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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180113
DTEND;VALUE=DATE:20180305
DTSTAMP:20260501T053324
CREATED:20180820T170627Z
LAST-MODIFIED:20190723T143652Z
UID:10000036-1515801600-1520207999@www.msvuart.ca
SUMMARY:Melanie Authier: Contrarieties and Counterpoints
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]“My paintings bring together visual contradictions in one imaginary space. Each painting presents a brimming jostle of pictorial oppositions. The work presents a perpetual play between chaos and control\, the synthetic and the organic\, the technological and the natural\, flatness and depth\, the atmospheric and the geological… This re-combination of elements reveals aspects of the irrational and the evocation of unfathomable space.” – Melanie Authier. \nThe spatial effects of Melanie Authier’s abstract paintings show how artists can engage with the art of the past and transpose it into their own visual language. In her current works\, Authier evokes abstract\, formalist tendencies in painting that were current from the 1940s through the 1970s. Abstract\, formalist painting gives priority to composition and the physical properties of paint. It is not about subject matter. \nAuthier comments that she does not work from source material; her work is embedded in abstraction. At the same time\, she takes liberties with the rules of perspective governing the optical advancement and recession of colour and form. The rules of perspective are associated with representational painting. For an abstract painter to introduce such elements is surprising—it allows her paintings to suggest imaginary landscapes in which one might become lost. \nRather than drawing a line between formalist abstraction and representational painting\, Authier situates her practice on a spectrum between the two. The artist was born in Montreal and lives in Ottawa\, where she teaches painting at the University of Ottawa. \nThis exhibition has been organized by the Thames Art Gallery in partnership with the Ottawa Art Gallery\, Art Gallery of Guelph\, Kenderdine Art Gallery\, Galerie de I’UQAM\, MSVU Art Gallery\, and the Musée régional de Rimouski with funding from the Ontario Arts Council’s Ontario\, National and International Touring programs.[/vc_column_text][vc_gallery type=”image_grid” images=”15365\,15367\,15368″ 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]\nArtist Talk\n[/vc_column_text][vc_column_text el_id=”talkdate”]Saturday\, January 13th at 2:00pm[/vc_column_text][vc_column_text]Melanie Authier will lead an informal tour of the exhibition followed by a relaxed reception. ASL interpretation will be provided.[/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]\nWorkshops\n[/vc_column_text][vc_column_text]WATERCOLOUR WORKSHOP – Saturday\, February 3rd at 2:00pm \nWorking with multi-disciplinary artist Carrie Allison\, participants will learn the basics of watercolour painting\, inspired by Melanie Authier’s use of colour in Contrarieties & Counterpoints. No experience necessary\, attendance is free and materials will be provided. ASL interpretation is available by request with registration. \nRUG HOOKING WORKSHOP – Saturday\, February 24th at 2:00pm \nWorking with textile artist Joanna Close\, participants will learn the basics of rug-hooking\, inspired by Melanie Authier’s approach to composition in Contrarieties & Counterpoints. No experience necessary\, attendance is free and materials will be provided. ASL interpretation is available by request with registration.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.msvuart.ca/exhibition/melanie-authier-contrarieties-and-counterpoints/
LOCATION:MSVU Main Gallery
CATEGORIES:Modernist Survivals,Painting
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2018/08/m-authier-en-vol-en-voiles01-fullscreen.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170225
DTEND;VALUE=DATE:20170410
DTSTAMP:20260501T053324
CREATED:20180914T180538Z
LAST-MODIFIED:20190717T194537Z
UID:10000041-1487980800-1491782399@www.msvuart.ca
SUMMARY:Tove Storch: Sculpture
