking,Feminisms,Film & Video,Gender & Sexuality,Nova Scotian Artists,Performance,Sculpture & Installation,Textiles ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2018/06/DSC_9564.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20180526 DTEND;VALUE=DATE:20181001 DTSTAMP:20260605T083533 CREATED:20180608T193059Z LAST-MODIFIED:20190723T131559Z UID:10000034-1527292800-1538351999@www.msvuart.ca SUMMARY:Material Remains DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Drawn from the MSVU Collection\, these works of art incorporate household textiles such as bedding\, a tea towel\, table linens and discarded clothing. The domestic references are embedded in works whose imagery also engages with gender politics and world events. \nThe various artists share a collage approach to composition\, and their works display techniques ranging from assemblage\, dying\, printing and hooking to embroidery\, appliqué\, stuffing and stitching. Frances Dorsey\, Nancy Edell\, Svava Juliusson\, Leslie Sampson and Anna Torma are the contributing artists. Dorsey’s Shot through the Heart is a recently acquired fabric assemblage that has not previously been exhibited.[/vc_column_text][divider line_type=”No Line”][/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\nExhibition Audio Companion\n[/vc_column_text]\n \n \n \n Intro\n Material Remains\n https://www.msvuart.ca/wp-content/uploads/2018/06/MaterialRemainsFeatured-1024x563.jpg\n ALL CATEGORIES\n \n \n http://www.msvuart.ca/wp-content/uploads/2018/06/1-Material-Remains.mp3\n \n \n Frances Dorsey\n Material Remains\n https://www.msvuart.ca/wp-content/uploads/2018/06/1.-Frances-Dorsey-1024x985.jpg\n ALL CATEGORIES\n \n \n http://www.msvuart.ca/wp-content/uploads/2018/06/2-Material-Remains-Dorsey.mp3\n \n \n Leslie Sampson\n Material Remains\n https://www.msvuart.ca/wp-content/uploads/2018/06/3.-Lelie-Sampson-857x1024.jpg\n ALL CATEGORIES\n \n \n http://www.msvuart.ca/wp-content/uploads/2018/06/3-Material-Remains-Sampson.mp3\n \n \n Nancy Edell\n Material Remains\n https://www.msvuart.ca/wp-content/uploads/2018/06/2.-Nancy-Edell-704x1024.jpg\n ALL CATEGORIES\n \n \n http://www.msvuart.ca/wp-content/uploads/2018/06/4-Material-Remains-Edell.mp3\n \n \n Svava Juliusson\n Material Remains\n https://www.msvuart.ca/wp-content/uploads/2018/06/svava_juliusson_blanket_sacrifice_enl.jpg\n ALL CATEGORIES\n \n \n http://www.msvuart.ca/wp-content/uploads/2018/06/5-Material-Remains-Juliasson.mp3\n \n \n Anna Torma\n Material Remains\n https://www.msvuart.ca/wp-content/uploads/2018/06/4.-Anna-Torma-827x1024.jpg\n ALL CATEGORIES\n \n \n http://www.msvuart.ca/wp-content/uploads/2018/06/6-Material-Remains-Torma.mp3\n \n \n No HTML5 audio playback capabilities for this browser. Use Chrome Browser!\n \n \n [divider line_type=”No Line”][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_gallery type=”image_grid” images=”14918\,14921\,14919\,14920″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/material-remains/ LOCATION:MSVU Main Gallery CATEGORIES:Feminisms,Gender & Sexuality,Nova Scotian Artists,Textiles ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2018/06/MaterialRemainsFeatured.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20180317 DTEND;VALUE=DATE:20180521 DTSTAMP:20260605T083533 CREATED:20180910T192627Z LAST-MODIFIED:20190723T143319Z UID:10000060-1521244800-1526860799@www.msvuart.ca SUMMARY:Maria Hupfield: The One Who Keeps on Giving DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]The exhibition is a production of The Power Plant Contemporary Art Gallery\, Toronto in partnership with Southern Alberta Art Gallery\, Lethbridge; Galerie de l’UQAM\, Montréal; Mount Saint Vincent University Art Gallery\, Halifax; and Canadian Cultural Centre\, Paris. It was sponsored by TD Bank Group and supported by Julia & Robert Foster. \nObjects contain meanings beyond their materiality\, meanings that we bring to them or receive from them. Objects are the result of an action\, entail a trace of a human gesture and trigger reactions and memories. They have the potential to be read collectively or personally. In her artistic practice\, Hupfield reveals the inter-relational potential triggered by objects between humans or cultural environments. \nHupfield’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. It is this personal narrative that informs a performance\, which took place in Parry Sound\, Ontario on Georgian Bay—the setting that is also depicted on the canvas. Hupfield invited her siblings to contribute to this performance\, which surrounds the memory evoked by the painting. To ground the filmed performance and to accompany the painting in the exhibition context\, the contributors re-enacted the performance within the gallery space at The Power Plant\, the setting of the second film. \nAlongside Hupfield’s new commission\, the exhibition features a selection of objects that have been activated regularly in performances over recent years: a canoe\, a snowsuit\, a snowmobile helmet\, mitts and boots\, a cassette recorder with headphones\, a light bulb and seven items solicited from individuals. All of these objects are replicated in felt and displayed alongside a selection of films within an environment of wooden structures. \nIn the film It Is Never Just about Sustenance or Pleasure\, Hupfield is wearing custom-made mitts and boots to cover her extremities while walking through the desert of Santa Fe where there was once a waterway. The forms of the objects – not their material – reference wetlands. The gloves are based on contemporary snowmobiling and traditional moose hide mitts for hunting\, while the boots recall rubber hip-waders worn for river fly fishing. These objects\, which are grounded in regionally specific lifestyles\, appear de-contextualized and serve as tools for acknowledging the desert’s past and the need for adaptability in the face of global climate change. \nIn her performance Contain that Force\, Hupfield activates seven objects that she received from seven artists in a gesture of social exchange. Some of them – the tape\, the photograph and the two texts – are by nature representatives of something that lies outside of their materiality; for example\, the tape captures a sound\, the photograph is an extract of reality and the two texts tell a story. Hupfield uses felt because she considers it to be neutral. The meanings of her objects unfold beyond their material limitations. \nThe title of the exhibition and the new commission is an English translation of Maria Hupfield’s mother’s Anishinaabe name. \nThe exhibition is a production of The Power