A Separate and Pleasant View is a series of works that explores aspects of the looking glass. More specifically, it considers the nature of reflection as image or an aid to image or object. The social history of private reflection, as in aspects of race, class, belief, and gender, is also part of this project and partially informs the process. Reflection is held in two categories according to writer Rebecca Shrum : reliable and unreliable. In The Looking Glass, mirrors and identity in early America, she defines reliable as a reflection in a glass surface with silver backing, and unreliable as to any other reflective surface. The former is known as a looking glass, the latter a mirror. Shrum’s historical distinction follows the development of reflection as a matter of technical advancement and evolving social norms.
This exhibition of photographs quintessentially shows Kablusiaks use of humour as a coping mechanism to address cultural displacement.
Kablusiak is an Inuvialuk artist and curator based in Mohkinstsis and holds a BFA in Drawing from the Alberta University of the Arts. Awards include the Alberta Foundation for the Arts, Young Artist Prize (2017), Primary Colours Emerging Artist Award (2018) and most notably the 2019 Sobey Art Award short list, representing the Prairies and the North. A multi-disciplinary artist, they imbue a variety of mediums with their trademark ironic humour to address cultural displacement. The light-hearted nature of their practice extends gestures of empathy and solidarity; these interests invite a reconsideration of the perceptions of contemporary Indigeneity. Kablusiak, along with three Inuit curators, will be creating the inaugural exhibition of the new Inuit Art Centre in 2020. Recent exhibitions include akunnirun kuupak at the Art Gallery of Alberta, Among All These Tundras, Leonard & Bina Art Gallery, Montreal, and Qiniqtuaq at the Esker Foundation, Calgary. Kablusiak’s work can be found in the collections of the Indigenous Art Centre, the Alberta Foundation for the Arts, the Art Gallery of Alberta, the Banff Centre for the Arts, and numerous other private collections.
soft bodied oddities / Laura Findlay & Corri-Lynn Tetz
Featuring powerful new work by Laura Findlay & Corri-Lynn Tetz in the exhibition Soft Bodied Oddities. Findlay & Tetz each begin their process for the painted image form a different point of departure. Broadly, the exhibition explores the theme of empowerment: on the one hand through the re-embodiment of the female form within a painted context, while on the other the radical movement through understanding and learning about loss.
For Corri-Lynn Tetz, the paintings explore the empowerment of women in their own skin, owning their sexuality. The source imagery for this series originates with pornographic magazines from the 1980s. As the figures appear to dematerialize on the substrate of the canvas, they are imbued with a power as they reconfigure the gaze that was cast upon them.
Laura Findlay moves through a divergent form of empowerment. A personal narrative emerges through the viewer’s careful study of the work. Findlay examines an embedded sensibility concerning the radical side of loss through this series of portraits of flowers. Her work, the palette and aesthetic dark, comments subtly on this theme. The flowers pictured are presented as a bouquet of oddities: the pistils of a selection of flowers appear mutated, affected by what is called “Fascination” – a condition which “makes the flower tip elongated and ribbon like.” Visages appear and recede; flowers fall from the heavens or stand tall against a sun streaked sky. They do not act as we expect flowers to, as women do not act as society expects them to: mourning is not a private endeavour and this series welcomes this act into the public sphere.
Together the work in Soft Bodied Oddities demands that the viewer reconsider the roles women have been obliged to place themselves in throughout their lives.
“Aftermath” refers to the influence of the 1913 Armory Exhibition in New York of modern art from Europe. The phrase was taken from the two volume publication on American Art by Barbara Rose and the effect it would have on contemporary are in America. Both volumes were used in the making of the collages from text and images as a starting point for recent paintings. Through a series of layers, shapes and forms are added and subtracted and thru sanding and transparent applications reveal a step by step progress.
Billy J McCarroll is a senior Canadian painter who has lived and worked in Lethbridge Alberta since 1971. He was director of the University of Lethbridge Art Gallery from 1972 to 1982, and was a member among the first faculty in the Department of Fine Arts at the University. Billy has exhibited widely across Canada and the United States and his work can be found in collections of the University of Lethbridge, the Beaverbrook Art Gallery, the Glenbow Museum, the Alberta Foundation for the Arts, the Banff Centre for the Arts, & many more.
JARVIS HALL GALLERY is pleased to be presenting at the 20th edition of Art Toronto, Canada’s international fair for modern & contemporary art. Visit us in Booth C44 between October 25 – 27th, 2019 at the Metro Toronto Convention Centre. Art Toronto Opening Night will take place on October 24th as a benefit for the Art Gallery of Ontario. Click here for tickets.