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]Tove Storch’s first solo exhibition in North America follows a three-week production residency in the Art Gallery. The young Danish artist has already exhibited at S.M.A.K.\, Ghent\, Belgium; the Louisiana Museum\, Copenhagen\, Denmark; and various galleries in Brazil. She recently completed a residency at the International Studio and Curatorial Program\, New York. \nStorch’s sculpture emphasizes process\, physicality and the unique properties of materials. These characteristics are reminiscent of minimalist and post-minimalist practices of the 1970s. A Danish critic has identified a range of art-historical allusions in her work: “Donald Judd’s specific objects came to mind\, as did Robert Irwin’s more delicate combinations of material qualities and visual effects\, and the sensual spatial politics of Lygia Clark and Helio Oiticica.” \nThe new work proposed by Storch engages with the gallery’s two-storey architecture\, deploying a forest of narrow metal rods to span the distance between floor and ceiling with an effect similar to that of a drawing. It incorporates the formal paradox typical of Storch’s sculpture\, wherein the physical concreteness of the elements belies the optical variability of their appearance. \nDescription of Untitled 2017\nThe work is composed of 137 quarter-inch\, oxidized cold-rolled steel rods\, pierced at the top and attached with wire to anchors set into the coffered concrete ceiling. The rods are welded once\, each in a different place along its length from the others. In addition\, the rods have been bent by hand\, each in a unique way. \nThe rods vary in length\, however each spans the entire distance between the floor and its attachment point on the ceiling\, either 7.18 metres to the interior of a coffer or 6.57 metres to the lower edge of a coffer. The irregularly shaped array of rods covers a floor area of approximately 18.51 metres by 8.23 metres. \nPanel Discussion\nWednesday\, March 15th at 3:30pm \nArtist Kim Morgan will hold a public conversation with gallery director Ingrid Jenkner concerning Storch’s work. Morgan’s sculpture Range Light\, Borden-Carleton\, PEI (2010) won the Lieutenant Governor of Nova Scotia Masterworks Arts Award in 2012.[/vc_column_text][vc_gallery type=”image_grid” images=”15653\,15654\,15655\,15656″ 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/tove-storch-sculpture/
CATEGORIES:Drawing & Printmaking,Modernist Survivals,Sculpture & Installation
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2018/09/Tove-Storch-Untitled-2017-steel-rods-wire-7.2-metres-high-x-8.23-metres-wide-x-18.51-metres-long.-MSVU-Art-Gallery-Halifax-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151203
DTEND;VALUE=DATE:20160222
DTSTAMP:20260501T053324
CREATED:20190815T151424Z
LAST-MODIFIED:20190815T164457Z
UID:10000189-1449100800-1456099199@www.msvuart.ca
SUMMARY:Robert Tombs: Index. Graphic Works 1985-2015
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]Operating within the tradition of the artist/typographer/designer\, Robert Tombs’ practice incorporates print\, photography and site-specific installation. The body of graphic work presented in this exhibition represents Tombs’ collaborations with numerous artists\, writers\, artist-run centres\, art galleries\, academic presses and printers to create books and artist-related publications. Viewed collectively\, the printed matter emerging from these partnerships provides a survey not only of Tombs’ design work but also his clients’ projects and publications over the last thirty years. \nThe exhibition catalogue\, designed by Tombs and featuring critical essays by Michael Davidge and Marina Roy\, functions as the latest contribution to Robert Tombs: Index. Graphic Works 1985–2015. \nArtist Talk Saturday\, February 6 at 2:00pm\nRobert Tombs will offer an illustrated talk about his different design approaches when working on projects for MSVU Art Gallery\, Owens Art Gallery\, Cornell University Press and independent artist publishers.[/vc_column_text][vc_gallery type=”image_grid” images=”17241\,17242″ 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/robert-tombs-index-graphic-works-1985-2015/
CATEGORIES:Design,Modernist Survivals
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Voices-in-Longitude-and-Latitude-a-video-installation-by-Marnina-Noam-Gonick-exhibition-catalogue-MSVU-Art-Gallery-Design-Robert-Tombs-Studio-2014.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140524
DTEND;VALUE=DATE:20140811
DTSTAMP:20260501T053324
CREATED:20190815T155220Z
LAST-MODIFIED:20190815T155220Z
UID:10000191-1400889600-1407715199@www.msvuart.ca
SUMMARY:Ron Shuebrook: Drawings