Plant Contemporary Art Gallery\, Toronto in partnership with Southern Alberta Art Gallery\, Lethbridge; Galerie de l’UQAM\, Montréal; Mount Saint Vincent University Art Gallery\, Halifax; and Canadian Cultural Centre\, Paris. It was sponsored by TD Bank Group and supported by Julia & Robert Foster. \nMaria Hupfield (born 1975 in Parry Sound\, Georgian Bay\, Ontario) is a member of Wasauksing First Nation\, Ontario\, and is currently based in Brooklyn\, New York. Solo exhibitions include MSVU Gallery\, Halifax (2018); Galerie de l’Uqam (2018); Southern Alberta Art Gallery\, Lethbridge (2017); The Power Plant\, Toronto (2017); MacKenzie Art Gallery\, Regina (2015); Galerie Hugues Charbonneau\, Montréal (2015); and Art Gallery of Southwestern Manitoba\, Brandon (2011). She has participated in group exhibitions and performances at Trestle Projects Brooklyn (2016); SITE Santa Fe Biennial (2016); Winsor Gallery\, Vancouver (2016); A Space Gallery\, Toronto (2015); Campo dei Gesuiti\, Venice (2015); Aboriginal Art Centre\, Ottawa (2015); The Bronx Museum\, New York (2015); Vox Populi\, Philadelphia (2015); Musée d’art contemporain des Laurentides\, Saint Jérôme (2015); North Native Museum (NONAM)\, Zurich (2014); SBC Gallery of Contemporary Art\, Montréal (2013); The Power Plant\, Toronto (2013); and Vancouver Art Gallery (2012). Hupfield is the founder of 7th Generation Image Makers\, Native Child and Family Services of Toronto; Co-owner of Native Art Department International; and was Assistant Professor in Visual Art and Material Practice appointed to the Faculty of Culture and Community\, Emily Carr University of Arts and Design (2007-11).[/vc_column_text][vc_gallery type=”image_grid” images=”15581\,15582\,15583″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\nPerformance\n[/vc_column_text][vc_column_text el_id=”talkdate”]Saturday\, March 17th at 2:00-4:00pm[/vc_column_text][vc_column_text]For her performance Maria Hupfield has invited three Halifax artists Raven Davis\, Ursula Johnson\, and Amy Malbeuf\, current resident artist at NSCAD to join her in a public platform for collaborative engagement and art-performance. The artists will activate select work within the exhibition\, The One Who Keeps on Giving. Characteristic of Hupfield’s live interdisciplinary performances\, she aims to craft a visually rich and multi-sensory atmosphere for an active exchange of ideas across cultures\, disciplines\, and borders. Hupfield is invested in collaborative approaches to sustaining trust and support developed in the Brooklyn Performance Art community\, one which Hupfield has contributed to for the past 7 years. \nAmerican Sign Language interpretation is available for all public programs. Please contact the Art Gallery (art.gallery@msvu.ca) by March 5 to request.[/vc_column_text][/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\nVideo\nInterview with Maria Hupfield[/vc_column_text][nectar_video_lightbox link_style=”play_button_2″ nectar_play_button_color=”Extra-Color-1″ image_url=”15583″ hover_effect=”defaut” box_shadow=”none” border_radius=”none” play_button_size=”default” video_url=”https://www.youtube.com/watch?v=dbKvFjkkKnU”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/maria-hupfield-the-one-who-keeps-on-giving/ CATEGORIES:Film & Video,Gender & Sexuality,Sculpture & Installation ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2018/09/Hupfield2-759x500.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170422 DTEND;VALUE=DATE:20170710 DTSTAMP:20260605T083533 CREATED:20180914T175325Z LAST-MODIFIED:20190723T144245Z UID:10000040-1492819200-1499644799@www.msvuart.ca SUMMARY:Brenda Francis Pelkey: A Retrospective DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Organized and circulated by the Art Gallery of Windsor 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. \nPlace and landscape are central to Pelkey’s subject matter\, as were people until 1994. Many of her photographs of landscapes and architectural interiors are consciously staged\, by means of lighting effects\, protracted exposure\, mirroring\, and the addition of text and auditory components. The exhibition will appear partly in MSVU Art Gallery and partly in MSVU Library\, which is in a linked\, adjacent building. \nArtist’s Talk\nSaturday\, April 22nd at 2:00pm \nPelkey will present an illustrated talk about her work followed by a tour of the MSVU Library portion of the installation\, and a reception in the gallery. \nPanel Discussion\nSaturday\, May 27th at 2:00pm \nHalifax-based artists Susan McEachern and Wilma Needham will discuss how their studio practices intersect with Pelkey’s photography over the course of her career\, particularly the feminist aspects.[/vc_column_text][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/brenda-francis-pelkey-a-retrospective/ CATEGORIES:Gender & Sexuality,Photography ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2018/09/54.-Court-Cobourg-2005-copy-865x335.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170211 DTEND;VALUE=DATE:20170410 DTSTAMP:20260605T083533 CREATED:20180914T182700Z LAST-MODIFIED:20190716T143858Z UID:10000043-1486771200-1491782399@www.msvuart.ca SUMMARY:How Do I Look? DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]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 corollary to their engagement with practices of looking and appearing\, these self-portraits also tackle the frameworks of race\, gender and sexuality. \nIn her extended photographic self-portrait\, Rosalie Favell exposes the intersectional consequences of coming out as an Indigenous lesbian. Works by the African Nova Scotian artists Chrystal Clements and Jim Shirley confront the racializing gaze in inventive ways. Replacing images with words\, Marie Koehler tackles and triumphs over patriarchal objectifications of women’s appearance. Sarra McNie\, on the other hand\, subsumes the representation of her nude figure in the formal problems of modernist painting.[/vc_column_text][vc_gallery type=”image_grid” images=”15660\,15661″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/how-do-i-look/ CATEGORIES:Drawing & Printmaking,Gender & Sexuality,Nova Scotian Artists,Painting,Photography,Race ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2018/09/Favell-Living-Evidence.