“Hello & welcome to the Contemporary Art Gallery!”
Have you been by in the last few months? There are 3 great exhibits showing right now, and you should make time to come visit! When you’re by & chatting with the friendly front desk volunteer, you might spy a few Artist Edition prints behind them. Don’t forget to look behind you as well, because there is another print hanging to the left of the BC Binning Gallery entrance. Let me tell you about these pieces that we have displayed in the entrance foyer. For even more information, visit the publication page at www.contemporaryartgallery.ca
Thomas Bewick, Limited Edition Print, Apr 2009
Ikon Gallery, Birmingham, UK, Edition of 75.
A limited edition printed on a hand press by Iain Bain from the original wood-blocks. Of the 3 subjects, the Bulldog was engraved for the 1790 edition of the Quadrupeds; the Lesser Redpole, and the tail-piece of the man relieving himself beside a fragment of ruined wall were made for the first 1797 volume of the British Birds. What is amazing about Thomas Bewick’s work is both the delicate and intricate marks he was able to make with the tools of the time, and the witty narrative that Bewick injected into his work. To quote the exhibition notes:
Intended as illustrations of ‘some truth or point of some moral’ they provide an invaluable insight into social history while also demonstrating the artist’s imagination and wit. As such these narrative works will provide an interesting counterpoint to the work of many internationally established artists in Vancouver, engaging in image making which critically examines and reflects on the city and conditions which surround them.
Robert Orchardson, Study for Endless Façade ,Limited Edition Giclée print, Nov 17, 2011
Contemporary Art Gallery, Vancouver / Ikon Gallery, Birmingham, UK, Edition of 50.
This limited edition print, 13″ x 18.5″, was produced to coincide with the exhibition Robert Orchardson Endless façade which ran from November 2011 until January 2012. The show transformed half of the gallery into another world as visitors walked through a giant triangular entrance way into a science-fiction-like set featuring Robert’s work. I quite liked the following quote from the exhibit notes:
He also sees this sense of possibility inherent in stage sets, where a narrative exists between the material character of the set itself, and the ‘other’ identity it adopts within the context of a play.
His installation partially revisited stage sets designed by Isamu Noguchi in 1955 for a Royal Shakespeare Company production of King Lear.
Rodney Graham Jacob Grimm’s Study in Berlin/Wilhelm Grimm’s Study in Berlin (1960), Etchings, 1992
Contemporary Art Gallery, Vancouver, 2 prints unframed.
$2,000 (pair), unframed
Perhaps you’re stopping by the gallery after having spent some time checking out Rodney Graham’s new exhibition over at the Vancouver Art Gallery? Remember, the CAG is only 5 blocks away from the VAG so you can continue your gallery-viewing excursion all afternoon!
We are showcasing a set of etchings by Graham that was published by the Contemporary Art Gallery in 1992, and was conceived in relation to Five Interior Proposals for the Grimm Brother’s Studies in Berlin (1992), the project Graham exhibited at Documenta in Kassel, Germany. The images are variations on the studies occupied by the Brothers Grimm in the 1860s in Berlin, based on period watercolours.
Scott Massey, Via Lactea (above Glacier Lake) – Limited Edition Print, Feb 2012
Contemporary Art Gallery, Vancouver, Archival inkjet print, edition of 15, unframed.
There is still time to see Via Lactea (above Glacier Lake) at the Yaletown-Roundhouse Station (Canada-Line), co-presented Contemporary Art Gallery and Translink for the Canada Line Public Art Program.To coincide with the exhibition, Massey has produced a limited edition, Via Lactea (above Glacier Lake) (2012), an archival inkjet print, edition of 15, 20 x 20 inches.
In Via Lactea (above Glacier Lake), Massey combined 170+ photographs of the night sky on the same strip of film. I like that I can walk down to Davie street and not only see the night sky in the middle of the city, but I also get to see it during the day time. For more information about this exhibition, please see: http://www.thecanadaline.com/
Interested in buying one of these editions? Come down to the Contemporary Art Gallery Tuesday – Sunday, Noon-6PM and speak to someone at the front desk, or email [email protected]
The Contemporary Art Gallery presents a major solo exhibition of work by Canadian artist Lyse Lemieux, incorporating two new inter-related large-scale commissions across the gallery façade and off-site at Yaletown-Roundhouse Station.
Lemieux’s artistic practice is often described as one focused on drawing, balanced between figuration and abstraction. Whether working in small (and until very recently, private) notebooks, on sheets of paper, or across the “page” of the gallery façade and the glass panelled architecture of the Yaletown-Roundhouse Station, Lemieux’s working process is inseparable from the forms she creates, which are almost always in reference to the human figure.