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 influential artist and educator Ron Shuebrook works every summer in his Blandford\, Nova Scotia studio. He is best known as an abstract painter who aligns his work with American late Modernist tendencies. In Shuebrook’s work\, “late Modernism” means adherence to the principles of formalist aesthetics\, compositional refinement and exploration of the properties of his materials. For this artist there is no practical distinction to be made between drawing and painting: “Drawing and painting are both about working with a certain material.” \nThis exhibition acknowledges the centrality of drawing to Ron Shuebrook’s practice. Representing over 30 years of production by the artist\, Drawings has much to teach viewers about process. Freed from the burden of representation\, Shuebrook’s hard-edged geometric figures in black compressed charcoal interlock in dynamic tension\, generating graphic elegance from the visibly erased and reworked remnants of false starts and new decisions. \nThis is the first retrospective survey with a catalogue of drawings by Ron Shuebrook. The exhibition will tour Canada from coast to coast over the next two years.[/vc_column_text][vc_gallery type=”image_grid” images=”17260\,17261\,17262\,17263″ 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/ron-shuebrook-drawings/
CATEGORIES:Drawing & Printmaking,Modernist Survivals,Nova Scotian Artists
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Ron-Shuebrook-Wharf-2012-charcoal-on-rag-paper-108-x-175-cm-2012.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081018
DTEND;VALUE=DATE:20081124
DTSTAMP:20260501T053324
CREATED:20190816T141829Z
LAST-MODIFIED:20190816T141829Z
UID:10000182-1224288000-1227484799@www.msvuart.ca
SUMMARY:Danish Modern: Suzanne Swannie Textil
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]Suzanne Swannie is a Halifax-based designer and weaver who creates functional textiles\, tapestries and large architectural installations for private and public environments. She also weaves pictorial tapestries and is known for unique fabric constructions such as the gallery installation Repassage. Both the woven works and the constructions display the “Danish Modern” principle of repetition of modular units as a means of generating surfaces and structures with a typical emphasis on rich colour harmonies. \nSwannie’s integrated sensibility—the legacy of her Scandinavian training—allows her to move adroitly between industry\, craft and the art world\, gaining from each\, apologizing to none. The retrospective selection includes tapestry works from the 1970s; pieced and appliqueed wall textiles created in collaboration with the Mi’kmaq women of Eskasoni Reserve (1977-1980); production household textiles (1980s); the creased-silk installation Repassage (1986); subsequent tapestry carpets and their paper studies (1990s\, 2000s); and the major figurative tapestry triptych completed in 2007. \nThe exhibition catalogue contains essays by Sheila Stevenson\, Halifax\, and Rachel Gotlieb\, Toronto and Ron Shuebrooke\, Guelph. Support from the Canada Council for the Arts and Nova Scotia Tourism\, Culture & Heritage is gratefully acknowledged.[/vc_column_text][vc_gallery type=”image_grid” images=”17125\,17116\,17115\,17119\,17120\,17111\,17110\,17109″ 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/danish-modern-suzanne-swannie-textil/
CATEGORIES:Design,Modernist Survivals,Nova Scotian Artists,Textiles
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Brud-I-2004Brud-II-2004-Installation-view-2004.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20061014
DTEND;VALUE=DATE:20061127
DTSTAMP:20260501T053324
CREATED:20190816T144517Z
LAST-MODIFIED:20190816T144517Z
UID:10000171-1160784000-1164585599@www.msvuart.ca
SUMMARY:Pulse: Film & Painting After the Image
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 collective La Femme 100 Têtes\, in collaboration with Mount Saint Vincent University Art Gallery\, presents Pulse: Film and Painting After the Image\, co-curated by Ingrid Jenkner and Barbara Sternberg\, in consultation with Gerda Cammaer. \nPulse brings experimental film into dialogue with contemporary abstract painting by presenting the two art forms adjacent to one another in the same gallery space. The films were selected for their tendencies to dismantle the stability of the representational image\, or to dispense with it altogether. The paintings match these tendencies by emphasizing optical vibration\, repetition\, rhythm\, layering and blurring of figure-ground distinctions. While traditional narrative cinema and representational painting offer fixed images\, the selections in Pulse bring out the counterimage (and afterimage) of process. The prevailing aesthetic is pulsatile–similar to that of blinking neon signs or the strobe effects of video games. This optically active environment emphasizes the shared concerns of artists who work in time-based and space-based media. \nFilmmakers: Christina Battle\, Vincent Grenier\, Emmanual LeFrant\,\nRose Lowder\, Frederic Worden \nPainters: Cora Cluett\, Stephen Fisher\, Nicole Collins\, Angela Leach\, Monica Tap\,\nShirley Wiitasalo \nOPENING RECEPTION Sunday\, October 15 at 2:00pm with informal talk by Barbara Sternberg\, filmmaker and member of La Femme 100 Têtes curatorial collective. The free charter bus leaves 5163 Duke Street at 1:30pm\, returning downtown at 5:00pm. \nAn illustrated catalogue with essays by Jenkner and Sternberg provides a complete document of the project. \nSupport from the Canada Council for the Arts is gratefully acknowledged[/vc_column_text][vc_gallery type=”image_grid” images=”17025\,17026\,17027\,17028\,17029\,17030\,17031\,17032\,17033″ 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/pulse-film-painting-after-the-image/