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150603 DTEND;VALUE=DATE:20150817 DTSTAMP:20260605T083533 CREATED:20180613T202118Z LAST-MODIFIED:20190723T121719Z UID:10000059-1433289600-1439769599@www.msvuart.ca SUMMARY:An Intimate Distance DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]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. Apart from illuminating body image issues and other details of women’s lives\, these works hold in common a distinctive “aniconism”— the avoidance of figurative depictions of women’s bodies. They exemplify a critical tendency in Second-Wave feminist art-making\, the commitment to engage with women’s subjectivity while at the same time refusing to depict women’s bodies as objects of “the gaze”. The constraints entailed by this aesthetics of refusal have prompted some of the most compelling and imaginative works of art produced in Nova Scotia in the last thirty years.[/vc_column_text][/vc_column][/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_gallery type=”image_grid” images=”15073\,15072\,15062″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/an-intimate-distance/ LOCATION:E. Margaret Fulton Centre\, MSVU Library CATEGORIES:Film & Video,Gender & Sexuality,Nova Scotian Artists,Sculpture & Installation ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2018/06/an_intimate_distanceenl_0109.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150321 DTEND;VALUE=DATE:20150518 DTSTAMP:20260605T083533 CREATED:20190815T135033Z LAST-MODIFIED:20190815T135033Z UID:10000073-1426896000-1431907199@www.msvuart.ca SUMMARY:Here you may see the best portrait that\, later\, I was able to make of him. Passages to Abstraction. Geneviève Cadieux DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Organized and circulated by the Musée d’art de Joliette with financial support from the Museum Assistance Program\, Department of Canadian Heritage. \nThis exhibition encompasses 27 years of production by Canadian artist Geneviève Cadieux\, who works primarily with photography and its associated techniques. The complete exhibition is divided into two parts. The earliest works are presented at MSVU Art Gallery in Part I: Ravissement (1985) and La blessure d’une cicatrice ou Les Anges (1987). Part II\, with works dating from 1987 through 2012\, may be viewed at Dalhousie Art Gallery. \nIn much of her work\, Cadieux explores the emotional implications of seeing and being seen. She was one of the first Canadian artists to explore the gaze\, a psychoanalytic term used to describe acts of looking caught up in the dynamics of\ndesire. Cadieux simultaneously invites and frustrates the gaze by rendering visual signifiers as enigmatic or unstable in their meaning. In Part I\, Cadieux achieves this effect by obscuring details of appropriated images and juxtaposing appropriated\nand original photographs\, all of the human figure. Curator Vincent Bonin’s selection directs our attention to works in which abstract passages interrupt representation to “create a breach in the real.” \nOPENING RECEPTION: Join us Saturday\, May 2\, for opening receptions and exhibition tours led by Geneviève Cadieux and Vincent Bonin\, curator. The afternoon begins at MSVU Art Gallery\, 12:00pm\, continuing at Dalhousie Art Gallery\, 2:00pm. Free transportation provided\, leaving from MSVU to Dalhousie at 1:30pm.[/vc_column_text][vc_gallery type=”image_grid” images=”17210\,17209\,17208\,17207″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/here-you-may-see-the-best-portrait-that-later-i-was-able-to-make-of-him-passages-to-abstraction-genevieve-cadieux/ CATEGORIES:Feminisms,Film & Video,Gender & Sexuality,Photography ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Geneviève-Cadieux-Ravissement-detail-black-and-white-stereoscopic-photograph-1985.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20140322 DTEND;VALUE=DATE:20140512 DTSTAMP:20260605T083533 CREATED:20190815T154358Z LAST-MODIFIED:20190815T154358Z UID:10000190-1395446400-1399852799@www.msvuart.ca SUMMARY:Voices in Longitude and Latitude: video installation by Marnina & Noam Gonick DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]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. The girls\, aged 13 to 23\, appear in a 17-minute\, four-screen projection. Shot on location\, the video and audio components masterfully combine landscape and urban imagery with cinema verité-style footage and studio interviews with the girls. \nVoices represents the first collaboration between siblings Noam Gonick\, the renowned Winnipeg filmmaker\, and Dr. Marnina Gonick\, Canada Research Chair in Gender at Mount Saint Vincent University. Their joint work provides insight into the question of how audio-visual media can open new possibilities\, questions and ways of knowing in social research.[/vc_column_text][vc_gallery type=”image_grid” images=”17254\,17255\,17256\,17257″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/voices-in-longitude-and-latitude-video-installation-by-marnina-noam-gonick/ CATEGORIES:Feminisms,Film & Video,Gender & Sexuality ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Marnina-Noam-Gonick-Voices-in-Longitude-and-Latitude-2014-Toronto-sequence-detail-of-MSVU-installation.-Photo-Steve-Farmer-2014.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20080608 DTEND;VALUE=DATE:20080811 DTSTAMP:20260605T083533 CREATED:20190816T142244Z LAST-MODIFIED:20190816T142244Z UID:10000179-1212883200-1218412799@www.msvuart.ca SUMMARY:Kyla Mallett: Marginalia DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]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. \nIn keeping with Mallett’s interest in alternative\, often unsanctioned\, forms of dialogue\, the photographs in Marginalia depict annotations and graffiti found in selected books circulated by the Vancouver Public Library. The marked pages reflect the opinions of teens\, feminists and art historians\, as expressed in subject areas ranging from teen suicide to Milton’s Paradise Lost. In representing the marginalia in situ\, alongside the official text\, Mallett’s photographs reveal reading as a practice that can be rife with contestation\, even fury.[/vc_column_text][vc_gallery type=”image_grid” images=”17085\,17086\,17087\,17088″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/kyla-mallett-marginalia/ CATEGORIES:Feminisms,Gender & Sexuality ATTACH;FMTTYPE=image/png:https://www.msvuart.ca/wp-content/uploads/2019/08/Kyla-Mallett-Montreal-Massacre4.-detail-2004.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20080329 DTEND;VALUE=DATE:20080526 DTSTAMP:20260605T083533 CREATED:20190816T142430Z LAST-MODIFIED:20190816T142430Z UID:10000177-1206748800-1211759999@www.msvuart.ca SUMMARY:Chemistry DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]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. \nEach artist’s process involves complex chemical interactions and demands technical knowledge of chemistry — and the resulting works of art incorporate a whiff of chemistry’s alternative sense — “the attraction or interaction between people.”