At CAG, large-scale black ellipses quite literally cover and contain the building, redolent of familiar forms, both revealing and concealing the architecture on which they’re displayed. But while part of the artist’s composition across the façade might suggest something figural, it equally refers to the body by proxy: through the garments that clothe it, the patterned sections recalling fabric drapes, the design itself wrapping the building. Lemieux is haunted by certain forms—like the black tunic she wore throughout Catholic school as a girl, or the pleated skirt—motifs that reappear again and again throughout her work. Deeply aware of the significance of clothing, the way it declares or masks our subject positions, constrains and liberates us, the artist thinks like a patternmaker: she sees the body through the cut of a skirt, the slope of a shoulder seam. While the works at CAG appear to hem in the building, suggestive of what and how something is enclosed, by contrast, at Yaletown-Roundhouse Station, the artwork appears pulled back, offering glimpses of what lies behind or underneath.
The title, FULL FRONTAL, which joins together the two works, is a description of the works’ enveloping and reclaiming of the space of the architecture which provides its support. Simultaneously subtle, yet literally in your face, it is here we sense the solution to the presentation of the private in the public realm, Lemieux’s stance asserting the individual and the gendered within the bland, homogenous surroundings of this part of the city.
At the Yaletown-Roundhouse Station, work is presented by CAG in partnership with the Canada Line Public Art Program – InTransit BC. FULL FRONTAL is also supported by Proper Design.MORE
FIRE ALARM is an exhibition of work by seven 15-19 year old participants of Looking Through the Window: Visual Art Summer Intensive, a youth program created in collaboration with Arts Umbrella. The exhibition is presented at CAG’s Window Spaces from September 16-24.MORE
Off-site: A New Path to the Waterfall
Lord Strathcona Elementary School, Vancouver
September 11, 2017 – June 29, 2018
This autumn we begin an ambitious public project with US artist Harrell Fletcher, engaging a broad range of Vancouver school students, residents and artists in a series of participatory projects reflecting the artist’s interest in bringing art and life together.MORE
The Contemporary Art Gallery welcomes the Feminist Land Art Retreat (FLAR) for a summer residency. FLAR was born in 2010 with a rock-concert style poster depicting mirrored images of Robert Smithson’s
Spiral Jetty, FLAR transformed this seminal work of land art into something resembling fallopian tubes, while inviting the viewer to a fantasy event. This began FLAR’s conceptual and humorous
subversion of familiar visual forms, including fashion, spa advertising, commemorative architecture, and aerial imagery. FLAR has continued appropriating commercial and art-historical
images with irony, challenging commonly held notions of how feminism is embodied and expressed.
The Contemporary Art Gallery presents the most comprehensive solo exhibition in a public gallery to date of work by Vancouver-based artist Andrew Dadson.
Dadson’s practice engages with the notion of boundaries in relation to space and time, primarily through investigations with materials, process and abstraction. Comprising new, ambitious large-scale paintings, film and installation, this exhibition presents a major statement by this young artist of propositions core to his practice.MORE
July 11 to 20, 2017
Off-site: 524 West 26th Street Gallery, Chelsea, New York
By appointment only.
The Contemporary Art Gallery will present a private exhibition in New York by Vancouver-based artist, Andrew Dadson. Comprising a new commission supported by Vancouver contemporary menswear label wings+horns, the exhibition space will be transformed into a large-scale installation.
Dadson has consistently engaged with the notion of boundaries in relation to space and time in his work, primarily through investigations with materiality, process and abstraction. Through different mediums – painting, film, and photography – Dadson explores the possibility to cross the perceptual boundaries of space, both physical and natural, and is thus reflected in his work in an attempt to subvert our perception and usual ways of looking at things.
The installation will use plant forms and objects sprayed a single colour lit by intense daylight grow lamps. Each light is of a slightly different hue creating multiple shadows on the wall behind and introducing a further dimension to the overall composition. Combined with the large leafy plants, light, shadow and coloured forms produce a painting that evolves and shifts over time. As the organic matter is nurtured over the duration of the exhibition, the unifying painted colour begins to crack and splinter to reveal the fresh natural colours of the leaves beneath.
In partnership with wings+horns.
Since his first solo exhibition at the Helen Pitt Gallery, Vancouver, in 2003, Andrew Dadson has exhibited in solo and group exhibitions in Canada and internationally, in France, Germany, Italy, Belgium, Switzerland and the United States. Dadson was the 2011 recipient of The Brink Award held at the Henry Art Gallery, Seattle.
Dadson is represented by Galleria Franco Noero, Turin, Italy and David Kordansky Gallery, Los Angeles, USA.MORE