CATEGORIES:Film & Video,Modernist Survivals,Nova Scotian Artists,Painting
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Pulse-Film-and-Painting-After-the-Image-Installation-View-MSVU-Art-Gallery-1-2006.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20040807
DTEND;VALUE=DATE:20041018
DTSTAMP:20260501T053324
CREATED:20190816T164045Z
LAST-MODIFIED:20190816T164045Z
UID:10000047-1091836800-1098057599@www.msvuart.ca
SUMMARY:Elspeth Pratt: Hang-ups
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]In Vancouver\, where she has lived for more than twenty years\, Elspeth Pratt is known for her inventive use of building supplies and her interest in leisure as it correlates with the built environment. Her works borrow from the 20th century formal vocabularies associated with constructivist and post-minimalist sculpture. \nThe three wall-mounted sculptures exhibited at MSVU Art Gallery come from the collection of the Art Gallery of Nova Scotia. Scar 1995\, Lucky Me 1992 and Arsenic and Lace 1997 hang in a mezzanine that overlooks a major wall-painting installation by Denyse Thomasos\, entitled Tracking: Bombings\, Wars & Genocide\, a Six Months Journey from New York to China\, Vietnam\, Cambodia & Indonesia. \nThe carceral grids and optical dynamism of Tracking offer an eye-popping counterpoint to the quasipictorial\, semi-architectural posturing of Pratt’s sculptures. One writer has described their effect as evoking a “hesitant response to her contingent and ephemeral negotiation of gravity.”[/vc_column_text][vc_gallery type=”image_grid” images=”16900\,16901″ 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/elspeth-pratt-hang-ups/
CATEGORIES:Modernist Survivals,Sculpture & Installation
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Elspeth-Pratt.-Arsenic-and-Lace-1997.-cardboard-and-beads-103-x-96.5-x-25.0cm.-Art-Gallery-of-Nova-Scotia-Collection-Gift-of-the-artist-2003.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20010901
DTEND;VALUE=DATE:20011015
DTSTAMP:20260501T053324
CREATED:20190816T170827Z
LAST-MODIFIED:20190816T170827Z
UID:10000145-999302400-1003103999@www.msvuart.ca
SUMMARY:Cape Breton Modern: Terrence Syverson
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 turning point in the Saskatchewan-born Syverson’s life came when he befriended the American modernist Barnett Newman at Emma Lake in 1959. By 1962\, he was painting in New York and\, by 1964\, he had participated in the 14th Annual Guggenheim International Awards exhibition. Like his fellow expatriates Robert Murray\, Michael Snow and Joyce Wieland\, Syverson achieved recognition in his homeland by building a career in New York. But\, like some of his American colleagues\, he sought relief from city life in Cape Breton. Syverson has lived permanently in the village of Cape North since 1976. \nThe monumental shaped paintings of the 1980s and ’90s are luminous\, monochromatic fields\, often pierced in the centre and bounded by built-up edges resembling torn flesh. The smaller\, more recent works are composed of wrapped and painted alder twigs woven with visceral effect onto stretchers turned canvas-side to wall. Syverson invents within a rigorously reductive paradigm. He achieves dimension without illusionism\, figure-ground relationships without painting figures on a background\, and expressive content without recourse to gestural brushwork or depiction. \nExhibition Travels \n\nDunlop Art Gallery\, Regina\, November 10\, 2001 to January 11\, 2002\nConfederation Centre Art Gallery\, Charlottetown\, February 15 to April 28\, 2002\n\n[/vc_column_text][vc_gallery type=”image_grid” images=”16780\,16781\,16782″ 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/cape-breton-modern-terrence-syverson/
CATEGORIES:Modernist Survivals,Nova Scotian Artists,Painting
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Terrence-Syverson.-Tri-infinity-II-Brown-Study-detail.-Acrylic-and-varnish-on-canvas-over-plywood-with-alder-twigs-96-x-115.5-x-6-cm.-Photo-Peter-Walker-1984-87.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20001022
DTEND;VALUE=DATE:20001110
DTSTAMP:20260501T053324
CREATED:20190816T172050Z
LAST-MODIFIED:20190816T172050Z
UID:10000023-972172800-973814399@www.msvuart.ca