In this exhibition, Sondra Meszaros continues her ongoing exploration of counter-narratives of female sexuality and representation through an expanded practice of collage as a vehicle to slow down images. Reworking erotic photographic images from instructional manuals for lighting, drawing, stock erotica and 1950’s nature imagery, Meszaros uncovers dynamics of power and inequality in the history of image-making. Working with pages ripped from books, Meszaros dismantles, disrupts, and renegotiates original images by remounting, cutting, blocking, tearing, and hinging them together. This new work takes inspiration from the histories surrounding the Women’s Reserve Camouflage Corps which was a specialized unit of women artists formed during WW1 to WW2 that designed and tested camouflage techniques for the military. This group of radical women used their creativity and crafting skills to develop designs and disruptive patterns that mimicked the landscape to provide additional protection by bamboozling enemies. Meszaros explores her interpretation of how the rules of Dazzle Camouflage can be used as a technique to visually confuse through weird shapes, repetitive patterns, and restrained use of black and white.
Martin Bennett / WHEN I CAN NO LONGER LAY WASTE TO WHAT IS ALREADY RUINED: PART ONE – THESE THINGS HAPPEN
This is Martin’s first solo exhibition in Calgary since January 2011. Therefore we hope you will join us in celebrating this evening & this pivotal body of work. A special thank you to Martin for his contribution of the booklet & poster that is to accompany this exhibition.
Sondra Meszaros / It’s Damned If You Don’t And It’s Damned If You Do
November 24 – December 22, 2017
Bill Rodgers / Further Studies In Citizenship, Fiction
October 20 – November 18th, 2017
Larissa Tiggelers / Tender Waves Make The Softest Gestures
September 15 – October 14, 2017
Jeremy Pavka / Heart Of Gold, Stomach Of Steel
September 15 – October 14, 2017
July 28th – September 9th, 2017
John Will / Suspicious Minds
June 9 – July 6, 2017
Mark Dicey / Traffic
April 21- June 3
Corri-lynn Tetz / Diviners
Feb 27th – April 14th
What’s Next / Group Show Featuring: Robin Arseneault, Mark Dicey, David Foxcroft, Tyler Los-jones, Rachel Macfarlane, Billy Mccarroll, Wil Murray, Bill Rodgers, Marigold Santos, Larissa Tiggelers, Dan Whiting
February 3-25, 2017
Peter Von Tiesenhausen / Watchers – 20 Years Later
December 2- January 21, 2017
Wil Murray / Spray Can Sea, Ooh Bared Ass, Vet Her
November 4- 26, 2016
Marigold Santos / Gatherer
September 23rd – October 29th
Summer Mixer / Group Show featuring: Robin Arseneault, Mark Dicey, Miruna Dragan, Patrick Dunford, David Foxcroft, Janine Hall, David Janzen, Steve Kiss, Billy McCarroll, Wil Murray, Bill Rodgers, Marigold Santos, Cori-Lynn Tetz, Larissa Tigglers, Dan Whiting, John Will, Peter von Tiesenhausen
Bill Rodgers / From The Page / Exhibition
May 13 – June 11, 2016
Robin Arseneault / what is a stone but an obstacle
April 9 – May 7 2016
Billy McCarroll / Notations
March 4 – April 2 2016
Grand Re/Opening of Jarvis Hall Gallery / Group Exhibition / Friday, January 29, 2016
Celebrating the grand re-opening and inaugural exhibition with essential works by Mark Dicey, Marigold Santos, Bill Rodgers, Robin Arseneault, John Will and more.
SOUGHT AFTER / Group Exhibition featuring: Miruna Dragan, Patrick Dunford, David Foxcroft, Janine Hall, Kris Lindskoog, Patrick Lundeen, Erik Olson, Shelley Ouellet, Bill Rodgers, Heather Kai Smith, Jeffrey Spalding & Peter von Tiessenhausen / October 16 – November 21, 2015
SOUGHT / Group Exhibition featuring: Robin Arseneault, Kyle Beal, Mark Dicey, Marcel Dzama, Sky Glabush, Steve Kiss, Tyler Los-Jones, Wil Murray, Marigold Santos, Jen Sommerville, Corri-Lynn Tetz, Larissa Tiggelers & John Will / September 10 – October 10, 2015
Dan Whiting / New Works / June 6 – July 4, 2015
Patrick Dunford / out there / March 5 – 28, 2015
Tyler Los-Jones / being with / February 5 – 28, 2015
Larissa Tigglers / Upshot / February 5 – 28, 2015
Mark Dicey / forming / October 30 – November 29, 2014
Robin Arseneault / Magic Mount / October 2 – 25, 2014
Corri-Lynn Tetz / Park Life / July 10 – August 29, 2014
David Janzen / Cave Paintings / June 5 – July 5, 2014
Peter von Tiesenhausen / Concentrations / April 24 – May 31, 2014
John Will / Ego is My Ammo / March 6 – April 11, 2014
Billy McCarroll / Pablo’s Grid – Drop Cloth Paintings / November 2 – December 7, 2013
Larissa Tiggelers / Place For Space / May 23 – June 22, 2013
Mark Dicey / Signal/Drift / February 7 – March 12, 2013