[/vc_column_text][vc_gallery type=”image_grid” images=”17071\,17072\,17073\,17074\,17075\,17076″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/chemistry/ CATEGORIES:Drawing & Printmaking,Feminisms,Gender & Sexuality,Nova Scotian Artists,Photography,Sculpture & Installation ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Dan-O’Neill-Byhd-date-unknown.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20080112 DTEND;VALUE=DATE:20080323 DTSTAMP:20260605T083533 CREATED:20190816T142636Z LAST-MODIFIED:20190816T142636Z UID:10000176-1200096000-1206230399@www.msvuart.ca SUMMARY:Art Metropole: The Top 100 Organized by the National Gallery of Canada DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]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. Selected from the archival collection recently acquired by the National Gallery\, Top 100 highlights 160 works by 100 international artists\, dating from the 1970s to the present\, in an installation that merges boutique and archival display styles. Among the artists represented are Eleanor Antin\, David Askevold\, Joseph Beuys\, Dara Birnbaum\, Kate Craig\, General Idea\, George Maciunas\, N.E. Thing and Rosemary Trockel. \nTop Picks of the Top 100: Walk & Talk with Dr. Jayne Wark Sunday 10 February\, 2:00 pm \nDr. Jayne Wark will give a walkabout talk in the exhibition Art Metrople: The Top 100\, entitled “Top Picks of the Top 100.” The exhibition\, drawn from the Art Metropole Archive held at the National Gallery of Canada\, contains 160 works by 100 international artists. \nA free chartered bus leaves 5163 Duke Street at 1:30pm and departs from MSVU at 3:30pm. Refreshments will be served and admission is free. \nLECTURE by contemporary art writer and Top 100 catalogue contributor Peggy Gale\, on Sunday\, March 2 at 2:00pm.[/vc_column_text][vc_gallery type=”image_grid” images=”17064\,17065\,17066\,17067\,17068″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/art-metropole-the-top-100-organized-by-the-national-gallery-of-canada/ CATEGORIES:Feminisms,Film & Video,Gender & Sexuality ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Sherrie-Levine-2-Shoes1992-Library-and-Archives-National-Gallery-of-Canada-Ottawa-Art-Metropole-Collection-Gift-of-Jay-A.-Smith-Toronto-1992.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20060321 DTEND;VALUE=DATE:20060501 DTSTAMP:20260605T083533 CREATED:20190816T162501Z LAST-MODIFIED:20190816T162501Z UID:10000164-1142899200-1146441599@www.msvuart.ca SUMMARY:Glynis Humphrey: Breathing Under Water DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]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. At floor level\, acoustically active inflatables invite touching as well as listening. Overhead\, a monumental video projection depicts the floating draperies and repetitive movements of a woman who is submerged in water. \nAs in previous works\, Glynis Humphrey evokes a sensuous\, yet monstrous feminine presence that can be both threateningly and appealingly immersive. Alternatively seductive and grotesque\, Breathing Under Water involves its viewers in a dramatically spatialized experience of embodiment. \nSupport from the Nova Scotia Department of Tourism\, Culture & Heritage is gratefully acknowledged.[/vc_column_text][vc_gallery type=”image_grid” images=”16956\,16957\,16958\,16959″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/glynis-humphrey-breathing-under-water/ CATEGORIES:Feminisms,Film & Video,Gender & Sexuality,Nova Scotian Artists,Sculpture & Installation ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Glynis-Humphrey-Breathing-Under-Water-installation-detail-Photo-2-Steve-Farmer.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20060115 DTEND;VALUE=DATE:20060201 DTSTAMP:20260605T083533 CREATED:20190816T162733Z LAST-MODIFIED:20190816T162733Z UID:10000058-1137283200-1138751999@www.msvuart.ca SUMMARY:Alice Egan Hagen (1872-1972)\, Nova Scotian China Painter - Window Box Series DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Alice Egan Hagen\, an alumna of Mount Saint Vincent Academy\, is considered a pioneer of studio pottery in Nova Scotia. She was in her early sixties when\, in 1931\, she decided to learn to make pottery so as to teach it to others. Soon she had set up kilns at several locales and was conducting pottery classes. She continued to sell pottery from her home in Mahone Bay well after her ninetieth birthday. \nIn the early 20th century\, women who actively pursued education and professional careers were referred to as “New Women”. Alice Hagen fits this description: she financed her education as a china painter and made her living in this profession before transforming herself into a self-taught potter. Her contemporaries\, Helen Creighton\, the Nova Scotian folklorist\, and Mary Black\, the Nova Scotian craft promoter\, were also “New Women”. All three of these entrepreneurial women shaped the cultural profile of Nova Scotia as we know it today. \nThis exhibition presents four china vessels painted by Alice Egan Hagen around the turn of the nineteenth century. Three of the items have been selected from the large collection she donated to the University in 1966. \nWhen the young Alice Egan began to study the art in Halifax in the 1890s\, china painting was one the few occupations regarded as suitable for respectable women. (Some of the other approved occupations were dress-making\, teaching school\, and running boarding houses.) Egan enjoyed an international reputation for china painting and received several major commissions\, besides keeping up a flourishing teaching practice. \nChina painting is the hand decoration of commercially manufactured blank forms which have already been fired with a clear glaze. The china painter applies low-fire overglaze colours and fires the piece again. Alice Hagen\, for example\, used blanks imported from France\, Britain\, Bavaria and Japan\, among other countries. She worked in her own professional studio at the corner of Barrington and Sackville Streets in Halifax. In the late 19th century only a few women worked as professionals in china factories such as those operated by Wedgewood and Doulton. Most industrial or commercial china painters were men.[/vc_column_text][vc_gallery type=”image_grid” images=”16937\,16938\,16939″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/alice-egan-hagen-1872-1972-nova-scotian-china-painter-window-box-series/ CATEGORIES:Design,Feminisms,Gender & Sexuality,Nova Scotian Artists ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Alice-Hagen.