SUMMARY:Susan Feindel: Figura
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 Petra Halkes for Ottawa Art Gallery \nBorn in Bridgewater\, Nova Scotia\, Susan Feindel studied painting at Mount Allison and travelled the world before settling in Ottawa in 1973. She recently returned to Nova Scotia and lives in Chester Basin. \nFigura includes paintings and drawings produced since 1983\, which re-enact nature’s creativity rather than mimicking natural appearances. Referring to the artist’s impulse to transform matter\, Petra Halkes writes that\, “Through paint — with its propensities so similar to water\, mud\, blood and excrement — Feindel seeks to recover the human kinship with the movement and historicity of nature\, in order to encounter nature as a figure in her own right.” She goes on to suggest that Feindel’s images of land and sea contribute\, in a uniquely visual and visceral way\, to ecological thought.[/vc_column_text][vc_gallery type=”image_grid” images=”16739″ 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/susan-feindel-figura/
CATEGORIES:Modernist Survivals,Nova Scotian Artists,Painting
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Susan-Feindel.-Wreaths-for-Blessing-the-Fishing-Fleet-Port-Medway-6.-Acrylic-on-canvas-135-x-166-cm-1986.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:19990109
DTEND;VALUE=DATE:19990222
DTSTAMP:20260501T053324
CREATED:20190816T173940Z
LAST-MODIFIED:20190816T173940Z
UID:10000064-915840000-919641599@www.msvuart.ca
SUMMARY:Winter Gardens
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]In the winter of 1995-96\, Charlotte Lindgren traveled across Canada by train\, photographing private and public gardens at each stop. The exhibition presented 30 of the colour photographs resulting from this journey. The images illustrate Canada’s regional diversity in ways that are unique to the “bare and brilliant” season. Locales include Japanese and Chinese gardens in Vancouver\, ice sculpture in Edmonton\, and spectacular drifts at the Manitoba Delta. Lindgren’s images document cultural responses to the natural variables of weather and terrain. \nOpening\nIn the afternoon of Sunday 10 January\, Alex Wilson (Nova Scotia Museum of Natural History) introduced the artist\, Charlotte Lindgren\, who then presented her time-based work.[/vc_column_text][vc_gallery type=”image_grid” images=”16638″ 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/winter-gardens/
CATEGORIES:Modernist Survivals,Nova Scotian Artists,Photography
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Charlotte-Lindgren.-St.-Andrews-NB-Bar-Street-at-Passamoquoddy-Bay-Tidal-Road.-Colour-photograph-1996.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:19981024
DTEND;VALUE=DATE:19981214
DTSTAMP:20260501T053324
CREATED:20190816T174559Z
LAST-MODIFIED:20190816T174559Z
UID:10000122-909187200-913593599@www.msvuart.ca
SUMMARY:Notification 1
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]Toronto-based artist Arnaud Maggs has acquired a reputation for his series of 96 photographs that obsessively examine the signs of identity\, whether as indexical trace or as denotative code. Notification 1 is composed of 96 colour photographs of the backs of envelopes used for the mailing of death notices in France in the late 19th and early 20th centuries. Mounted in a grid\, these images produce a striking graphic pattern with their large black “Xs.” The effect\, which dawns gradually\, is one of full-frontal documentary abstraction.[/vc_column_text][vc_gallery type=”image_grid” images=”16628″ 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/notification-1/
CATEGORIES:Design,Modernist Survivals,Photography
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Arnaud-Maggs.-Notification-1.-Colour-photographs-1996.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:19981024
DTEND;VALUE=DATE:19981123
DTSTAMP:20260501T053324
CREATED:20190816T174630Z
LAST-MODIFIED:20190816T174630Z
UID:10000120-909187200-911779199@www.msvuart.ca
SUMMARY:1\,000\,000 Grapes
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]Ferguson’s new installation accentuated the monumental authority embodied in the gallery space while adding a suitably millennial\, elegiac overlay\, thus engaging both the physical architecture of the MSVU Art Gallery and its ritual function. 1\,000\,000 Grapes is composed of 100 square\, stretched canvases stencilled in black with an irregular\, dot-like motif (or 10\,000 “grapes”)\, installed in a closely spaced grid so as to fill the gallery’s double-height walls. The paintings were presented serially\, sequenced in order of their production. \nThe veteran teacher at the Nova Scotia College of Art and Design (NSCAD) rationalizes his use of stencils thus: \nTo avoid inflected marks\, to give distance and a simple craft-like basis to the work\, to use modularity as a compositional device and to keep the process and concept visible and readable at a glance by the viewer. \nAn illustrated catalogue with an essay by Ingrid Jenkner and an artist’s book accompanied the exhibition.[/vc_column_text][vc_gallery type=”image_grid” images=”16624″ 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/1000000-grapes/
