edible art by Scanway Cater<strong>in</strong>g medium: Dark Chocolate Mousse Torte, Vanilla Bean Ice Cream created: Fresh Daily Cheapside Café, at the <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Nova Scotia, 1723 Hollis Street, Tel 902-425-4494 www.cheapside.ca
IN THe LAST ISSue <strong>of</strong> THe JouRNAL I wRoTe ABouT CHANGe, and I’m go<strong>in</strong>g to cont<strong>in</strong>ue that theme, though with a bit <strong>of</strong> a twist: I want to talk about transformation. It’s a cliché that change is difficult, <strong>of</strong> course, but clichés are what they are because <strong>of</strong> the gra<strong>in</strong> <strong>of</strong> truth at their core. Change is hard, and transformation, from one state to another, is certa<strong>in</strong>ly the hardest change <strong>of</strong> all. Just ask an alchemist, if you can f<strong>in</strong>d one. As the Director <strong>of</strong> the <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Nova Scotia I have no <strong>in</strong>stant solutions to our challenges and our aspirations I don’t possess a philosopher’s stone to magically transform lead to gold, but nevertheless, transformation is steadily happen<strong>in</strong>g at your art gallery. It’s apparent <strong>in</strong> our new staff complement: as I write this the hir<strong>in</strong>g process is undergo<strong>in</strong>g it’s steady progress, but by the time you read this note there will be at least four new staff members <strong>of</strong> the <strong>AGNS</strong>: a new Chief f<strong>in</strong>ancial <strong>of</strong>ficer, Director <strong>of</strong> Development, executive Secretary to the Director and Ceo, and Curator <strong>of</strong> Programs (<strong>Yarmouth</strong>). The only position filled at this writ<strong>in</strong>g is the Curator <strong>of</strong> Programs, <strong>Yarmouth</strong>. It is my very great pleasure to welcome David Div<strong>in</strong>ey back to Nova Scotia, and to fulfill what has been a long-time promise to the people <strong>of</strong> Southwest Nova Scotia: to br<strong>in</strong>g a curator to the <strong>AGNS</strong> western Branch. There is also a significant departure. After 21 years at the <strong>AGNS</strong> as Manager <strong>of</strong> f<strong>in</strong>ance and operations, Sue T<strong>in</strong>gley will be retir<strong>in</strong>g as <strong>of</strong> June 30. Sue has contributed much to the <strong>Gallery</strong> over her career and I want to acknowledge her contribution and wish her the best for what will be, I am sure, a busy and reward<strong>in</strong>g new phase <strong>in</strong> her life. Transformation is apparent as well <strong>in</strong> the exhibitions this spr<strong>in</strong>g and summer. In Pass<strong>in</strong>g Through: Ia<strong>in</strong> BaxTer& Photographs, we see the transformative power <strong>of</strong> photography as it is used to document the spaces <strong>in</strong> between dest<strong>in</strong>ations. In this case, the trip is def<strong>in</strong>itely all about the journey. other exhibitions too speak to the <strong>in</strong>exorableness <strong>of</strong> change, and to the artist’s power to transform mere materials <strong>in</strong>to compell<strong>in</strong>g ideas and objects <strong>of</strong> <strong>of</strong>ten stagger<strong>in</strong>g beauty. Transformation is also evident <strong>in</strong> some <strong>of</strong> our setbacks. This spr<strong>in</strong>g we had to cancel a major exhibition from the National <strong>Gallery</strong> <strong>of</strong> Canada: Lord Dalhousie and the arts. This difficult decision was arrived at <strong>in</strong> consultation with our colleagues at the NGC, and is <strong>in</strong> response to ongo<strong>in</strong>g issues the gallery is hav<strong>in</strong>g with leaks <strong>in</strong>to our lower level. we simply could not guarantee a safe and secure environment for this exhibition <strong>of</strong> fragile 18th century material. we are attempt<strong>in</strong>g to reschedule this exhibition. Please watch our website for more details. we replaced this project with an exhibition <strong>of</strong> contemporary video art drawn primarily from our collection, named, appropriately, Forces <strong>of</strong> Nature by the exhibition’s curator Sarah fillmore, our Act<strong>in</strong>g Chief Curator and Curator <strong>of</strong> exhibitions. This show, made up as it is <strong>of</strong> video projections, is less susceptible to water damages. At this writ<strong>in</strong>g every effort is be<strong>in</strong>g made to ameliorate our water problems and I am hopeful that by the time we publish this edition <strong>of</strong> the Journal the major issues will have been resolved. Lastly, there is another sort <strong>of</strong> transformation underway at <strong>AGNS</strong>, a re-vision<strong>in</strong>g <strong>of</strong> the <strong>Gallery</strong> focussed on our collection, and on provid<strong>in</strong>g reward<strong>in</strong>g experiences with the art <strong>of</strong> the world. Recent visitors will have noted the renewed commitment to permanent collection exhibitions, and I can assume the best is yet to come. Another example <strong>of</strong> our commitment to change is the hang<strong>in</strong>g <strong>of</strong> a long-term loan to the gallery: German artist <strong>Anselm</strong> <strong>Kiefer</strong>’s monumental masterpiece, Der Brennende Dornbusch, or, The Burn<strong>in</strong>g Bush, on loan from the private collection <strong>of</strong> françois odermatt courtesy <strong>of</strong> Galerie Samuel Lallouz (Montréal). In its scope, scale, ambition and sheer power this work is truly awe <strong>in</strong>spir<strong>in</strong>g. It is a privilege to have it here <strong>in</strong> Nova Scotia, and I cannot over emphasize our gratitude to the lender, and to the sponsors who made its exhibition possible. This work, too, is the subject <strong>of</strong> an article further on <strong>in</strong> the Journal. I began this piece by suggest<strong>in</strong>g that you might have a hard time f<strong>in</strong>d<strong>in</strong>g an alchemist with whom to discuss transformation, but <strong>of</strong> course I was wrong: artists are our day’s alchemists, and they excel at turn<strong>in</strong>g base materials <strong>in</strong>to the f<strong>in</strong>est “gold.” Come by your <strong>Gallery</strong> if you need evidence, or just a brac<strong>in</strong>g shot <strong>of</strong> transformative change. � Clive Murphy, Never Gonna Be Alone, (detail), 2007, mixed media from Sometimes, Always p. 14 Message from the Director Installation shot <strong>of</strong> the exhbition ARENA: Road Game, currently on view <strong>in</strong> <strong>AGNS</strong> <strong>Yarmouth</strong> until April, 2009 Ia<strong>in</strong> BAXTER&, 3 M<strong>in</strong>ute Photos, Pacific National Exhibtion, Vancouver, British Columbia, 1967, Chromira pr<strong>in</strong>t, 106.7 x 148.0 cm ART GALLERY OF NOVA SCOTIA 5
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