-Jardinière-with-Mi’kmaq-Portraits-1901.-French-porcelain-handpainted-in-enamel-overglaze-and-gilt-20.5-x-29.2-cm.-MSVU-Collection-date-unknown.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20040529 DTEND;VALUE=DATE:20040628 DTSTAMP:20260605T083533 CREATED:20190816T164444Z LAST-MODIFIED:20190816T164444Z UID:10000042-1085788800-1088380799@www.msvuart.ca SUMMARY:too small too big DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]The Mount is Canada’s only co-ed university dedicated to the education of women\, and the university collection reflects this priority. Too big too small 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. The tactility of the materials lures viewers into an intimate relationship with emotionally charged subject matter. Mixed-media works by Andrea Ward and Rosalie Favell are included\, together with prints and drawings by the Nova Scotian artists Chrystal Clements\, Marie Koehler and Susan Wood.[/vc_column_text][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/too-small-too-big/ CATEGORIES:Drawing & Printmaking,Feminisms,Gender & Sexuality,Nova Scotian Artists ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/MSVU-Art-Gallery-Mount-Saint-Vincent-University-Art-Gallery-Entrance-date-unknown.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20040117 DTEND;VALUE=DATE:20040322 DTSTAMP:20260605T083533 CREATED:20190816T165106Z LAST-MODIFIED:20190816T165106Z UID:10000159-1074297600-1079913599@www.msvuart.ca SUMMARY:Elizabeth MacKenzie: Reunion DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Reunion is an ongoing series of hundreds of powdered graphite drawings on translucent vellum. Each drawing derives from the same photograph of the artist’s late mother\, taken when she was the same age as the artist is now. MacKenzie makes the drawings by projecting a slide and selectively pulling the focus as she traces the contours; the result is more gestural than rendered. Technically the drawings are portraits\, yet when hung en masse the shadowy likeness mutates into that of an infant\, a businessman\, the artist\, or whatsoever a viewer might be predisposed to “recognize.” \nElizabeth MacKenzie\, who lives in Vancouver\, considers Reunion to be an interactive memorial to her mother. Her installation at MSVU Art Gallery will incorporate further drawings done directly on the gallery wall. \nOpened concurrently with Lecture Notes on Sunday 18 January; the artist attended.[/vc_column_text][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/elizabeth-mackenzie-reunion/ CATEGORIES:Drawing & Printmaking,Feminisms,Gender & Sexuality END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20031030 DTEND;VALUE=DATE:20031215 DTSTAMP:20260605T083533 CREATED:20190816T165335Z LAST-MODIFIED:20190816T165335Z UID:10000157-1067472000-1071446399@www.msvuart.ca SUMMARY:Hair in Hand DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Organized by MSVU Art Gallery\nwith support from the Canada Council for the Arts \nHair\, and particularly the hair of women\, is an emotionally charged subject. 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. \nAndrea Ward incorporates actual hair into intimate portraits of the 41 individuals she interviewed for the project Hairstories (1989-1994). The complete suite of 41 panels contains hair samples\, memory tokens and statements obtained from women in Toronto and Montreal. Hairstories suggests parallels between women’s self-transformation practices and critical practices in general. \nA former resident of Halifax\, Andrea Ward graduated from NSCAD with an MFA in 1991. Hairstories toured galleries across Canada in 1993. In 1996\, Mount Saint Vincent University purchased eight panels from the series\, which are currently on view in the university library. \nThe two works by whitefeather belong to a series entitled femiliar\, which evokes female puberty\, marriage\, motherhood and menopause. Whereas Ward’s work is generally exhibited in the context of art\, whitefeather situates her practice in craft techniques historically associated with women. The elaborate incorporation of hair into domestic objects lends her works a sanctified\, ritual aura. \nWhitefeather is a published poet\, textile and performance artist who lives in Fredericton. She has received several awards for weaving and teaches at the New Brunswick College of Craft and Design\, from which she graduated in 2001. Femiliar was previously exhibited at the UNB Art Centre in Fredericton.[/vc_column_text][vc_gallery type=”image_grid” images=”16851\,16852\,16853\,16855″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/hair-in-hand/ CATEGORIES:Feminisms,Gender & Sexuality,Sculpture & Installation,Textiles ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Andrea-Ward.-Hairstories-1989-1994.-Hair-printed-text-and-mixed-media.-2003.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20031022 DTEND;VALUE=DATE:20031201 DTSTAMP:20260605T083533 CREATED:20190816T165716Z LAST-MODIFIED:20190816T165716Z UID:10000155-1066780800-1070236799@www.msvuart.ca SUMMARY:Illuminations: Homemade DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Tonia Di Risio\, of Halifax\, has been invited to contribute a Duratrans image derived from her existing series\, Homemade. To prepare her tableau-style photographs\, Di Risio sets up a doll’s house peopled by photographic cutouts of herself and her Italian-Canadian relatives. Though photographed in directorial style\, Di Risio’s illusionism is deliberately imperfect. Her pictures’ “homemade” appearance highlights questions of gender and ethnic difference that are seamlessly normalized in commercial photography. Homemade will resonate decisively with the surrounding institutional architecture\, whose every detail declares public space to be separate from private space.[/vc_column_text][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/illuminations-homemade/ CATEGORIES:Gender & Sexuality,Nova Scotian Artists,Photography ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Tonia-Di-Risio-Homemade-2002.-Colour-print-40-cm.-x-30-cm-2002.