CATEGORIES:Modernist Survivals,Nova Scotian Artists,Painting,Photography
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/08/Gerald-Ferguson.-1000000-Grapes-MSVU-Gallery-installation-view.-Enamel-on-canvas.-122-x-122-cm.-100-canvases-1997.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:19980613
DTEND;VALUE=DATE:19980803
DTSTAMP:20260501T053324
CREATED:20190816T174907Z
LAST-MODIFIED:20190816T174907Z
UID:10000115-897696000-902102399@www.msvuart.ca
SUMMARY:Field Notes
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 John E. Vollmer and Caroline Langill for Art Gallery of Peterborough \nDorothy Caldwell is a distinguished textile artist\, quilt maker and winner of the Saidye Bronfman award. Field Notes consists of pieced fabric constructions which combine stitched\, dyed and painted cloth. Caldwell’s compositions blend abstract formal qualities with references to rural Ontario landscape. The ten quilts in this exhibition were inspired by a 19th-century “utility” quilt in the Royal Ontario Museum collection. \nAn illustrated catalogue\, with essays by John E.Vollmer and Caroline Langill\, accompanied the exhibition.[/vc_column_text][vc_gallery type=”image_grid” images=”16594″ 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/field-notes/
CATEGORIES:Modernist Survivals,Textiles
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/07/Dorothy-Caldwell.-Damp-Earth.-Quilted-cotton.-135-x-173-cm-1996.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:19980523
DTEND;VALUE=DATE:19980803
DTSTAMP:20260501T053324
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
BEGIN:VEVENT
DTSTART;VALUE=DATE:19950919
DTEND;VALUE=DATE:19951030
DTSTAMP:20260501T053324
CREATED:20190816T181904Z
LAST-MODIFIED:20190816T181904Z
UID:10000074-811468800-815011199@www.msvuart.ca
SUMMARY:Contingent
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]Roughly a generation separates Hesse’s later work from the production of Pratt and Townsend. The latter suggests that artists continue to rethink and re-use post minimal idioms via subsequent developments in feminist critical theory and art practice. Contingent placed the work of two contemporary Canadian women in the context of American postminimal art making of the 1960s and 70s. The Gallery was honoured to be able to present several small sculptures by Eva Hesse\, which are ordinarily very difficult to borrow. \nA public panel discussion including curator Ingrid Jenkner\, the artists and a representative of the Eva Hesse Estate\, New York\, introduced the unexpectedly contested issue of feminism in abstract art practice.[/vc_column_text][vc_gallery type=”image_grid” images=”16453\,16452″ 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/contingent/
CATEGORIES:Feminisms,Gender & Sexuality,Modernist Survivals,Sculpture & Installation
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/07/Elspeth-Pratt.-Lucky-Me-detail.-Wood-galvanized-metal-felt-104-x-41-x-166-cm.-Photo-Richard-Max-Tremblay-1992.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:19950715
DTEND;VALUE=DATE:19950904
DTSTAMP:20260501T053324
CREATED:20190816T182143Z
LAST-MODIFIED:20190816T182143Z
UID:10000088-805766400-810172799@www.msvuart.ca
SUMMARY:Prospect 2: Kelly Mark Works
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]Works recreated the utilitarian space of the artist’s live-in studio\, suggesting references to work as task and the concept of “a work.” Mark’s process\, involving the presentation of altered readymade objects in series\, unites a handyman’s sensibility with obsessively disciplined minor acts of violence. The physical means used to evoke a complex subjectivity place her work in the post-minimalist tradition of Jackie Winsor and Eva Hesse — influential sculptors of the 1960s and 1970s.[/vc_column_text][vc_gallery type=”image_grid” images=”16402\,16401″ 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/prospect-2-kelly-mark-works/
CATEGORIES:Emerging Artists,Modernist Survivals,Nova Scotian Artists,Sculpture & Installation
ATTACH;FMTTYPE=image/jpeg:https://www.msvuart.ca/wp-content/uploads/2019/07/Kelly-Mark.-Mended-Stool-1995.-Four-legged-maple-stool-pronged-mending-plates-76.2-x-30.4-x-30.4-cm.-MSVU-Collection.-.jpg
END:VEVENT
END:VCALENDAR