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20030315 DTEND;VALUE=DATE:20030505 DTSTAMP:20260605T083533 CREATED:20190816T170121Z LAST-MODIFIED:20190816T170121Z UID:10000151-1047686400-1052092799@www.msvuart.ca SUMMARY:Blind Stairs DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Janice Gurney\, Mary Scott and Arlene Stamp have been exhibiting — sometimes together\, and more or less as painters — for more than two decades. In the last six years\, they independently decided to reflect on strategies of citation and appropriation that were already entrenched in their practices. Each began to recycle\, sample\, and “cannibalize” her own earlier works. \nBlind Stairs includes works dating from the early 1980s to the present. Since each artist incorporates traces of other persons (who may or may not be artists) in her production\, this group mid-career retrospective avoids the tendency of solo retrospectives to separate artistic authorship from historical context. Instead\, it offers a chance to explore patterns of affiliation and appropriation that indicate a particular artistic subjectivity. Arising from feminist and Conceptual art paradigms\, this artistic persona appears to have more in common with the jazz ensemble than with the solitary figure of the painter.[/vc_column_text][vc_gallery type=”image_grid” images=”16809\,16810\,16811\,16812″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/blind-stairs/ CATEGORIES:Feminisms,Gender & Sexuality,Painting,Photography,Sculpture & Installation ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Janice-Gurney-Mary-Scott-Arlene-Stamp.-Blind-Stairs.-Installation-view-MSVU-Art-Gallery-2003.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20030208 DTEND;VALUE=DATE:20030428 DTSTAMP:20260605T083533 CREATED:20190816T170157Z LAST-MODIFIED:20190816T170157Z UID:10000150-1044662400-1051487999@www.msvuart.ca SUMMARY:Like a Candle (Window Box) DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Like a Candle 1998 is an edition of wax figures (with wicks) of Princess Diana\, fabricated by Halifax artist Catherine Jones. The figures\, some of which were burned as votives on the anniversary of Diana’s death\, appear alongside the iconic Warhol screenprint Marilyn Monroe 1967. Like much of Andy Warhol’s production\, this exhibition articulates themes of celebrity and death as relayed in media culture.[/vc_column_text][vc_gallery type=”image_grid” images=”16806\,16805″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/like-a-candle-window-box/ CATEGORIES:Drawing & Printmaking,Feminisms,Gender & Sexuality,Sculpture & Installation ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Andy-Warhol.-Marilyn-Monroe-1967.-screenprint-2250-90.2-x-90.2-cm.-Collection-of-Museum-London-gift-of-Mr.-and-Mrs.-John-H.-Moore-through-the-Ontario-Heritage-Foundation-1980-1967.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20020102 DTEND;VALUE=DATE:20020304 DTSTAMP:20260605T083533 CREATED:20210202T165512Z LAST-MODIFIED:20210202T171524Z UID:10000095-1009929600-1015199999@www.msvuart.ca SUMMARY:Janice Wright Cheney: Disorderly Creatures DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Fredericton artist Janice Wright Cheney embroiders life-like insects on handkerchiefs\, books and clothing. Her choice of needlework as a means of representation fuses an historically feminized practice with an abject category of subject matter — ­the crawling things that feed on museum artefacts\, household goods and human flesh. \nThe method of presentation alternates “the cultural” with “the natural.” Thus natural history display\, which highlights the orderly classification of specimens\, confronts the phenomenon of infestation in works such as Bodice of Fleas. In the exquisitely illustrated catalogue\, Lianne McTavish (Art History\, University of New Brunswick) uncovers the feminist subtext of Wright Cheney’s project.[/vc_column_text][vc_gallery type=”flexslider_style” onclick=”link_no”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/janice-wright-cheney-disorderly-creatures/ CATEGORIES:Gender & Sexuality,Sculpture & Installation,Textiles ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2020/02/Cheney-disorderly-creatures-.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20010303 DTEND;VALUE=DATE:20010412 DTSTAMP:20260605T083533 CREATED:20190816T171652Z LAST-MODIFIED:20190816T171652Z UID:10000025-983577600-987033599@www.msvuart.ca SUMMARY:Julie Duschenes: Stories That Own Me DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A graduate of NSCAD (1975) and UBC (1981)\, Julie Duschenes teaches visual art at the University of Lethbridge. The painting series Stories That Own Me (1996-2000) portrays the artist and her partner in domestic situations reminiscent of paintings by the 17th-century Dutch master\, Jan Vermeer. Within the paintings appear texts recounting government acts that have affected Duschenes’ life: the Persons Case\, refugee internment camps\, and legislation concerning homosexual rights. Duschenes’ vivid self-portraits situate lesbian citizens and spouses within the purview of artistic and legislative canons. \nArtist’s Talk\nOn Sunday\, March 11\, Julie Duschenes gave a presentation elaborating on the Stories and her current work.[/vc_column_text][vc_gallery type=”image_grid” images=”16750″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/julie-duschenes-stories-that-own-me/ CATEGORIES:Feminisms,Gender & Sexuality,Painting ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Julie-Duschenes.-Story-3.-Oil-on-canvas-150-x-129-cm-1998-2000.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20010303 DTEND;VALUE=DATE:20010412 DTSTAMP:20260605T083533 CREATED:20190816T171422Z LAST-MODIFIED:20190816T171422Z UID:10000026-983577600-987033599@www.msvuart.ca SUMMARY:Gather Beneath the Banner - Political & Religious Banners of the Woman’s Christian Temperance Union 1877-1932 DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Curators Wendy Harker & Max Allen for The Museum for Textiles\, Toronto \nThe 21 embroidered and painted banners in this exhibition proclaim the conservative beliefs and radical activism of one of Canada’s most successful women’s organizations\, the W.C.T.U. Used in meetings and spectacular public parades\, the banners served as billboards announcing women’s entry into public life as moral entrepreneurs. The W.C.T.U. positioned itself at the forefront of national campaigns for prohibition and women’s suffrage. In 1915\, W.C.T.U. member Nellie McClung (Famous Five co-petitioner in the 1929 Persons Case) led the Edmonton Prohibition Parade of 12\,000 reformers under the banners of the “White Ribbon Sisters.” \nPurity\, Piety and Disobedience\nOn International Women’s Day\, Thursday\, March 8\, visitors to the Gallery could join Nellie McClung\, Edith Archibald (Nova Scotia W.C.T.U.)\, their supporters and opponents\, for a lively reenactment of an old-time meeting. Tea and sandwiches were served.[/vc_column_text][vc_gallery type=”image_grid” images=”16754″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/gather-beneath-the-banner-political-religious-banners-of-the-womans-christian-temperance-union-1877-1932/ CATEGORIES:Feminisms,Gender & Sexuality,Textiles ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Hamilton-W.C.T.U.-Workers-with-God-1890.-Satin-banner-with-gilt-embroidered-lettering-paint-119-x-79-cm-1890.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20000909 DTEND;VALUE=DATE:20001016 DTSTAMP:20260605T083533 CREATED:20190816T172124Z LAST-MODIFIED:20190816T172124Z UID:10000021-968457600-971654399@www.msvuart.ca SUMMARY:Indian Princesses & Cowgirls Stereotypes from the Frontier DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Curators Marilyn Burgess & Gail Guthrie Valaskakis for Oboro\, Montreal \nIn this exhibition\, popular images of specific female types from the “Wild West” reveal the structures of domination through which the West was won. The postcards\, calendars and photographs\, which are drawn from the private collections of the curators\, are grouped stylistically to emphasise concepts of race and femininity that prevailed in the early 1900s. \nThe racially whitewashed\, exoticized Indian maiden of commercial imagination quickly gave rise to her white outlaw counterpart\, the “cowgirl\, an inherently wild\, uncivilized creature who doesn’t fit into white notions of femininity.” These fantasies\, the co-curators argue\, demonstrate the need to disguise violent acts of appropriation\, which were often genocidal\, as gestures of appreciation. \nIndian Princesses & Cowgirls is organized by Oboro (Montreal) and circulated by Presentation House Gallery. \nLecture\nGail Guthrie Valaskakis\, a Northern Native Communications scholar at Concordia who grew up on the Lac du Flambeau Reservation\, Wisconsin\, spoke about the exhibition on Sunday\, September 24.[/vc_column_text][vc_gallery type=”image_grid” images=”16728″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/indian-princesses-cowgirls-stereotypes-from-the-frontier/ CATEGORIES:Feminisms,Gender & Sexuality,Indigenous,Photography ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Unknown-artist.-Indian-Princess-dimensions-unknown-ca.-1920s.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20000708 DTEND;VALUE=DATE:20000831 DTSTAMP:20260605T083533 CREATED:20190816T172213Z LAST-MODIFIED:20190816T184133Z UID:10000142-963014400-967679999@www.msvuart.ca SUMMARY:Adrian Piper: A Retrospective 1965-2000 DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Curator Maurice Berger for Fine Arts Gallery\, University of Maryland\, Baltimore County \nAdrian Piper\, who premiered the performance Funk Lessons at NSCAD in 1983\, played a formative role in the emergence of Conceptual art in the 1960s and 1970s. The African American artist/philospher continues to influence developments in identity-based art. Paradoxically\, her reliance on Minimalist and Conceptual modes enhances the ability of her art to challenge intransigent attitudes about race\, gender and difference. Piper’s objects\, installations\, performances\, videos and sound works establish a compelling relationship between artist and spectator. They permit neither to retreat to the defensive rationalizations that distance art from topics as discomforting as bigotry and xenophobia. \nFunded in the USA by the Peter Norton Family Foundation\, Lannan Foundation\, Andy Warhol Foundation for the Visual Arts\, and the Maryland State Arts Council\, this exhibition appeared at MSVU Art Gallery in connection with HX\, a city-wide festival of international contemporary art organized by the Contemporary Art Projects Society (CAPS).[/vc_column_text][vc_gallery type=”image_grid” images=”16725\,16724\,16723\,16722″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/adrian-piper-a-retrospective-1965-2000/ CATEGORIES:Feminisms,Film & Video,Gender & Sexuality ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Adrian-Piper.-The-Mythic-Being-I-Embody-Everything-You-Most-Hate-and-Fear.-Oil-crayon-on-black-and-white-photograph-18-x-26-cm-1975.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20000318 DTEND;VALUE=DATE:20190526 DTSTAMP:20260605T083533 CREATED:20190816T172341Z LAST-MODIFIED:20190816T172341Z UID:10000138-953337600-1558828799@www.msvuart.ca SUMMARY:taboos\, titillations & thrills DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]The selected works challenge the hermeticism of the “white cube.” Together\, by means of direct address and selective disclosure\, these works reconfigure the gallery as a test site in the quest for intimacy. Vito Acconci’s body-art lithographs of the 1970s resonate with Adrian Piper’s My Calling (Cards) #1 & #2 (1986-90) and Lisa Steele’s pathbreaking video\, Birthday Suit – with scars and defects (1974). Representing the next generation\, the Torontonian Shary Boyle contributes small bookworks that expose the dark side of grrrl-dom. Nova Scotians Charlie Murphy and Matt Reid also aim to position the viewer as confidant or witness with “confessional” photo-collages\, text and video. \nThe rhetorical address of the art ranges from the overtly autobiographical to the teasingly confessional. Text or first-person voiceover appear to establish the artist as subject\, but the pronoun “you” is also used provocatively to engage the viewer in an intimate dialogue. The responses cued by some of the works are organized around the politics of gender and sex — themes that emerged in video and performance art of the 1970s and have since permeated other artistic media. \nOpening\nThere was a joint opening reception for the exhibitions taboos\, titillations & thrills and Twisted on Friday\, April 28\, 2000.[/vc_column_text][vc_gallery type=”image_grid” images=”16712\,16713\,16714″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/taboos-titillations-thrills/ CATEGORIES:Feminisms,Gender & Sexuality,Nova Scotian Artists,Photography ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Charlie-Murphy.-The-Letter.-Detail-1999.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:19990813 DTEND;VALUE=DATE:19991004 DTSTAMP:20260605T083533 CREATED:20190816T173234Z LAST-MODIFIED:20190816T173234Z UID:10000020-934502400-938995199@www.msvuart.ca SUMMARY:Flaming Creatures: New Tendencies in Canadian Video DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Curator Gary Kibbins for Agnes Etherington Art Centre \nA program of 17 tapes by American and Canadian artists\, the exhibition links contemporary critical poetics to Jack Smith’s outrageous film Flaming Creatures\, made in 1962. The artists’ ability to “flaunt a precarious mode of being” by means of experimental strategies is the theme uniting the six hour-long programs. Kibbins has chosen videos whose resistant politics he describes as “experimental propaganda … as self-confident as it is insouciant. The cause\, generally held\, is the right to multiply sexualities\, practices and ways of living…. In that\, experimental propaganda helps sustain what remains of the utopian dimension of video.” \nSeveral of the artists (Joyan Saunders\, David Clark\, Yudi Sewraj\, Steve Reinke and Jan Peacock) have strong connections to Halifax. \nScreenings\nTapes were compiled into six separate programs\, and could be screened on request in the Project Room adjacent to the mezzanine gallery. The exhibition was accompanied by program notes and an illustrated catalogue written by Gary Kibbins.[/vc_column_text][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/flaming-creatures-new-tendencies-in-canadian-video/ CATEGORIES:Feminisms,Film & Video,Gender & Sexuality ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Steve-Reinke.-Seventeen-Descriptions.-still-1996.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:19990605 DTEND;VALUE=DATE:19990719 DTSTAMP:20260605T083533 CREATED:20190816T173356Z LAST-MODIFIED:20190816T173356Z UID:10000018-928540800-932342399@www.msvuart.ca SUMMARY:Confrontations - Unquiet Images from the University Collection DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]On the occasion of its 125th anniversary\, Mount Saint Vincent University has acquired an important textile construction by the Nova Scotian artist Frances Dorsey. Dragon’s Teeth (1994) is a pieced\, dyed and photo-silkscreened expanse of cloth measuring three by four metres. It incorporates life-sized silhouettes of Allied soldiers with images of screaming children and hand-written extracts from Dorsey’s father’s World War II journals. As a revision of the usual epic memorial\, Dragon’s Teeth makes a fitting centre-piece for an exhibition about the imagery of confrontation and armed conflict. \nThe 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).[/vc_column_text][vc_gallery type=”image_grid” images=”16667\,16668\,16669″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/confrontations-unquiet-images-from-the-university-collection/ CATEGORIES:Feminisms,Gender & Sexuality,Textiles ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Bruce-Johnson.-Oka.-Photo-collage-on-board-213-x-198-cm.-MSVU-collection-1992.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:19990213 DTEND;VALUE=DATE:19990322 DTSTAMP:20260605T083533 CREATED:20190816T173809Z LAST-MODIFIED:20190816T173809Z UID:10000013-918864000-922060799@www.msvuart.ca SUMMARY:The Convent Series DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Clara Gutsche’s austerely beautiful photographs document an aspect of Québec society that is rapidly disappearing: its communities of religious women. A Montréal-based photographer\, Gutsche gathered her images by living alongside the nuns in their convents. The photographs were taken with a large-format camera and are grouped in series of silver and chromogenic prints\, many as large as 28″ x 36″. The formal\, staged appearance of the images is in part an outcome of the technical apparatus\, and in part a reflection of the subjects’ preferred mode of self-presentation.[/vc_column_text][vc_gallery type=”image_grid” images=”16646\,16647″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/the-convent-series/ CATEGORIES:Feminisms,Gender & Sexuality,Photography ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Clara-Gutsche.-Les-Soeurs-adoratrices-du-Précieux-Sang-Les-cellulesCells-Nicolet-from-The-Convent-Series.-Épreuve-par-procédé-chromogène-37.5-x-47.5-cm-1995.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:19981002 DTEND;VALUE=DATE:19981110 DTSTAMP:20260605T083533 CREATED:20190816T174745Z LAST-MODIFIED:20190816T174745Z UID:10000118-907286400-910655999@www.msvuart.ca SUMMARY:Aprons Away (and Comments Book) (Window Box) DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]October 2 – 23: Aprons Away\nArtist Gillian Collyer presented her collection of 1950s hostess aprons in the first of a series of Window Box installations located in the MSVU library. As a feminist intervention in public space\, Collyer’s apron installation made jarring reference to the feminine mystique of years past. \nOctober 23 – November 9: Comments Book\nPrompted by the more pointed responses to the Aprons Away installation\, Collyer replied with the Comment Book installation. She removed the aprons from two of the four window boxes\, replacing them with photocopies of the pages from the comment book\, hanging from the clotheslines. She also posted a written account of her intentions and asked viewers to observe a more respectful protocol when registering their comments.[/vc_column_text][vc_gallery type=”image_grid” images=”16601\,16602\,16603″ display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”2″ load_in_animation=”none”][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/aprons-away-and-comments-book-window-box/ CATEGORIES:Feminisms,Gender & Sexuality ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/07/Gillian-Collyer.-Seton-Foyer-Flag-Replacement-6-December-one-day-intervention-1998.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:19980523 DTEND;VALUE=DATE:19980803 DTSTAMP:20260605T083533 CREATED:20190731T170702Z LAST-MODIFIED:20190816T175037Z UID:10000114-895881600-902102399@www.msvuart.ca SUMMARY:Prospect 6: Painting by Sarra McNie DESCRIPTION:[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]The “Prospect” exhibition series gives critical consideration to the work of Nova Scotia artists at the beginning of their careers. \nLike her predecessors in the series\, Sarra McNie has constructed a version of herself — a persona — which then inhabits her work as subject matter. As a painter\, she functions within an age-old tradition that has generally subordinated the achievements of female artists. Her choice of the female nude (her own figure) as subject introduces further problems. McNie’s negotiation of this gender politics is at the core of the exhibition thesis. The exhibition is composed of paintings in closely valued tints.[/vc_column_text][divider line_type=”No Line”][/vc_column][/vc_row] URL:https://www.msvuart.ca/exhibition/prospect-6-painting-by-sarra-mcnie/ CATEGORIES:Emerging Artists,Feminisms,Gender & Sexuality,Modernist Survivals,Painting ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/07/Sarra-McNie.-Iron-Tulip-1998.-Oil-on-canvas.-77-x-59-cm-1998.jpg END:VEVENT END:VCALENDAR